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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550122945037-F0B97HB0LCREDY9Z3Q8P/Screen+Shot+2019-02-09+at+8.40.17+PM.png</image:loc>
      <image:title>DISCLAIMER</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550123578857-A8TA1AYXNJ991ROHRVMC/IMG_1710.JPG</image:loc>
      <image:title>DISCLAIMER</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/what-about-the-lesbians-a-herstory-of-hidden-sexy-creatures-in-mainstream-cinema</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550148846562-1JZSXSPAFYBZLWKGX4JP/vamplesb.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>The trope of lesbian as an inhuman, unnatural blood sucker in Jesus Franco’s Vampyros Lesbos (1971).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550149668926-96PADE67GPU70MQ902IK/Miseducation3.gif</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Desiree Akhavan’s The Miseducation of Cameron Post (2018).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550150226729-AXA3R4OOYW2VONF2Y45Y/carol-film.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Carol (Cate Blanchette) and Therese (Rooney Mara) in Todd Haynes’ Carol (2015)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550148503775-OGXK2JTGZLQCGAA6BSK9/Marlene1.gif</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550149073736-R7AECTTCDGJNJVPWJ007/mulholland.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Naomi Watts as Betty/Diane, a delusional extra who suffers a psychotic break after being jilted by her polyamorous lover Camilla/Rita (Laura Elena Harring), a more successful actress in David Lynch’s Mulholland Drive (2001).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550150737206-5C76B4CDU0NJM1R9WWZ3/handmaiden.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Park Chan-wook’s The Handmaiden (2016).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550149401245-HYSU8OQGHFSQQB92LVMY/bound_001.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Lovers Corky (Gina Gershon) and Violet (Meg Tilly) in Lana &amp; Lily Wachowski’s neo-noir Bound (1996).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550150523383-F9OXI3L1QVIUV7BWY5TD/wildthings2.png</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Suzie (Neve Campbell) &amp; Kelly (Denise Richards) in John McNaughton’s Wild Things (1998).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550149821020-T9K79QQSK534VRW02WVL/Adele5.gif</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Léa Seydoux &amp; Adèle Exarchopoulos in Abdellatif Kechiche’s film adaptation of Julie Maroh’s Blue is the Warmest Color (2013).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550150003873-HDPQTAQV3YZQWHP64HEJ/KidsAre6.gif</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
      <image:caption>Nic (Annette Bening) &amp; Jules (Julianne Moore) share a kiss in Lisa Cholodenko’s The Kids Are All Right (2010).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550150628021-9V1B555OZW9UP1UX9N2L/wildthings.jpg</image:loc>
      <image:title>What about the lesbians? A Herstory of hidden sexy creatures in mainstream cinema</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/playing-the-whore</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010410127-V2C90CE9VVGQ5L32DCBY/geron.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
      <image:caption>Lake (Pier-Gabriel Lajoie) and his older lover Melvyn (Walter Borden) in Bruce LaBruce’s Gerontophilia (2013).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010089815-R28XO1FZXXYYJT97G14E/hero_Misandrists-2018-2.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
      <image:caption>The women of The Misandrists (2017).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1549864845591-KWFW2L7XQS7JOA4KT43B/kyle.jpg</image:loc>
      <image:title>Playing the Whore - Bio:</image:title>
      <image:caption>Kyle Turner is a freelance writer based in Brooklyn, NY. He is a contributor to Paste Magazine, and his work has been featured in The New York Times, The Village Voice, Playboy, Brooklyn Magazine, Slate, and Esquire. His work focuses on identity and issues of queerness and race. He is relieved to know that he is not a golem. http://tylekurner.tumblr.com Twitter: @TyleKurner</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010144095-MCSNSO295JVX9W5MTOWL/RR6.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010111296-PD1QKVLR9HPGKW2UAM7B/CAVIAR20_BruceLaBruce_TonyWardHustler_icon_grande.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
      <image:caption>Tony Ward as Montgomery “Monty” Ward in Bruce LaBruce &amp; Rick Castro’s Hustler White (1996).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010741461-I21522SZ6LYSFMJKUKH3/raspberry-reich-3.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
      <image:caption>LaBruce’s The Raspberry Reich (2004).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550010291635-BKQXGI0WLSZ3OO3IQ3X7/funeral.jpg</image:loc>
      <image:title>Playing the Whore</image:title>
      <image:caption>Toshio Matsumoto’s Funeral Parade of Roses (1969).</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/the-world-made-flesh-sex-and-identity-in-the-films-of-david-cronenberg</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550011485773-J9BURVLNRPU8IFG593ET/maxresdefault.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Spelling out stereotypes in M.Butterfly.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550112656527-Q2HI66IAT4G3CP8E2L8W/existenz.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Ted Pikul (Jude Law) shares an intimate connection with Allegra Geller (Jennifer Jason Leigh) and her Metaflesh Game Pod in eXistenz.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550011247408-HFEA1NBOYJ1C1BPPJ0VW/nakedlunch.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Peter Weller as haunted writer Bill Lee in Cronenberg’s Naked Lunch (1991).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550036501418-YD249U95JBCFMPH2X226/crashchristianne.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Crash illustrated by Christianne Benedict.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550011635099-BDXOEQXR25MLNKNNGJU8/nakedlunchjoan.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Judy Davis as Joan Lee (and later, her doppelgänger Joan Frost) in Cronenberg’s Naked Lunch (1991).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550112532394-FO70MSAK25FW77OEHEYR/DeadRingers.gif</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Jeremy Irons &amp; Jeremy Irons as Beverly &amp; Elliot Mantle in Dead Ringers.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550009755212-X1H570O0AO3YBYFFMR2M/cristiannecronenberg.jpeg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>The Brood illustrated by Christianne Benedict.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550009481899-E6T1K22VVFX9YY606G3Z/Videodrome-6.jpg</image:loc>
      <image:title>The World Made Flesh: Sex and Identity in the Films of David Cronenberg</image:title>
      <image:caption>Debbie Harry as Nikki Brand in Videodrome.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/ff-the-webzine-vol-1-feb-2019</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-04-19</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1553146401240-R7JPI3WIBKXX2FVQBD5B/brandNEW.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019 - "Boy Crush!": Sexuality, Gender &amp; Memory In Guy Maddin's BRAND UPON THE BRAIN!</image:title>
      <image:caption>by Annie Mok “Sis and Chance stand on the beach, soon to become a pair star-crossed lovers. Chance looks hungrily at Sis. Sis and Chance walk around with young Guy in tow, who pines for Wendy. “Guy, smitten again,” the narrator says, “this time Chance is the dazzling one.” The text “Boy crush!” appears. Chance dons a dapper Robin-like mask, a top hat, and a magician’s gloves because he “always goes formal” on intense missions. The near-constant smoke that engulfs many characters, especially Chance upon his arrival onto the island, reminds me of the “stage magic” that floods Maddin’s filmmaking. It’s all sleight of hand, tricks, the lies that tell the truth.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550121022084-0SARLMHRD1IW38CZ3PYH/CAVIAR20_BruceLaBruce_TonyWardHustler_icon_grande.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550132371637-RKL5NLKC9NL4VYVOB26Q/moviesqueerfuses.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019 - Abstracting The Gaze: The Queer and Erotic Cinema of Flaming Creatures and Fuses</image:title>
      <image:caption>by J. Simpson “Carolee Schneemann’s Fuses received an even stronger critical response when it first screened at Cannes Film Festival in 1968. Speaking on the film’s hostile reaction, rivaling that of Stravinsky’s The Rites Of Spring, Schneemann told film critic Scott MacDonald, ‘One of the most extreme things happened when I was in the audience at Cannes. About forty men went berserk and tore up all the seats in the theater, slashed them with razors, shredded them, and threw all the padding around. It was terrifying, and peculiar.’”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550120502863-5RYNTBGNZUA1D2D5NAWL/butimgroup.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019 - Coming Of Age Queer Cinema!</image:title>
      <image:caption>by Danielle Ryan “Queer cinema isn’t just for confused kids trying to put the puzzle of their sexual identities together; it’s for everyone.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550121125467-F4KGRC3HN18IRE4HLJP6/videodrome-1983-002-james-woods-on-the-phone-debbie-harry-on-tv-bfi-00o-ap3.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550121074285-9RCS5SII9BAKHL8C0Y4U/Dumplings_1050_591_81_s_c1.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550131845534-4CL7XAR1ES6GSQTZLS91/phantomthreadfeat-770x433.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019 - Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
