The Outlet | Issue 2 by The Outlet

THE OUTLET.

YOUR VOICE. YOUR OUTLET.

OUT@AUT

OUTATAUT

OUTTATAUT

COVER PHOTOGRAPH BY DEAN TALAVERA. 2

THE CONTENTS. MEET THE TEAM.

MOTHER OR MONSTER?

SLAYING THE Conventional.

PAGE 5

PAGE 6

PAGE 8

DEAN TALAVERA.

ICONS.

JENJI KOHAN’S MASTER PLAN?

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PAGE 12

PAGE 14

LGBTQ+ IN FILM.

Queertube.

WHAT’S HAPPENING?

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Page 17

PAGE 18 3

EDITOR’S NOTE. Kia ora, everyone! Welcome to the second issue of Out@AUT’s very own multi award-winning, showstopping, #1 New York Times Best Selling magazine: The Outlet! (Not really. But soon to be.) Here we are. New, revamped and unapologetic. If you had the privilege of reading our first issue, welcome back! You’ll have realised how different this issue looks. I wanted to give The Outlet some pizzazz.

media affects our daily lives regardless of whether we like it or not. The media dominates pretty much all aspects of popular culture, which is why it is important to feel represented and acknowledged. In 2017 and 2018, my team and I have definitely noticed an influx of LGBTQ+ representation in the media. Some good, some bad. In this issue, we discuss the many media occurrences of LGBTQ+ representation and their impact. I hope that you enjoy this issue even more than our last one, and we’ll see you next quarter!

Nāku noa, nā

Maybe the third issue will have a different style. Maybe every issue will have a different style—who knows! The possibilities are endless, and I adore it. Our first issue was welcoming—cute, I daresay. We played it safe. I wanted to be inviting and unintimidating. But for this issue, I want to be inyour-face. I want to create a presence, and more importantly, I want you to feel it. Perhaps even remember it. This quarter’s issue is about the media. Television and film, specifically. We all know how much the

Jennifer Daruwalla.

DISCLAIMER: Thoughts and views expressed in this newsletter do not reflect those of Auckland University of Technology or Out@AUT, but the writers themselves.

MEET THE TEAM.

JENNIFER DARUWALLA

LUKE PARKES

Age: 20

AGE: 21

BIRTHPLACE: Auckland, New Zealand

BIRTHPLACE: Wellington, New Zealand

COURSE: Bachelor of Communications

FAVOURITE COLOUR: Black

FAVOURITE COLOUR: Turquoise

FAVOURITE ARTIST: Pink Floyd

Favourite artist: Britney Spears

INSTAGRAM: @jennifermdaruwalla

INSTAGRAM: @lukiep96

BLAIR SPEAKMAN AGE: 24 BIRTHPLACE: Auckland, New Zealand

THIS COULD BE YOU! Want to contribute?

COURSE: Doctorate of Philosophy FAVOURITE COLOUR: Purple

E-mail us on theoutletAUT@gmail.com

FAVOURITE ARTIST: Lady Gaga INSTAGRAM: @sirgagaxox

And you could be a part of our team! 5

ENTERTAINMENT WEEKLY.

MOTHER OR MONSTER? Before I begin, I have two confessions to make: I am completely obsessed with American Horror Story (AHS), especially season 5, titled “Hotel”. As for the second confession… “Hotel” may or may not be my favourite season purely because Lady Gaga stars as the leading female character, The Countess. Since originally airing in 2015, I have often come back to the idea that much like Gaga’s ‘Mother Monster’ persona, The Countess exemplifies the dichotomy between being a mother and a monster. Throughout the season, she has a complex, and at times, incestuous relationship with her vampiric children. Gothic figures such as the vampire are always responsive to changing times, as they are able to serve as sites of projection and fantasy – their appearance may remain familiar, but their significance and value can change. This idea that the vampire form is not static, but is continuously changing in response to shifts in contemporary society can be seen with The Countess. While Gaga’s character may not explicitly define herself as a vampire – in fact, when questioned whether she is a vampire by her lover Tristian, she responds that she has an ancient blood virus – I still interpreted her to be one. In a similar fashion to vampires, The Countess is immortal and youthful, and has an insatiable bloodlust, an aversion to sunlight, and the ability to ‘pass’ on her blood virus to others. The parallels made between The Countess and vampires in popular media texts are too obvious for us to ignore; the character’s first scene, which is intercut with images from F.W. Murnau’s Nosferatu (1922), is an apparent homage to the opening scene of Hunger (1983),

