Simon Bailey – Google

This book is worth reading for its presentation of the dark side-effects of homophobia. However, Todd’s claim that involvement in the arts, including literature, is unhealthily escapist is problematic. It probably arises from a narrow understanding of how important the arts are in human culture. Through the arts, we can come to understand ourselves more deeply. I was also disappointed to see his claim in a section at the end of the book, in Appendix 2, (p.357) that the idea that an undetectable viral load means the virus is untransmissible during sex is something that is merely ‘believed’. He fails to acknowledge the clinical studies that were the basis of this factual finding and seems to suggest that condoms are the answer to reducing transmission. He does not refer to or explain the equation U =U (undetectable equals untransmissible). Treatment as prevention (TasP), PreP and PEP are, in my view, by far the most effective way to reduce transmission of HIV. Hence the need to test regularly so that treatment can begin and the benefit of an undetectable viral load can be achieved. He does not refer to this benefit of testing at all, as far as I could see.

I watched this again after recently seeing Emerald Fennell’s 2nd film as writer and director, ‘Saltburn’. Carey Mulligan is remarkable as the central character, Cassie. As with ‘Saltburn’, Fennell pursues an idea relentlessly and with a surreal logic. Quite a few men will find the movie an uncomfortable watch, but that’s why it works. I can’t wait to see what Fennell’s next film will be.

A chilling depiction of the way sexism, sexual harassment and bullying operate in some workplaces. The film gives a single perspective: that of the assistant who thought a lowly job would be a way of ascending to a powerful role in the film industry but who slowly learns that that belief was a Hollywood story she’d told herself. Don’t watch this if you want a glamorous representation of how offices work and a Hollywood ending. It’s a brutally realistic portrayal of what some offices are like. As such, it is a very disturbing and thought-provoking film.

I read the divided reviews and wondered if Saltburn would be good or bad. I thought it was memorable and plan to see it again. Laugh-out-loud funny, but also mysterious and disturbing. If you like Theatre of the Absurd (Beckett, Pinter, Genet, Ionesco et al) you’ll be open to this surreal exploration of a connection between wealth and corruption. Rosamund Pike is extraordinary as the wife. Wildly funny, although she does no extraordinary acting in the conventional Oscar-winning sense. Barry Keoghan is believable as the poor boy, Oliver Quick, turned amoral user and I loved his final dance scene. Jacob Elordi is well cast as the ambiguously alluring Felix Catton. If you don’t mind a few grim scenes, see it and make up your own mind.

I read positive reviews and wondered whether this movie would really be that good. I had some time to fill, so I saw it. Sorry, but imho it is mediocre. I didn’t believe that the two boys, later young and then more mature men, were really friends. There was no real connection between them, apart from that the director sought to impose. Good acting but no chemistry. As well, the jump cuts to different ages left me distracted and trying to work out what was going on and what had happened. The movie was too long and disjointed to keep my attention. And the ending is just plain depressing. Cinematography was ok but the director obviously thought the landscape could maintain viewers’ interests.

Although I appreciate Benedict Cumberbatch’s talent as an actor — his Richard III in the Hollow Crown series is the greatest R III I have seen — I was disturbed and disappointed by his involvement in this film. I think Jonas Slonaker’s review here reflects my reaction, as the film is ultimately just another negative portrayal of gay men. What did this film add to our understanding of the effects of homophobia and internalised homophobia? Nothing, in my view. It just reiterated the stereotypes. Gillian Armstrong’s 1987 film ‘High Tide’, with Judy Davis and a young Claudia Karvan, was a beautiful film, but this was an unpleasant piece of work, a fact which no amount of good acting, nice scenery and arty direction can hide.