      <image:caption>by Ellie Emiline Miles “Dominance and submission, or D/s, as presented in Phantom Thread transcends the obvious stereotypes of how it's usually been portrayed on screen. There are no sex scenes […] There are no blindfolds or ball gags, no riding crops or spreader bars, and Alma never gets spanked for being a ‘bad girl.’ The film speaks a more subtle and elegant language of D/s that encompasses a broader definition of how the dynamic can exist.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550132104780-TU8QKZBXMDR7F3XOBP57/bound.jpg</image:loc>
      <image:title>F&amp;F the webzine: vol. 1 FEB 2019 - What About the Lesbians?: a Herstory of Hidden Sexy Creatures in Mainstream Cinema</image:title>
      <image:caption>by Sara Marrone “(Real) lesbians are nearly invisible in mainstream cinematic history, and when they reach some visibility, they share some recurring features. Almost every time they are evil, mad, negative-example characters (Rebecca, 1940; Vampyros lesbos, 1970; Mulholland Drive, 2001; Monster, 2003), who get involved in dangerous and forbidden lesbian relationships (Bound, 1996; Heavenly Creatures, 1994; Loving Annabelle, 2006; Disobedience, 2018); who “steal” a man's girlfriend (Elena Undone, 2010; Below Her Mouth, 2016; Gypsy, 2017), or cheat on each other with another man (The Kids Are All Right, 2010, Blue is the Warmest Colour, 2013).”</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/kiss-me-my-girl-the-intimacy-of-dominance-and-submission-in-phantom-thread</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550144746632-H7EMPPCAUZY0P2N408Y4/photo3.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550144622841-RN1ZOH2HXHKWX3KBTO0C/photo2.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550148167806-7FYLG0JE36A4W94GCP2I/photo6.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550145041781-QPHAR2FA73AKBMT5IHMK/photo7.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550144825205-6RE8BCXKBZ8T4RNWDUF3/photo4.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550148094273-X0K2534OP838AWZGBY0T/photo5.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550144487618-SSDZKZPP0GL4NRPS0T6R/photo1.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550144913447-1H7VK1J18DHHLPZGRYKI/photo8.jpg</image:loc>
      <image:title>Kiss Me, My Girl: The Intimacy of Dominance and Submission in Phantom Thread</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/coming-of-age-queer-cinema</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037057393-1G89P0F1EGW2E4PFFW8L/but-ima-cheerleader-natasha-lyonne-1108x0-c-default.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037639687-VRSN2CNTIXJQAHS03BAH/boysdont.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
      <image:caption>Boys Don’t Cry (dir. Kimberly Peirce, 1999)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037124555-Z1VRADLX83EU4X5VS8M8/img.php.jpeg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037168922-XTF4VAFAWCSKLQ1XCYC8/Martn-Piroyansky-as-Alvaro-and-Ins-Efron-as-Alex-XXY-2007.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
      <image:caption>XXY (dir. Lucia Puenzo, 2007)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037322709-WP7POH9CDR7N589AKIZQ/4e18f266-d0a8-11e8-8cab-000c29a578f8.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
      <image:caption>But I’m a Cheerleader (dir. Jamie Babbit, 1999)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037192979-JRHQULZ92T77C0USIQRK/parisx900.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550037536911-1YSC4ZLSG7UKU07Q6ZSO/pariah-2011-002-women-laughing-on-sofa-pink-filter.jpg</image:loc>
      <image:title>Coming of Age Queer Cinema!</image:title>
      <image:caption>Pariah (dir. Dee Rees, 2011)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/boy-crush-sexuality-gender-and-memory-in-guy-maddins-brand-upon-the-brain</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-21</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1553146346886-QKK99U4E6NQ2TDD9IVST/brandNEW.jpg</image:loc>
      <image:title>"Boy Crush!": Sexuality, Gender, and Memory in Guy Maddin's BRAND UPON THE BRAIN!</image:title>
      <image:caption>illustration by Annie Mok</image:caption>
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      <image:title>"Boy Crush!": Sexuality, Gender, and Memory in Guy Maddin's BRAND UPON THE BRAIN! - Bio:</image:title>
      <image:caption>Annie Mok is an author-illustrator and musician (Annie Mok &amp; the Knight Dreams, formerly in See-Through Girls). Annie is a queer trans woman who is white/mixed (Irish/Chinese/Colombian/etc). She deals with Bipolar II and complex-PTSD in her life and work. Annie, New Jersey-raised, graduated from the Minneapolis College of Art and Design with a BFA in Comic Art in 2009. She then spent a stint in Chicago, making mistakes that led to her 2015 Ley Lines #1 comic book, Unholy Shapes. She received a 2014 Leeway Foundation Transformation Award. In 2015 she co-starred in Carman Spoto's feature film Phaesporia. Annie tweets @heyAnnieMok. She lives in occupied Delaware/Lenape land AKA Philadelphia. Contact Annie: heyanniemok@gmail.com Contact Annie's agent, Adrienne Rosado, for business inquiries. Annie's client list includes Rookie Mag, Autostraddle, Image Comics, Boom! Studios, DC/Vertigo,The Comics Journal, ZEAL, Penguin/Random House Canada, Seven Stories Press, Sui Generis Health, St. Stephen's Human Services / Homeless Against Homelessness, and the Red Umbrella Project.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/too-close-for-comfort</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-02-14</lastmod>
  </url>
  <url>
    <loc>http://filmandfishnet.com/abstracting-the-gaze-the-queer-and-erotic-cinema-of-flaming-creatures-and-fuses</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-15</lastmod>
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      <image:title>Abstracting The Gaze: The Queer and Erotic Cinema of Flaming Creatures and Fuses</image:title>
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      <image:title>Abstracting The Gaze: The Queer and Erotic Cinema of Flaming Creatures and Fuses</image:title>
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    <loc>http://filmandfishnet.com/hunger-hath-no-conscience-sex-and-cannibalism-in-film</loc>
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    <lastmod>2019-02-14</lastmod>
    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Mads Mikkelsen as the titular character in a promotional shoot for NBC’s Hannibal</image:caption>
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    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Béatrice Dalle as Coré in Claire Denis’ Trouble Every Day (2001)</image:caption>
    </image:image>
    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Voraphile Coré (Béatrice Dalle) with victim in Claire Denis’ Trouble Every Day (2001).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550008027260-KTZQ0BMN6ZK8ENWRFRQD/0fruittaste.jpg</image:loc>
      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550008811508-7PSA2G3CV83Q67V6WMTL/cannibal_toronto.jpg</image:loc>
      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Bashful tailor-cum-butcher Carlos (Antonio de la Torre) has a moment with the object of his affection, Nina (Olimpia Melinte), in Manual Martin Cuenca’s Cannibal (2013).</image:caption>
    </image:image>
    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film - Bio:</image:title>
      <image:caption>Becky Belzile is a freelance writer from Canada with special interest in horror, foreign, and indie films. You can find her on Twitter @bexbz and read more of her work at beckybelzile.wordpress.com/.</image:caption>
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    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Garance Marillier as budding cannibal Justine in Julia Ducournau’s Raw (2016).</image:caption>
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    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Bai Ling as the ageless dumpling maker/peddler of eternal youth Aunt Mei in Fruit Chan’s Dumplings [(aka: 餃子, Jiǎozi) 2004].</image:caption>
    </image:image>
    <image:image>
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      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Miriam Yeung as the aging former soap star Mrs. Li in Fruit Chan’s Dumplings [(aka: 餃子, Jiǎozi) 2004].</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1550009215790-DOCPE1X4VXRGYVHXHTGB/caniba.jpg</image:loc>
      <image:title>Hunger Hath No Conscience: Sex and Cannibalism in Film</image:title>
      <image:caption>Issei Sagawa in Lucien Castaing-Taylor and Verena Paravel’s documentary Caniba (2017).</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/der-fana-chronicle-of-erotomania</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-10</lastmod>
    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
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    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
    </image:image>
    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
    </image:image>
    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
    </image:image>
    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
      <image:caption>Simone (Désirée Nosbusch) tasting the fruits of her labor in Eckhart Schmidt’s DER FAN (1982).</image:caption>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
    </image:image>
    <image:image>
