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Other horror movies, including Psycho (1960), Dressed to Kill (1980), and Silence of the Lambs (1991), further the perpetuation of harmful queer tropes with the usage of the cross-dressing serial killer trope. Danver from Hitchcock’s Rebecca (1940) and Raoul Silva from Campbell’s Casino Royale (2006) are prime examples of the implementation of villains that revel in sexual intimidation with a queer agenda. Villains in films, specifically horror films, have also been historically queer coded to equate queerness with iniquity. In both versions of the film, Le Fou worships the ground beneath the picture of toxic masculinity and heteronormative society, that is, Gaston. The most notorious example would be Le Fou, from Beauty and the Beast (19). This queer sidekick holds on to the male lead’s every word to serve as a vehicle for the audience to do the same. The “Second in Command” trope is where a hyper-masculine lead is accompanied by a weaker, portlier, and undoubtedly gayer sidekick. Later I realized that even the idea of “having” a G.B.F was dehumanizing at most and self-serving at the very least. Growing up in the early 2000s, I believed garnering a gay best friend was a milestone in a teen girl’s coming of age. Cult classics everywhere capitalize on these characters in films including Clueless (1995) and MeanGirls (2004) to The Devil Wears Prada (2006), Unbreakable Kimmy Schmidt (2015), Emily in Paris (2020), and countless others. This stock character is the reliable, flamboyant, and easily manipulated male attached to the hip of a more palatable female main character. “The Sissy” is closely related to the modern trope of the “Gay Best Friend”.
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Both films portray power-hungry Queer villains against hyper-masculine Kings or DemiGods, but people still enjoyed these movies, at the cinema or in their TVs, as they could get tv mount installation experts to setup everything for movie time.
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Examples of this effeminate versus hyper-masculine trope are seen from Mufasa and Scar in The Lion King (1994) and Hades and Hercules in Hercules (1997).
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This biased portrayal forms the polarization of characters in television and film based on trite characteristics. This trope is, of course, based on the fact that previous and modern-day decision-makers do not believe in a world where men can be both masculine and queer. These traits are blatant subversions of modern masculinity, and are therefore instantaneously equated with Gay men. Queer Coded male characters often take pride in their appearance, define themselves by having good taste, possess a flair for the dramatic, and are generally the last person you would pick for help in a fight. If that is not a clear demonstration of the demonization of queerness and its equation with villainy, I’m not sure what is. Yet, that doesn’t change the representation of the antagonist, and literal demon, a character named HIM dressed in a pink tutu and thigh-high black heels. Don’t get me wrong, I appreciate animations like The Powerp uff Girls (1998) just as much as everyone else. Once you’ve acknowledged these tropes, you will see them everywhere, from your favorite Disney original to the ever-terrifying psychological thriller. This phenomenon appears across several genres while perpetuating stereotypes, including the “Cross-dressing Killer” and the infamous “Gay Villain”. Queer Coding occurs throughout the entertainment industry when characters display stereotypical gay signifiers that sub-textually tell audiences the character is queer without explicitly stating their sexuality. Unfortunately, Disney is not the only one. You would think Disney is tired of making their villains gay - newsflash: they’re not.