BLAIR SPEAKMAN.

starring the late David Bowie. These are just two examples of how “Hotel”, much like previous seasons of AHS, is rife with intertextual references especially in regards to the figure of the vampire. One particular moment in “Hotel” which particularly struck me was The Countess’ failed abortion attempt in episode 6; in a flashback to the 1920s, we see Gaga’s character, who is heavily pregnant, at Murder House (the setting of Season 1 of AHS). After the operation has been completed, Bartholomew, The Countess’ deformed monstrous vampiric infant, comes to life, killing the nurse. Given that The Countess can be considered a vampire, her ability to biologically procreate transgresses audience expectations of vampire births – female vampires, especially in other contemporary texts like the Twilight (2008-2012) and True Blood (2008- 2014) series, have been characterised as unable to biologically give birth. Furthermore, the failed abortion attempt can be seen as transgressive in itself, as The Countess crosses the boundary between societal rules which confine the female body, and her ability to reproduce. Bartholomew’s birth can be seen as an extension of fears around female reproduction as it can be seen as violating societal rules from reproduction, pregnancy, and motherhood. This scene in particular hints at Western society’s contemporary anxieties associated with the debate around abortion and alternative female contraceptive methods, as women have the ‘power’ to choose to give life or not.

GETTY IMAGES.

SLAYING THE CONVENTIONAL.

LUKE PARKES.

Twenty-one years ago, Buffy the Vampire Slayer (the television show, that is; there’s been a movie prior to it, but let’s ignore that, shall we?) entered many people’s lives. For me, though, it has been about ten years (I’d only been a few months away from turning one when it started). What I love about Buffy—apart from the exciting storylines and excellent performances—is the clever metaphors and symbolism. I also love that it subverts tropes. I can see how a lot of people can relate to Buffy herself. I mean, she stands as an ultimate icon of women empowerment. What’s more, more than just women can see themselves reflected in her; as someone who identifies as male, I can, too. I believe many LGBTQ+ individuals can connect with her. At the beginning of the show, Buffy is dismissive about being the slayer—she doesn’t want anything to do with it—and that’s how a lot of us have felt. Unfortunately, there are people who still feel that way In the season two finale, there is this vital scene: Buffy “comes out” to her mother, Joyce. It parallels what many LGBTQ+ individuals have experienced. In denial, Joyce asks, “Can you not be the slayer?” A little later: “Do…do you think I chose to be like this? Do you have any idea how lonely it is?” Buffy says to her mother, Joyce, about hiding such a secret tied to her identity. And really, Buffy didn’t have a choice in the matter. It was what it was. As the series progresses, she gradually accepts that part of herself, and so does her mother. Even though my coming out didn’t unfold in the same way as Buffy, there was still an emotional connection since I have felt that vulnerability before.

As well as representing through symbolism, Buffy the Vampire Slayer has actual LGBTQ+ characters. Willow, a significant character from beginning to end, comes out as lesbian in season four and enters a relationship with Tara.

What I appreciate about this development is that it is so positive. For one, Willow exudes more confidence when she discovers that part of herself—it’s like she realised that something was missing, and when she found it, she was more sure of herself. Not only this, her relationship with Tara is beautifully portrayed. “It was a beautiful relationship,” Amber Benson said in an interview for the 20th Anniversary Reunion. “It wasn’t gratuitous. It wasn’t about two girls making out. It was about two people who both happened to identify as female who fall in love. They were good to each other. They treated each other well. The normal relationship—you normalise it, you make it okay, because it is okay.” And Alyson Hannigan (as in, Willow) nods her head, agreeing that it is a “nonissue” and that is how it should be.

Like Buffy inspired strong female heroines like Veronica Mars and Sydney Bristow (Alias), Willow and Tara helped to pave way for more positive portrayals of same-sex relationships on television. Not only this, they made history—they were the first committed relationship between two women who share a kiss, and it occurred naturally, normal, like it just is… and it is normal. Buffy was such a progressive show. It explored social issues through metaphors and symbolism. And it had actual representation of the LGBTQ+ community. Many shows that are on television today are, in one way or another, inspired by it. An academic source said something about how we can see ourselves in a character, and I can definitely say that I can see myself reflected in Buffy, and not just Buffy, but characters like Willow and Tara. Having Buffy in my life from a young age has been a positive influence in my life. And if there is one thing I can say, Buffy has definitely saved so many lives— and will continue to, twenty-one years later. Remember, like Xander does, always ask yourself: “What would Buffy do?”