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      <image:title>DER FAN - a Chronicle of Erotomania</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/blue-as-in-sexy-blue-as-in-sad-on-satoshi-kons-perfect-blue</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552580006580-B3JJEO82L58VXAP1B9HF/les2.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Camilla and her new lover, another actress who bares a superficial resemblance to Diane.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552578341633-VRYOSFZ5O0B778DBN8HM/perfectblue_10.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Pop idol turned actress Mima and her maternal agent &amp; manager Rumi in Perfect Blue.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552578397120-PM7USDYGROECXQWZIRJA/pb3.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552579335636-QC7M5CGVBVPQOEA6J630/mulholland-drive-750x400.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Not quite twinning: naive young starlet Betty (Naomi Watts) &amp; her bewigged mystery girl Rita (Laura Elena Harring). The superimposition in this transitional shot conveys that these figures are only illusions, fragments of Diane’s (also Naomi Watts) deranged imagination. For as much as Betty is in love with Rita (to the point that she’d conceal Rita’s identity by making her over in her own image, ostensibly to protect her), Diane is obsessed with vain, successful superstar Camilla (Laura Elena Harring again). This fantasy couple of Betty and Rita is the inverse of the real, troubled relationship between Camilla and Diane.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552579007442-GCPTD0ETNYMP6F909TZY/pb6.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Mima’s spiteful sprite doppleganger.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588295189-SEW5TOOV69U9017C2H0K/perfect-blue-012.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588112486-ET7DDGUJIW2LPFZ4CU8M/pb22.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552585638145-M8AH9ASDTA90FGYE6HJF/blackswan1.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Double take: The angelic ballerina Nina (Natalie Portman) &amp; her devilish doppleganger (also Natalie Portman) in Darren Arronofsky’s Black Swan (2010).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552579931843-1QG65SE5DL1D834X68N1/mulholland-drive.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Mulholland Drive’s multiples; the superimposition is visual shorthand for a ruptured psyche/fragmented self.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552585449986-517TTB7E792TQ7F5VNYS/perfect-blue-03.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Me-Mania &amp; Mima’s spectral double.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552578454484-ETLPGJ42UILY938YUME5/Perfect-Blue.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552580042193-L8L9XE53ARJDYNHP5UWD/diane-betty.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>A hurt &amp; jealous Diane.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552585960347-RKLCJBEEACH2IPA3Y4Z0/perfectblue_04.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>The menacing otaku Me-Mania.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588223568-F4S2EG4HJZGNUWBE2RZH/pb9.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588576401-9GPR9ZE1TDTBOMJA6GEY/perfectblu21.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588764807-T4LUVT7HSKFOYBRY0YKQ/pb25.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552578697010-L2X901TQ6MYEUMIEV5WG/pb7.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552578476436-AV3OMJPZ04WQNPBLO6BD/pb2.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552546678220-F2QF5RIYQP5GZNWEUNRD/Philippapic.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue - Bio:</image:title>
      <image:caption>Philippa Snow is a writer, based in Norwich. Her reviews and essays have appeared in or at publications including Artforum, Sight &amp; Sound, GARAGE, Frieze, The Cut, and Tank magazine. Twitter: @Philippasnow Instagram: @Philippa.snow</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552586967955-B4CI46HXTE87W1117C7Y/inland-empire-1200-1200-675-675-crop-000000.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Nikki (Laura Dern) and Devon (Justin Theroux) on the On High in Blue Tomorrows set in Lynch’s Inland Empire.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552585674757-HQVWIXKT4KKK6NX74LOD/blackswan2.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Super overt &amp; cliched “refractive mirror = fractured psyche/self” shot in Black Swan.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588639363-3MWKWFJ0MPSTW0C5UCBJ/perfect-blue-031.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552586462647-B79R082VL87FHW4G6ZLD/inland-6-1024x551.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Nikki Grace (Laura Dern) confronts a fractured self in Inland Empire.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552579108776-LUU3KG4KP2FZBBF7IVK9/pb8.png</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552579165151-8NS1YJO2JNSQ4OD4MVQ1/PerfectBlue_05.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Dream Mima pops up in a train window to taunt the real Mima.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552587568684-Y09CBE0TDUVNYY62W0KB/perfectble20.jpg</image:loc>
      <image:title>Blue as in Sexy, Blue as in Sad: on Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>Me-Mania attempts to force himself on Mima on the empty set of her police drama in Perfect Blue.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/irrevocably-alone-the-cinematic-expression-of-the-human-need-for-connection</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-14</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552590085885-01GX5OGGROD5SB9ASN6D/PHOTO_4.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Cop 663 (Tony Leung) &amp; Faye (Faye Wong) in Chungking Express (1994).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552589842778-XRLI9171FEYGTWA0HO6C/PHOTO_3.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Dashing vampires Lestat (Tom Cruise) and Louis (Brad Pitt) in Neil Jordan’s Interview with a Vampire: The Vampire Chronicles (1994).</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552589564488-0FZ8YD8PRZVQ7U8IRB0Z/PHOTO_2.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Elle Fanning as the titular character in Haifaa Al-Mansoor’s Mary Shelley.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552590996698-ORNYGNYRUD8977AQN0Z0/PHOTO_7.png</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591498629-4ZSQJA8P3PP4IEFJBXRA/PHOTO_13.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Meet me at Montauk: Clementine (Kate Winslet) and Joel (Jim Carrey) find themselves lost in a sea of memories in Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552590783464-X8FWPWNOHP57ODL5YD6J/PHOTO_6.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Arash (Arash Marandi) &amp; The Girl (Sheila Vand) in A Girl Walks Home Alone at Night (2014).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591312071-FBKICYJG8AH25IGY17UK/PHOTO_9.png</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Submissive secretary Lee (Maggie Gyllenhaal) and her boss/Dom/lover Mr. Grey (James Spader) in Steven Shainberg’s Secretary (2002).</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591341095-TW5H8UIAO00HWJBW2XMM/PHOTO_10.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591057270-CR8A9EJSUX3J8J8OVYNA/PHOTO_8.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>Theodore Twombly (Joaquin Phoenix) and his A.I. companion, Samantha (Scarlett Johansson) in Her (2013).</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552596363894-LX9VF8I3YGCD6EKRW79Y/Louis-Claudia-Interview-Vampire.JPG</image:loc>
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      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591733584-CE35C3DPFXQOMFN2GDNQ/Her.Joaquin.Phoenix.on_.a.date_.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552588939915-MAVO2PDZ9RN15EVMWBX1/PHOTO_1.png</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
      <image:caption>The Girl (Sheila Vand), out for a night stroll in Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591464052-JLDMAOJIFVS15I9834CZ/PHOTO_12.png</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552591539588-C9PADR1R76J79O6LXERN/PHOTO_14.jpg</image:loc>
      <image:title>Irrevocably Alone: The Cinematic Expression of the Human Need for Connection</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/ff2obsession</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-04-19</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552634954174-LFUWFZDFWM09A37TDEXT/De1LgjjUwAAzTpZ.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Obsessive Voyeurism, Passivity And Sexual Transgression In Cronenberg’s CRASH</image:title>
      <image:caption>by Joe Lipsett “Almost immediately following the crash, Ballard is subsumed by his exploration of symphorophilia, or the sexual arousal of staging or watching tragedy. It begins when Catherine slowly and methodically masturbates him while relaying the incredibly specific details of his fatal crash as he recovers in the hospital. Ballard also allows Vaughan (Elias Koteas) to carefully inspect his body at the hospital and the way the two men look at each other’s scar tissue is erotically charged. Later, Ballard observes a re-enactment of the famous car wreck that killed James Dean and, at one point, he even spends an afternoon watching slow motion crash test dummy footage.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552635134022-ZL2TFQ4XVSANGFWDQBJI/Velvet-Goldmine-0037.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Everyone’s Obsessed With Brian Slade In Velvet Goldmine</image:title>
      <image:caption>by Danielle Ryan “The ever-changing Slade shifts his obsessions as regularly as he does his colorful costumes. His infatuation with Mandy fades, and he becomes obsessed instead with Wild. He’s never truly in love with them, however, as much as he is in love with the idea of them. He basks in their adoration and soaks up their attention because it comforts him. As vain and narcissistic as Slade may be, he’s also incredibly insecure in his love for himself. Surrounding himself with people who are likewise enchanted with his persona allows him to indulge his more selfish whims. He takes what he needs from his lovers…”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552636818882-VPDZXEEHFEQBLI7LP4FC/Rebecca-2.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - FROM THE ARCHIVES: Hitchcock's Rebecca &amp; Marnie</image:title>
      <image:caption>by Danica Uskert “You don’t love me. I’m just something you’ve caught. You think I’m some kind of animal you’ve trapped.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552637098058-QCJZP7F71FM2WFO8TYR9/tarn.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
      <image:caption>by Danica Uskert “In a painfully ironic twist, Renee states what Cauoette implies during the entirety of the film, but has yet to verbalize himself: ‘Sick parents raise sick children.’”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552639681224-EKT69X9CGC8RSG8XTWUZ/c20.png</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Blind Beasts And Red Angels: Erotic Obsessions In The New Wave Gothic Films Of Yasuzo Masumura</image:title>
      <image:caption>by Christianne Benedict “Eventually, the pair require more and more extreme sensations to get them off, and biting each other and drinking each other’s blood only lasts for a while before they move on to more overt S&amp;M practices. Eventually, Aki decides that her death would be the ultimate ecstasy, and implores Michio to amputate her arms and legs. All of this takes place in a studio filled with two mammoth sculptures of women without heads, feet, or hands, and overseen by Michio’s disembodied eyes and noses and arms and legs and breasts.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552640309207-WIRDYL088MBO40CAIPL0/amer.png</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Abjection &amp; the Monstrous Feminine in Amer and Possession</image:title>
      <image:caption>by J. Simpson “Under the old dialectic, under the umbrella of patriarchy, women are always The Other. They are ineffable, unknowable. As symbols and gatekeepers of the natural, earthy world, they are a reminder of humanity's mortality, the quick rush to the grave in our mayfly lives. Women, as representatives of the chthonic, remind us of our abjection, of our ultimate materiality, the mystery of what lies outside our imaginary egos, the frailty of our autonomy, the composite nature of our personalities, and the power of nature.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552634071953-H765B58JCVYJ0YKLSGZH/Sato+Piece+PICTURE+3.png</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - LOVE - ZERO: Sex, Sadism, And Obsession In Hisayasu Satô's Gay Films</image:title>
      <image:caption>by Perry Ruhland “In Muscle and Hunters’ Sense of Touch, the protagonist’s quests are driven less from ‘love’ and more from fetishization, chasing the high of their ex-partner’s touch, the thrills of their sex, the way they could hurt the protagonists’ bodies in the best ways. In Muscle, the longing is literalized by Kitami’s severed arm, perfectly preserved on his nightstand as Ryuzaki’s masturbation aid, a (literal) fetish kept to spark fantasies of his old lover brutalizing him in a blue-tinted dreamworld.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552634346274-S2W46NC7522KAVAZ75NB/MachoMan.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Ask Any Buddy: Bringing Adult Film &amp; History To Instagram And Beyond</image:title>
      <image:caption>by Juan Barquin (with Evan Purchell) “Porn itself has a fascinating history, a never-ending collection of styles and content that often mirrors the way any other genre of cinema evolves. ‘I’m interested in the progression of the genre over time, so that includes everything from experimental and physique films through to Pat Rocco and his softcore shorts, and onto hardcore and beyond,’ he elaborates. ‘With my research, I try to explore the ways that filmmakers both pushed the boundaries of censorship and taste, and adapted and changed with the times. Some of those filmmakers, like Tom DeSimone, successfully made the transition from softcore into hard— even eventually moving into mainstream features.’”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552633134524-AIH6DS0ENFJHPM9TWUPH/perfect-blue-03.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Blue As In Sexy, Blue As In Sad: On Satoshi Kon’s Perfect Blue</image:title>
      <image:caption>by Philippa Snow “The idea that pretty, poppy famous women crucified for being ‘filthy’ are not popular is, like the doubled Mima, simultaneously two things at once: true, and a lie. It would be better to say that they are liked in a different way, one that is crueller, camper, or more violent than the love that they receive when they are pristine, clean as air. Mima’s fans, all male, read Mima’s Room religiously, finding it easier to believe that she would write things like: ‘I don't want to do that drama anymore! The producer is a total pervert, and my role is really screwed up!’ or ‘Everyone is forcing me to do it! It's all the screenwriter's fault!’ than to believe that Mima might have wanted to act in a rape scene, or to be photographed naked for a soft-core magazine.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552639556284-2O30VDRK1W87MGYYIXS1/fan2.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - DER FAN - A Chronicle Of Erotomania</image:title>
      <image:caption>by Zack Long “Simone has already told us that her and R will be a part of each other – she’s not wrong. Using an electric knife, she cuts R into pieces to be stored in the freezer until she is able to cook and consume all of him, going so far as to grind his bones into powder.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552639430699-BRY5IV2L0JPDIYNHR2QH/PHOTO_10.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Irrevocably Alone: The Cinematic Expression Of The Human Need For Connection</image:title>
      <image:caption>by Ellie Emmeline Miles “[...] the need for human connection quickly becomes the obsession we don’t know we have. But it is not like other obsessions. It arises not from bad habits, not from addictions, fixations, or exposure to external stimuli. It arises from deep within us like the beating of a heart. It arises because we are alive.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552633514360-YNHATKUAEUNIL6C3S4MD/knife-and-heart-movie-six.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Playing the Whore: A View from the Bottom--The Fluffer &amp; Knife + Heart as Cinema of Obsession &amp; Domination/ submission</image:title>
      <image:caption>by Kyle Turner “The deliciously nasty and cruel suggestion in Knife + Heart is (jokingly) that we are, in some ways, complicit in our own exploitation, that to be exploited is the greatest form of pleasure. Even with shitty rates, the porn stars of Anne’s film work with her, killer on the loose notwithstanding. To experience the consequences of exploitation, as either victim or perpetrator, is euphoric, transcendent. To be exploited is to submit is to cum.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1553059451991-D7CZJAUU7T6QDQBGQZAH/Screen+Shot+2019-03-19+at+10.13.20+PM.png</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - WE STAN!: Orgasm Addict (a comic book mixtape)</image:title>
      <image:caption>Danica says: “@heyAnnieMok is so damn talented at depicting sexual longing, desire, the need to connect &amp; the fumbling, desperate way we go about it in this post-digital age. I strongly urge everyone to buy a copy. (&amp; not just because I'm in this as a character named Amor!)” click here for more</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552636451100-5NQOATYKVB0I9IL6L5DK/threesome2.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - 1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome At 25</image:title>
      <image:caption>by Stone Gasman “However, Alex is taken in more by Eddy's more intellectual ambitions, especially when he succinctly condemns her current play: ‘I just don't understand why anyone would want to do a lesbian version of Oedipus Rex?!’ This triggers Alex's dormant sexual desires, so hungry to the point where she manages to get him in her room and on her floor practically unzipping his fly with her teeth; Eddy is uncomfortable about the encounter and swiftly bails, much to Alex's consternation. It's only in the very next scene do we discover that Eddy may be gay and lusting after Stewart; Eddy even finds himself aroused at Stewart going on about his penis and what he do with it had he been in the same situation.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552636746295-0TXJRA7N8X0CDJUJ4RVY/blue-velvet.jpg</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - Do You Want To Do Bad Things?: BLUE VELVET And The Necessary Terrors Of Self-Discovery</image:title>
      <image:caption>by Drew Dietsch “This fixation eventually crosses over into an outright sexual dynamic between Jeffrey and Dorothy, and it is where Jeffrey realizes that his compulsion to watch has led him to a point where he is made to act. During their first encounter when Dorothy discovers Jeffrey in her closet, she performs oral sex on him while threatening with a knife. This power play continues the danger that Jeffrey associated with his voyeurism, but he is now rewarded with sexual gratification. When they meet again, Dorothy reveals her masochistic side and demands that Jeffrey hit her. When he finally concedes, he has crossed over into the darkness that he only watched from a safe enough distance.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552633839491-WMRFJ2JU4HSKF83GLLZA/noe4.gif</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - You Won't Escape From Your Unconscious: Desire, Drugs, Violence, Fear And Obsession In Gaspar Noé's ENTER THE VOID, LOVE, &amp; CLIMAX</image:title>