DEAN TALAVERA.

@ deantalavera

on Instagram

www.deantalavera.com

ICONS. When you hear “Gay Icon,” what—or who— springs to your mind? Judy Garland? Cher? How exactly does a person earn this title? I mean, they don’t exactly just slap something onto somebody for no reason, right? Judy Garland received the title for a few reasons. One of them is because, as it says on Wikipedia, “her personal struggles seemed to mirror those of gay men in America during the height of her fame.” Her portrayal as Dorothy also inspired the saying “a friend of Dorothy,” which referred to specifically men who identified as gay. It was Cher’s “unapologetic freedom and fearlessness” that LGBTQ+ individuals “aspire to [have]” that partly made her an icon. More recently, Ariana Grande has been called “the gay icon of her generation,” and many people are okay with this—I mean, she has done a lot for our community—but others are…well, not so accepting of this. Apparently, she can’t be a gay icon because she’s straight. While I respect their opinion, I don’t share the same sentiments as them. I don’t think an LGBTQ+—not just a gay—icon necessarily has to identify as so. Really, they need to be someone who we can relate to, who we aspire to be like, who stand up for us, and who inspire change, progression. And the women I have mentioned—they tick all these boxes.

LUKE PARKES.

Another celebrity I believe has earned her title is Britney Spears. Over and over again, she has proven herself to be a committed ally. On Spirit Day, she gets involved by speaking out against the bullying of LGBTQ+ individuals. Last year, she signed a petition to challenge a bill that targeted transgender people. And she also wrote a really sweet letter to the LGBTQ+ community during Pride month (June) last year, proclaiming that we inspire her too. Because of her activism, she has won the Vanguard award at the GLAAD Media Awards (previously awarded to celebrities like Demi Lovato and Jennifer Aniston, among others).

Not only does she openly support this community, she has experiences that many LGBTQ+ individuals may relate to. For a lot of her life, she has been, in many ways, oppressed, from having little-to- no control over her career to being ostracised by the media back in 2007. She has, at least in my eyes, certainly proven herself as an LGBTQ+ icon. And that goes for Demi Lovato, as well; she is just as amazing and worthy of the title. I admire each and every one of these women, as well as many others—Bea Arthur, who played Dorothy in The Golden Girls—and they’ve given me hope that, despite the difficult times—ones I have experienced, ones I’m going through now, and ones I am yet to face—I still have my worth, still have so much potential. And I hope they inspire you this way, too.

RANDEE ST. NICHOLAS.

JENJI KOHAN’S MASTER PLAN? JENNIFER DARUWALLA.

I am 99% sure you’ve heard of, or even better, watched Jenji Kohan’s Orange Is the New Black. If you haven’t, you should binge-watch it on Netflix ASAP. I would argue that OITNB does not have the most compelling storyline—hundreds of incarcerated women, a handful of which we actually focus on, going about their prison lives. What fascinates me, though, are the themes and characters portrayed in the show. Gender and sexuality are very heavily embedded into every episode, but we can’t be sure if the occurrences of stereotypes, clichés and hypocrisy in OITNB were accidental, or, perhaps, all a part of Kohan’s master plan. And before I forget, there will be spoilers in this article—beware! The socially accepted lesbian, in this case, Piper (Taylor Schilling), is portrayed as gentle, non-butch and stereotypically feminine –with her lightly-blushed skin, straight blonde hair and kind, blue eyes. On the other hand, Boo (Lea DeLaria) is portrayed to be a non -binary, self-proclaimed “butch”, who, later on in the show, even encourages the use of male or genderneutral pronouns. Physically, Boo is more masculine and heavyset, and their hair is buzzed short. Boo is often loud, brash and violent—this commonly associated with aggressive male behaviour. Though Boo tends to be a symbol of gender expression in OITNB, their character often serves as comic relief in scenes where tension is high. Kohan’s intention was likely to have these polar-opposite characters portray what society deems appropriate and not. OITNB is the first piece of media to include a transgender woman of colour in its “women-in-prison narrative”. Sophia (Laverne Cox) was known as Marcus, who struggled with gender identity before her gender reassignment surgery. Together, Sophia and her wife, Crystal, could not afford to fund her transition, and Sophia resorted to theft, which is how she landed in Litchfield Penitentiary. Michael, her son, found it difficult to accept her transition and reported her to the police. This aspect of Sophia’s life is symbolic of the struggle that many transgender people face in terms of mentally and financially coping with their gender identity – Michael’s betrayal