      <image:caption>by Sara Marrone “What we have to highlight in Gaspar Noé's work is the focus on sexuality in a very original and personal way. He may be narcissistic, but he's never trivial, and he did something nobody ever did before: representing explicit, real sex with real feelings at the core of it – be they positive or negative, violent or sick, tender or perverse. Gaspar Noé talks about the human experience without judging it, without separating the good from evil. He's just free.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552635247793-FOZFN6MHQPQL3NI0I2KP/Possession3-1509553304-726x388.png</image:loc>
      <image:title>F&amp;F Vol. 2 - OBSESSION - MAR 2019 - The Opposing Genres Of Possession</image:title>
      <image:caption>by Vincent Bec “When Mark attempts to force Anna to give up her affair, she threatens to jump out of a window. He remarks, ‘You need it that much?’ Her obsession with the physical naturally creates a physical manifestation--a monster created from a woman’s sexual desire. Through this monster she creates her doppelganger of Mark. She must give her body sexually to create this doppelganger, while Mark’s doppelganger of her manifests cleanly. There is a direct connection drawn between a woman overcome with sexual desire and monstrosity. During a fight with Mark she screams, ‘I’m a whore, a monster, yes, I fuck around with everyone!’”</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/ask-any-buddy-bringing-adult-film-history-to-instagram-and-beyond</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552598993834-4NRL0HRXVGDJMA79CC26/MachoMan.jpg</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552599031157-NEJI4XA7Q9CHGWGDFWOF/BorntoRaiseHell.jpg</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552598830177-G9EST2KYPXGC99KMHMQC/LAPlaysItself.jpg</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552598579861-SQHS7790VMZVEMNYG3HI/JuanPhoto.png</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond - Bio:</image:title>
      <image:caption>Juan Barquin is a writer from Miami who programs the queer film series Flaming Classics (@flamingclassics) and serves as co-editor of Dim the House Lights (@dthlofficial). He aspires to be Bridget Jones. Twitter: @woahitsjuanito flamingclassics.com dimthehouselights.com</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552598891567-KBQ2KLXWKAZ9JD2BAJDA/MaeWest.jpg</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552598917534-PK1R0AU5PVD3OHPH3EFN/Falconhead.jpg</image:loc>
      <image:title>Ask Any Buddy: Bringing Adult Film &amp; History to Instagram and Beyond</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/ff-vol-3-martyrs-apr-2019</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-02-08</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555190708532-SC87A4908WEMB8C6UKAY/daisiesmain.png</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - The Spoiled &amp; The Subversive In DAISIES</image:title>
      <image:caption>by Vincent Bec “Under a layer of giggles and cake, the Maries’ thoughts are burdened with existentialism. They are determined to live a spoiled life through pranks, theift, and promiscuity. However, their playful antics and wasteful lifestyle lead to a lack of identity and eventually their own demise. Despite the film’s own condemnation of the Maries they have become anti-heroes […] Their flaws may be numerous and pronounced, but in the context of a patriarchal society their actions stand for more than their own selfishness.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555016688091-U3BP4K80A99UALH1WDOY/The-Piano-Teacher-4.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - ‘Love Is Built On Banal Things’: Sex And Sacrifice In THE PIANO TEACHER</image:title>
      <image:caption>by Olivia Smith “One line from the book that didn’t translate to the screenplay can sum up Erika’s confession to Walter: ‘the first thing a proprietor learns, and painfully at that, is: trust is fine, but control is better.’ Erika trusts Walter with her desire, cedes her control, and ultimately loses both.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555027525918-L674MLPDU013PAUW4JRG/Our+Love+Will+Turn+This+Whole+Fucking+World+to+Rust+Header.png</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Our Love Will Turn This Whole Fucking World To Rust</image:title>
      <image:caption>by Perry Ruhland “Both men, bodies broken and bloody, begin to merge. Metal wires from The Salaryman’s body bind The Guy’s limbs as The Salaryman begins to absorb him. Still, in one last desperate attempt, The Guy’s neck and head elongate into a metallic, semen-shaped beast, bursting from The Salaryman’s torso before circling back and smashing head-first into The Salaryman’s head. Metal consumes them both, and in a burst of light, they become one.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555045226528-JM3JC5SDBEP8GCECHVU5/super3.png</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Close To You:Queer Men, Identification &amp; The Spectacle Of Female Suffering In Todd Haynes' SUPERSTAR</image:title>
      <image:caption>by Juan Barquin “Karen never intended to die because of her illness, or at least I can’t imagine she did. Just as Todd Haynes has imagined a version of Karen, based on the reality of what he read and saw of this fascinating woman, I myself imagine a version of Karen. I see myself in that Karen, that girl who was so terrified of being called fat, of being considered unattractive, of not being able to maintain a certain image, of carrying standards for myself that nobody else actually expected me to carry.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555110301736-R0827EGXZ37RKU7WED8E/milk2.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - We're Still Living In THE TIMES OF HARVEY MILK</image:title>
      <image:caption>by Drew Dietsch “Milk obtained the office of City Supervisor, making him the first openly gay elected official in the history of the state of California and the most pro-LGBT politician in the entirety of the United States. Shortly after his swearing-in, Milk began his crusade to enrich the lives of gay citizens by breaking down barriers that were in place throughout society.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555106499239-5XMU5WI2Q8M4PGU6V4WK/zoe1.png</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - The Passion of Zoë Tamerlis Lund</image:title>
      <image:caption>by Christianne Benedict “A woman recently raped is told she has been penetrated to her very core […] Her very being, violated. Her soul defiled. This makes her a victim--and truly a sex object. For it says that her soul, her very essence, is in her cunt […] My soul is not in my cunt unless I put it there. While I was being raped, my soul was elsewhere. That man got nowhere near me. He was stuck in a hole. I was far away.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555099630906-QM24426FB7KO8M1JVLMU/jd3.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - James Dean: Bisexual Martyr</image:title>
      <image:caption>by Caden Mark Gardner “His Giant co-star Elizabeth Taylor said he was gay. His friend Martin Landau said he was not. His Rebel Without A Cause director Nicholas Ray said he was gay. His acting peer Liz Sheridan wrote a whole book on their supposed romance, while also throwing in the caveat he was having an affair with a man. He had been linked to actresses Pier Angeli and Ursula Andress […] Dean is claimed by all, tugged back and forth between two sexuality binaries while perhaps, more accurately, belonging somewhere in the middle.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555309736320-YDA7UWLDGJGAY0RHLYK5/lasttemptation.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Rock Me, Sexy Jesus: The Simmering Cinematic Sexuality Of Christ</image:title>
      <image:caption>by Danielle Ryan “Hollywood has a long history of sexualizing everything, and the Son of God is no exception. Besides making him as conventionally attractive as possible, movies have also fetishized Christ. Some films explore the possibility of him having a sexual side, while others fixate on his purity.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555019349403-OVOC5ZBGUPBJD9RPX60J/partingglances.jpeg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - God's Got Me Pissed: Positive Love In Bill Sherwood's PARTING GLANCES</image:title>
      <image:caption>by Annie Mok “Nick jabs at Douglas’s figure, saying, ‘Looking trim,’ only for Douglas to twist the knife in Nick’s direction by saying, ‘You too.’ Nick, suffering from AIDS, becomes literally untouchable to many prejudiced others. The cruel irony is that Nick lacks the time to let others get comfortable with his illness.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555307381224-6QR0XNQD4VFOQ10NWJNN/tara.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - The "Bury Your Gays" Trope: An Incomplete History</image:title>
      <image:caption>by Alice Collins “You watch something enough times and with enough repetition your brain is going to start to unconsciously take in the little things it sees […] Which leads us to a toxic culture where people see queer relationships as intrinsically doomed.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555185108209-JRLJKTHVEL30VRYV3P6U/lizasally.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Playing The Whore: “You've Every Cause To Doubt Me” -- Bob Fosse's Martyrs</image:title>
      <image:caption>by Kyle Turner “The tragedy of Liza Minelli’s Sally Bowles is not the same tragedy as the Sally Bowles of John Van Druten’s play I Am a Camera or Christopher Isherwood’s book Goodbye to Berlin, on which all other things are based, or even other versions of Cabaret. In all other versions of Isherwood’s story, Sally is a mediocre talent, delusional. In Fosse’s Cabaret, his Sally is a knowing firecracker, exploding with voice, crackling with kicks, and radiating with beauty. Can she see the Browncoats lining up outside? Does she care? That’ll always be the central question of every version of Cabaret -- to what degree is Sally ignorant or just deliberately evasive of the rise of Fascism? -- but that Liza’s Sally really could be a movie star makes her sad and desperate in another way. “</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555319421205-FN2UQL2GW2WNO84ZUDYF/call_her_ganda_mike_simpson1_copy-h_2018.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Dying Without Justice: Gender Martyrs In Contemporary "Based-On-A-True-Story" Cinema</image:title>
      <image:caption>by Sara Marrone “Gwen, Brandon, and Ganda chose not to conform to an external heteronormative rule, but to listen to an internal call. […] Trans people's right to safety should not depend on cis people's ability to understand their gender.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555323270236-88TVMCGVKPWV18N58771/wickerman.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - “And The Apple Tree Languisheth”: The Sensual Martyrdom Of Neil Howie In THE WICKER MAN</image:title>
      <image:caption>by Peg Aloi “But, as he faces his untimely demise, it’s clear that something has shifted in Neil Howie. There is fear and dread, but also a heightened awareness, perhaps catalyzed by all of the sensual acts he has witnessed on Summerisle. At the hour of his death, his desperate cries are full of heat and emotion, and his sense of decorum is shattered. Lord Summerisle mentions that, because of Howie's religious devotion and beliefs, he will receive ‘a rare gift these days: a martyr's death.’”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555281525335-PV3DZMGWH4IPSH38DD6M/boyerased.jpeg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Shame On You And Shame On Me Too: Gay Conversion And The Martyrdom Of Self</image:title>
      <image:caption>by Becky Belzile “The now commonly known process of ‘gay conversion’ starts early in religious circles, even before admission to the now properly demonized official programs, and anyone living a closeted lifestyle is pushed further into the quiet, lonely darkness very quickly. Even this pre-experience experience tells these individuals (who, at that time, are, like I was, closeted even to their own selves) that they will never be able to be themselves, and that in order to survive, they must ‘kill’ a part of their identity, a part whose necessity and significance they have not even been permitted to measure.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555316553568-97O7JQ6JPIADF1DN28U2/v10.png</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - The Martyrdom Of The Lisbon Sisters In Sofia Coppola's THE VIRGIN SUICIDES</image:title>
      <image:caption>by J Simpson “Lux greets the boys, smoking a cigarette, telling them to wait for the other sisters while she goes to start the car. Turns out The Lisbon Sisters had a different kind of escape in mind. The boys begin to explore the house, only to discover Bonnie hanging from the rafters. The girls had decided to find the freedom in death they had been denied in their short, tragic lives.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1555136215538-A9TFZ5LMAJSXK8RMT7VZ/sal3.jpg</image:loc>
      <image:title>F&amp;F Vol. 3 - MARTYRS - APR 2019 - Sal Mineo: Martyr No More</image:title>
      <image:caption>by Witney Seibold “Many have said that Mineo's known sexuality was responsible for his inability to find work after the 1950s. He auditioned for many high-profile feature films but was often turned down. Mineo, in the Hadleigh interview, blamed not his sexuality, but his Italian teen idol good looks for his career decline. Mineo had a vulnerable, boyish face, even into his 30s. He looked kissable and innocent. Mineo felt that he was not pilloried because of his bisexuality, but because directors didn't want to hire actors with teen idol good looks to play adult characters.”</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/1-girl-2-guys-3-possibilities-andrew-flemings-threesome-at-25</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-03-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627961152-0QZO3P726YQGV2XONRUB/threesome5.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627779070-NGP9RCLYU8W6K0CKS2G0/threesome4.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627643591-0OP0QBY8IG4GHAQDJ7QK/threesome.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552628057165-ZDPX48RI2U2HNT7I3PN2/craft.gif</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
      <image:caption>Teen witches Bonnie (Neve Campbell), Nancy (Fairuza Balk), Robin (Sarah) and Rochelle (Rachael True) in The Craft (1996).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627988929-LOI06Y1GGNR57TYICK9G/threesome6.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627893023-DTXHC6Q2LDX19TF3IGZ3/threesome3.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627932546-0TVOIATGIZX1E4KI18NL/julesandjim.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
      <image:caption>François Truffaut’s iconic love triangle: Jules (Oscar Werner), Jim (Henri Serre), and Catherine (Jeanne Moreau) in Jules et Jim (1962).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627586266-DTPDB9V2EOWXJFDT64HW/threesome2.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
      <image:caption>Stuart (Stephen Baldwin), Alex (Lara Flynn Boyle), and Eddy (Josh Charles) get cozy in Threesome.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552627834669-41WEO8VA5GKV86NJW3L4/threeesome6.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552628100748-XIU7BC240O4Y9LRJI0PL/Ideal-Home-Movie-735x400.jpg</image:loc>
      <image:title>1 Girl, 2 Guys, 3 Possibilities: Andrew Fleming's Threesome at 25</image:title>
      <image:caption>Power couple celebrity chef Erasmus (Steve Coogan) and his TV producer lover Paul (Paul Rudd) in Ideal Home (2018).</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/abjection-the-monstrous-feminine-in-amer-and-possesion</loc>
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    <lastmod>2019-03-15</lastmod>
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      <image:title>Abjection &amp; the Monstrous Feminine in AMER &amp; POSSESSION</image:title>
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      <image:title>Abjection &amp; the Monstrous Feminine in AMER &amp; POSSESSION</image:title>
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      <image:title>Abjection &amp; the Monstrous Feminine in AMER &amp; POSSESSION</image:title>
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      <image:title>Abjection &amp; the Monstrous Feminine in AMER &amp; POSSESSION</image:title>
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  </url>
  <url>
    <loc>http://filmandfishnet.com/you-wont-escape-from-your-unconscious</loc>
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      <image:title>You won't escape from your unconscious</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552544773580-7OAYKTCAPUUPZMD5E3LD/love4.jpg</image:loc>
      <image:title>You won't escape from your unconscious</image:title>
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    <loc>http://filmandfishnet.com/blind-beasts-and-red-angels-erotic-obsessions-in-the-new-wave-gothic-films-of-yasuzo-masumura</loc>
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    <lastmod>2019-03-15</lastmod>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
      <image:caption>Nami/Matsu the Scorpion (Meiko Kaji) flashes a defiant grin in Shunya Ito’s Female Prisoner #701: Scorpion (女囚701号/さそり Joshū Nana-maru-ichi Gō / Sasori).</image:caption>
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    <image:image>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
      <image:caption>Blindness in Toshio Matsumoto’s Funeral Parade of Roses (1969).</image:caption>
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    <image:image>
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      <image:title>Blind Beasts and Red Angels: Erotic Obsessions in the New Wave Gothic Films of Yasuzo Masumura</image:title>
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  </url>
  <url>
    <loc>http://filmandfishnet.com/everyones-obsessed-with-brian-slade-in-velvet-goldmine</loc>
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    <lastmod>2019-06-06</lastmod>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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    <image:image>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
      <image:caption>Painting by the author, Danielle Ryan (@danirat).</image:caption>
    </image:image>
    <image:image>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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    <image:image>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552630148724-PW7LUAW1BBSH2N6IFPZ6/Velvet-Goldmine-0556.jpg</image:loc>
      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
      <image:caption>Young Oscar Wilde (Luke Morgan Oliver).</image:caption>
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    <image:image>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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      <image:caption>Arthur Stuart (Christian Bale) heavily immersed in research.</image:caption>
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    <image:image>
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      <image:title>Everyone’s Obsessed with Brian Slade in VELVET GOLDMINE</image:title>
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    <loc>http://filmandfishnet.com/tarnation</loc>
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    <lastmod>2019-03-15</lastmod>
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      <image:title>FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
    </image:image>
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      <image:title>FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