highlights the devastating reality in which some transgender people are punished because of their gender identity. Sophia’s character is well-educated on the topic of hair, nails and make-up, as she runs her own salon within Litchfield Penitentiary. The aforementioned activities are seen as “feminine”, and by attributing these to Sophia, she becomes hyper-feminised, almost to compensate for what appears to be a lack thereof in the eyes of some. The hyper-feminisation of transwomen in the media tends to focus on narratives about transwomen in relation to makeup and fashion, or otherwise portrays them as weak and confused. Both of these portrayals are damaging to how viewers perceive transwomen. Desi Piscatella (Brad William Henke) is a prison guard who towers over the inmates with his muscular stature, beard and athletic build, as well as his bearded appearance and commanding personality allow the audience to assume his heterosexuality, when expectations are subverted in Season 4, when the inmates discover that Piscatella is, in fact, gay. The character does not conform to the hegemonic idea of a gay man, often assumed to be effeminate in nature, as presented in other television shows. Soon after, he shaves his beard, and this is symbolic of him ridding the metaphorical beard (which is slang for a woman who conceals the homosexuality of her counterpart) since, by this point, the prisoners are already aware of Pisacatella’s sexual orientation, and berate him for it, which spotlights the double-standards of male versus female homosexuality. Since sexuality and gender are such prominent themes in OITNB, it wouldn’t be unusual for Kohan to play around with these concepts in a way that might be seen as controversial. I think that she has masterfully articulated the double-standards many people face in regards to their gender identity and sexual preferences, and hopefully in future seasons, storylines such as Sophia's and Piscatella’s will be touched upon further, perhaps shining a more positive light on the idea of gender and sexuality, and the way they are perpetuated by harmful stereotypes.

LIONSGATE/JILL GREEN BERG.

LGBTQ+ IN FILM. Call Me By Your Name (2017) BLAIR SPEAKMAN. At the end of last year, a close friend of mine messaged me, asking if I wanted to attend a film screening and fundraiser for The New Zealand Aids Foundation at Academy Cinema. I had not heard of Call Me by Your Name, but after watching the trailer, I was immediately excited to attend the screening. And let me tell you – I was not disappointed. I often have to hunt to find queer stories in the media which tell a positive story with realistic characters, and do not rely on the typical tropes associated with Queer cinema and television. Call Me by Your Name is a rare example with fully-formed and flawed queer characters who are allowed to be themselves. It is a is a coming-of-age film of Elio, the primary protagonist of this story; we experience the trials and tribulations of his first love. Despite being set in the 1980s, neither Elio or his lover Oliver are shamed for their love for each other, and instead, we witness their relationship develop over 6 weeks from one of mild amusement to one of intense passion.

BATTLE OF THE SEXES (2017) Jennifer Daruwalla. Set in the early 1970s, this biopic is about topranked tennis player Billie Jean King’s journey of self-discovery, enlightenment and ultimately, success. In this. Multiple themes are presented, such as feminism and LGBTQ+ rights, which are presented artfully within the film. In terms of casting, I think the directors did an incredible job. With an all-star cast, it’s no surprise! Emma Stone portrays a strong, passionate and intelligent Billie Jean. Her evolution through discovering her sexuality (and hairstyles!) is presented in a way that truly resonates with the audience, and is memorable. Opposite Stone is Steve Carell (who I will forever adore), who plays Bobby Riggs, the self-proclaimed “chauvinistic pig”, whose aggressively stubborn persona tends to be somewhat amicable, despite most elements of his character being despicable (case in point—chauvinism.) The impeccable performances of these two actors is really one of the strong points of the film. The story itself is very compelling, based on the real life experiences of Billie Jean and Bobby themselves. Ultimately, the movie is about Billie Jean’s fight against sexism in sports, the general American society, and also for the ability to express her sexuality.

QUEERTUBE.

JENNIFER DARUWALLA.

If you’re anything like me, you probably spend hours watching YouTube videos (if you’re not, then get on my level!). I’m going to keep this introduction short and proceed to tell you about four of my favourite queer YouTube channels that I believe are underappreciated and deserve your attention!