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      <image:title>FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
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      <image:title>FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
      <image:caption>Renee &amp; Jonathan Caouette in a still from Tarnation (2003).</image:caption>
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    <image:image>
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      <image:title>FROM THE ARCHIVES: Jonathan Caouette's Tarnation</image:title>
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  <url>
    <loc>http://filmandfishnet.com/obsessive-voyeurism-passivity-and-sexual-transgression-in-cronenbergs-crash</loc>
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    <lastmod>2019-03-15</lastmod>
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      <image:title>Obsessive Voyeurism, Passivity and Sexual Transgression in Cronenberg’s CRASH</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552263679024-70YJJNFXNL6VJJVOLU1X/crash01.png</image:loc>
      <image:title>Obsessive Voyeurism, Passivity and Sexual Transgression in Cronenberg’s CRASH</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552263711758-RPZJFS6VAKNQ2EADQYNV/crash1996_3.jpg</image:loc>
      <image:title>Obsessive Voyeurism, Passivity and Sexual Transgression in Cronenberg’s CRASH</image:title>
      <image:caption>Gabrielle (Rosanna Arquette), Helen (Holly Hunter) and James (James Spader) give each other a helping hand in a group masturbation scene from Cronenberg’s Crash (1996).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1552264189294-WU6OE3MF4FSSXYYEQPQ4/crash-1996-01-g.png</image:loc>
      <image:title>Obsessive Voyeurism, Passivity and Sexual Transgression in Cronenberg’s CRASH</image:title>
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      <image:title>God's Got Me Pissed: Positive Love in Bill Sherwood's PARTING GLANCES - Bio:</image:title>
      <image:caption>Annie Mok is an author-illustrator and musician (Annie Mok &amp; the Knight Dreams, formerly in See-Through Girls). Annie is a queer trans woman who is white/mixed (Irish/Chinese/Colombian/etc). She deals with Bipolar II and complex-PTSD in her life and work. Annie, New Jersey-raised, graduated from the Minneapolis College of Art and Design with a BFA in Comic Art in 2009. She then spent a stint in Chicago, making mistakes that led to her 2015 Ley Lines #1 comic book, Unholy Shapes. She received a 2014 Leeway Foundation Transformation Award. In 2015 she co-starred in Carman Spoto's feature film Phaesporia. Annie tweets @heyAnnieMok. She lives in occupied Delaware/Lenape land AKA Philadelphia. Contact Annie: heyanniemok@gmail.com Contact Annie's agent, Adrienne Rosado, for business inquiries. Annie's client list includes Rookie Mag, Autostraddle, Image Comics, Boom! Studios, DC/Vertigo,The Comics Journal, ZEAL, Penguin/Random House Canada, Seven Stories Press, Sui Generis Health, St. Stephen's Human Services / Homeless Against Homelessness, and the Red Umbrella Project.</image:caption>
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      <image:title>God's Got Me Pissed: Positive Love in Bill Sherwood's PARTING GLANCES</image:title>
      <image:caption>The cast of Christopher Ashley’s Jeffrey (1995).</image:caption>
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      <image:title>God's Got Me Pissed: Positive Love in Bill Sherwood's PARTING GLANCES</image:title>
      <image:caption>Illustration by Annie Mok.</image:caption>
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      <image:title>God's Got Me Pissed: Positive Love in Bill Sherwood's PARTING GLANCES</image:title>
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  <url>
    <loc>http://filmandfishnet.com/annabelandgrace</loc>
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    <lastmod>2019-05-14</lastmod>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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      <image:title>Annabel Chong and Grace Quek: Fame, Infamy, and the Two Sides of Porn</image:title>
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  <url>
    <loc>http://filmandfishnet.com/shameonyou</loc>
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    <lastmod>2019-04-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1554842440686-YLMI62L87GGWAGJVF4LI/bex2.jpg</image:loc>
      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self - Bio:</image:title>
      <image:caption>Becky Belzile is a freelance writer from Canada with special interest in horror, foreign, and indie films. You can find her on Twitter @bexbz and read more of her work at beckybelzile.wordpress.com/.</image:caption>
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      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self</image:title>
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      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self</image:title>
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      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self</image:title>
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      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self</image:title>
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      <image:title>Shame on You and Shame on Me Too: Gay Conversion and the Martyrdom of Self</image:title>
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  </url>
  <url>
    <loc>http://filmandfishnet.com/ff-vol-4-fame</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-06-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1558729825111-MBBHJC0P9C9CB8YFAQVP/2.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Support F&amp;F’s upcoming feature film RAW NERVES:</image:title>
      <image:caption>Last summer, husband &amp; wife filmmaking team Caleb Quinn &amp; Danica Anna Uskert-Quinn made a feature beset by PROBLEMS—a heart attack and hospitalization due to heart failure, issues with sound equipment, trouble securing locations, actors getting lost en route to set, etc. The film was eventually completed, but the couple needs financial help acquiring an audio engineer to finish post-production. Please consider contributing to their indiegogo campaign: https://igg.me/at/rawnerves/</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557637177179-31EN5SN60DME2836JFFO/Baps-Reboot-Halle-Berry-Social-Media.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - On BAPS, Black Femme Entrepreneurship &amp; Hypersexuality</image:title>
      <image:caption>by M. Katrina Roberts “If you think about any movie featuring a black woman, she’s either a vixen, or a matron, or a cross in-between. Rarely do we get a depiction of a young black woman who has her own vision outside the needs of the men in her life. It is rare to find a film where a black woman is just allowed to be. She is not managed or made palatable; crushed by socioeconomics. In B*A*P*S, Townsend allows his female leads to thrive and succeed beyond their wildest dreams, and in doing so, allows young black women to escape reality in way few other movies can provide.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1558339825616-8SCD6PX1EDAX5IMTCH0S/IMG_1971.JPG</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - SPECIAL THANKS TO THIS MONTH’S DONORS:</image:title>
      <image:caption>Peg Aloi (@themediawitch) Andrea Atwater Juan Barquin (@whoaitsjuanito) Carey Clemmer/“Penny De Luxe” (@PennyDDreadful) Stephanie Crawford (@scrawfish) James Pleavin-Evans (@Vanjpes) Soham Gadre (@SohamGadre) Caden M. Gardner Claire C. Holland (@ClaireCWrites) Galen Howard (@GalenHoward) Martin Kessler (@moviekessler) Jeremy Kurtz M.Marlowe (@MaitresseM) Annie Mok (@heyAnnieMok) Zack Neuman (@zackneuman) Thayer Prime (@Thayer) Caleb Quinn (@thecalebquinn) Clint Tauscher (@ClintTauscher) J Simpson (@for3stpunk) SUPPORT US: PATREON PAYPAL BUY A T-SHIRT</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557636352174-H387WISHHYVCNJHT2T8F/primary_star80.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - STAR 80, LOVELACE &amp; Men Who Use Women's Bodies For Fame</image:title>
      <image:caption>by Becky Belzile “The evil in these stories does not come from the fact that these women celebrated their bodies by putting them on display. While there are insidious aspects of the pornography industry, women who actively choose to showcase themselves for the pleasure of others are not wrong, corrupted, or evil. But when they are used as pawns by the men who are supposed to love them, when women’s bodies are used as a canvas for men’s dreams, who they are is smothered and devalued by cheap and dishonest intention.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557635651433-E7LZ1XF6YWS6AWV1RFZX/image-asset.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Give The People What They Want Even If It Kills You</image:title>
      <image:caption>by Danica Anna Uskert-Quinn “There are things I know about Los Angeles. It’s for the young and beautiful. It’s for the rich. And if you’re in the business, best of luck to you, because chances are, your 15 minutes of fame are almost up.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557637051482-0GTK997FD1E08GNYZRET/fv_shotandywarhol_3_cmyk300_1920x847.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Valerie Solanas Wants to Be Seen in I SHOT ANDY WARHOL</image:title>
      <image:caption>by Vincent Bec “Valerie’s quest for fame is a seeking of validation. If her ideas are spread and accepted, her identity can be too. However, her attempted journey to fame is put entirely into the hands of men. Girodias is her only hope at spreading her words through a published book. Warhol is her only hope at spreading her play. When she goes on television to spread her word she is set up with the show by Danny. The show’s host is also a man. Men have taken things from Valerie her whole life from her father’s molestation to the johns who sleep with her. Warhol, Girodias, and the talk show host are no different, they use her for their own entertainment and an increase in their own notoriety.”</image:caption>