GARRETT WATTS

Garrett is a quirky man-child brought into the light by close friend, Shane Dawson. His channel consists of video ideas you’d assume were that of a 12 year old, but nonetheless, his bright personality and infectious laughter is addictive. His sense of humour ranges from childish innocence to satirical wit. With videos such as “LIGHTING 10,000 MATCHES AT ONCE!” and “BUILDING A GIANT DORITOS WALL”, his channel has amassed 1.3 million subscribers, and I’m happy to see him succeed...it’s like watching your child grow up!

MACDOESIT

KAT BLAQUE

Kat’s YouTube channel addresses crucial issues such as transgender rights, gender identity, sexual orientation, racism and sexism, and how all of these can intersect. She aims to bring awareness about the aforementioned issues, as many of them resonate closely to her. What I really appreciate about Kat is her ability to delve deep into topics with thorough detail and research. Kat is an incredibly influential activist who has been on YouTube since 2010, and has over 100,000 subscribers.

GABY DUNN

At almost 1 million subscribers, Machaizelli Kahey’s channel is a gold mine. Mac uses satirical, selfdeprecating humour and over-exaggeration, creating a dynamic, fun and light-hearted YouTube channel. I discovered Mac when I was introduced to his video “A GAY REACTS TO ‘In A Heartbeat’ BECAUSE I’M GAY” by a friend (shout-out to Yasmin!) and have been in love ever since! He also covers more serious topics, but in a way that is still enjoyable and memorable to watch, such as racism, homophobia and sexism.

Gaby’s advocacy for queer issues and intersectional feminism is always at the forefront of her work. She discusses topics such as bisexuality, polyamory, and feminism, as well as self-image. Gaby also hosts a satirical “advice show” called Just Between Us with comedic genius, Allison Raskin, where they go over questions sent in by their audience. JBU thrives on the duo’s polarity, offering insightful viewpoints and opinions.

WHAT’S HA COMING OUT RAINBOW WHAT? Thinking about coming out RAINBOW as

LGBTQ+ RIGHTS IN ASIA & THE PACIFIC WHAT? A lecture on LGBTQ+ rights in Asia

Lesbian, Gay, Bisexual Tatakātapui,

& the Pacific: “Is There Any

Transgender, Queer? Safe confidential

Chance of Breaking the Logjam?”

support with trained Rainbow Facilitators.

WHEN? Wednesday, 4th April 2:00PM—3:00PM

WHERE? WB102—10, AUT City Campus.

WHEN? Thursday, 5th April 2:25PM—5PM

WHERE? WA224, AUT City Campus.

PINK SHIRT DAY WHAT? On this day, we wear pink to symbolise a stand against bullying.

WHEN? Friday, 18th May 10AM—2PM

WHERE? Hikuwai Plaza, AUT City Campus. 18

APPENING? MOVIE NIGHT

GAMES NIGHT

WHAT?

Whatâ&#x20AC;&#x2122;s better than some company, a

Cards Against Humanity.

bunch of snacks and a snazzy movie?

Scrabble. Uno. Balderdash.

Join us for some quality fun!

Monopoly. You name it.

WHEN? Date TBA.

WHERE? WB212 (Rainbow Room), AUT City Campus.

KARAOKE NIGHT

WHEN? Date TBA.

WHERE? WB212 (Rainbow Room), AUT City Campus.

BOWLING NIGHT

WHAT?

We've got a spectacular evening planned, so

A bowling alley. A bar. A bunch of

come along, bring your friends and sing your

friends. A night to remember!

heart out! Be sure to bring some cash for food/drinks and a $2 coin for entry!

WHEN?

Date TBA.

WHERE?

Metrolanes,

Vesbar,

Queen Street,

AUT City Campus.

Auckland City.

THE OUTLET. YOUR VOICE. YOUR OUTLET.

NEW ISSUE EVERY QUARTER. ALL WRITTEN CONTENT IS PROPERTY OF OUT@ AUT UNLESS STATED OTHERWISE. THE REPRODUCTION, DISTRIBUTION OR TRANSMISSION OF THIS PUBLICATION IN ANY FORM OR BY ANY MEANS IS STRICLY PROHIBITED WITHOUT PRIOR PERMISSION FROM THE PUBLISHER. COPYRIGHT Â© 2018 OUT@ AUT, AUCKLAND UNIVERSITY OF TECHNOLOGY. PHOTOGRAPH CREDIT IS THE PROPERTY OF THEIR RIGHT OWNERS. NO COPYRIGHT INTENDED.