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      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - SHOCK TREATMENT: Packaging Mental Health With Fame</image:title>
      <image:caption>by Alice Collins “Brad (Cliff De Young) and Janet (Jessica Harper) have changed significantly since we last saw them. In The Rocky Horror Picture Show, they were newly engaged and in the honeymoon portion of their relationship; now it’s been a few years, they’ve settled into their new life and things are becoming too routine for both of them. After being plucked out of the audience to appear on a show called Marriage Maze, Janet is manipulated by Burt Schnick (Barry Humphries), the supposedly blind TV host, into having Brad committed into the care of those at Dentonvale (a hospital-based soap opera similar to General Hospital) to fix his boringness, and ‘infantile regression.’”</image:caption>
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      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Annabel Chong And Grace Quek: Fame, Infamy, And The Two Sides Of Porn</image:title>
      <image:caption>by Witney Seibold “Porn was a two-edged sword for Quek. On the one hand, it afforded her an outlet for her overwhelming libido (she is very frank about her partners, male and female, and the sex acts she prefers), and presented an opportunity for her to explore female sexuality in an artistic way. She often felt that, by getting involved in “stunt” porn, that she was engaging in a sophisticated form of performance art. […] On the other hand, the porn industry, dominated largely by straight men, sought to repress – or at least ignore – her humanity. In a telling moment in Sex: The Annabel Chong Story, Ron Jeremy reads one of Quek's essays and expresses astonishment that she could have been so eloquent, given that she has been notoriously awkward in conversation. To these men, Quek was never anything more than Annabel Chong, the porn star.”</image:caption>
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      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - You’ve Got Low Self Esteem, Baby. You’re A Fantastic Fuck: SHOWGIRLS, The Definitive A Star Is Born</image:title>
      <image:caption>by Caleb Quinn “For Showgirls in particular, fame has another, much higher purpose: to broadcast to the entire world that the people who hurt you did not stop you from becoming the strongest version of yourself. At the end of the film, Nomi tells us what she has won on her journey, and the answer is herself.”</image:caption>
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      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - The Face of the Gorgon: Fame and The Monstrous Feminine</image:title>
      <image:caption>by Christianne Benedict “How many successful women have been accused of sleeping their way to the top rather than getting there on their own talent? Too many to count. The psycho-biddy is a male reaction to the fact that women age just like men do, and that the window of hotness is short. Fuckability, after all, is the prime metric of women in the public eye to the patriarchy, and once that’s gone, what’s even the point of women anyway? This, after Hollywood went out of its way to make its most glamorous stars into gorgons as they aged. The system is rigged.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557635899199-2C8LYMLPX4T0E2GTR3AM/antiporno.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Fuck Me, I’m Famous: A Nikkatsu Roman Porno Reboot Review</image:title>
      <image:caption>by Jaime Grijalba “…what was more important: the mundane nature of the characters, the relations and the portrayal of that sexuality in a society that was still too conservative regarding its relation to women and sex. The characters were, in most of the cases, normal, average Japanese people, living through their life, and having sex, because it was the normal thing to do. It was essentially a portrait of the private life of the Japanese. […] In this modern society, one can’t have too much sex if you’re just an ordinary person, the only way to justify it is by having them be extraordinary, and in this particular case, they have to be extraordinary artists…”</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1559346359098-HEQSP2R3QY5AB8MU83BP/Screen+Shot+2019-05-30+at+9.07.09+PM.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Dying For Fame: Social Media, Vacuity, and Ingrid Goes West</image:title>
      <image:caption>by J. Simpson “And yet, what of life between Instagram posts? What are us small, inconsequential humans supposed to do, in those in-between moments when our guides forsake us? What are we to do with all the silence, the ordinary life that no filter can make pop, no hashtag can make #empowering?”</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557102308265-VZYDWOKYEYLA54SGS8VF/Screen+Shot+2019-05-04+at+10.01.55+PM.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - ANTIPORNO: The Ghosts of Fame &amp; Shame</image:title>
      <image:caption>by Zack Long “In 2016, the Japanese film studio Nikkatsu reached out to five directors to each make a film to fall under the Roman Porno label that had been active from 1971 until 1988. […] Director Sion Sono uses his entry in the revival, Antiporno (2016), to shed a light on the sexual politics being exploited by the industry and how the ghosts of fame and shame live on within and through film.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557636849425-SWLV3HZI0IB8E4140POC/female_trouble_1280_1.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - As Long As You’re Known For Something: Outlaw Fame &amp; Friendly Infamy With John Waters</image:title>
      <image:caption>by Stephanie Crawford “That said, if you’re not famous or infamous, then you damn well better be interesting. Wherever you are, there you are, sure, but with bells on if you have any respect for pageantry.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557786222178-YTAT36XYYMQDZE0OXDYB/beyondthelights.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Undoing: Negotiating Fame And Self-Care In Gina Prince-Blythewood's BEYOND THE LIGHTS</image:title>
      <image:caption>by Eleanor Igwe “We see just a few glimpses of Noni’s life, but it is apparent that every aspect of her career and appearance is constructed and that she’s enmeshed with a mother who’s poured every fiber of her being into making Noni a success. Noni does not have emotional or physical freedom, even down to what she eats. […] This alienation from herself has made Noni suicidal and she tries to destroy her body as an expression of emotional pain […]”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1558212451352-4277N4W4K311FBIJPP2W/postcards-from-london-harris-dickinson.jpg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Baby, There’s No Other Superstar: POSTCARDS FROM LONDON</image:title>
      <image:caption>by Kyle Turner “[…] much of gay desire is predicated on envy, and what the presentation of iconographic representations of beauty suggests is a self-immolatory streak into an unreachable fame. Essentially, reenacting the beauty of someone whose fame was based in beauty is an alternate death drive; the consumption of fame and beauty is finite, incestuous, and self-destructive. As aforementioned, Harris Dickinson’s Jim reenacting Saint Sebastian as a form of ultimate beauty is reaffirming that he, himself, is the ultimate beauty.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1558338593961-67KEM41EBVBPDLQF6M4Y/Screen+Shot+2019-05-19+at+10.46.55+PM.png</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - Everything is Stunt Casting</image:title>
      <image:caption>by Philippa Snow “At the centre of Maps to the Stars is an extraordinary, schizophrenic turn from Moore that moves from one sense of hysterical to another with the whiplash speed of channels being changed on a T.V. Many reviewers argued that Moore played her character, an actress named Havana, as what seemed to be an older version of another actress, Lindsay Lohan.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557731538470-ODUC1OH0EM855BNUNDME/neondemon1-1024x576.jpeg</image:loc>
      <image:title>F&amp;F Vol. 4 - FAME - MAY 2019 - The Edible Star: Narrative Agency &amp; Female Ingenues In THE NEON DEMON &amp; STARRY EYES</image:title>
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      <image:caption>Lili Elbe.</image:caption>
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      <image:title>The "Bury Your Gays" Trope: An Incomplete History - BIO:</image:title>
      <image:caption>Alice Collins (@VampAly) is a writer, musician, 'Your Horror Tran', and general weirdo. She has a variety of interests, most centered around film, especially those known as the "lesser genres". Give her your sexploitation, nunsploitation, horror, sci-fi, b-movies, low budget/no budget, and weird stuff and you'll make her a very happy girl. She is extremely sex positive, queer, trans, kinky, and full of all sorts of other labels. Check out her other recent work: https://bloody-disgusting.com/editorials/3551989/trapped-gender-gonna-get-scary-introduction/</image:caption>
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      <image:caption>Rocky Horror Picture Show (dir. Jim Sharman, 1975).</image:caption>
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      <image:title>The "Bury Your Gays" Trope: An Incomplete History</image:title>
      <image:caption>A grieving Willow (Alyson Hannigan) holds her dying lover Tara (Amber Benson) in Buffy the Vampire Slayer s6e19 “Seeing Red.”</image:caption>
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      <image:caption>The ill-fated Richard (Connor Calland) in the Doctor Who New Years Special (2019).</image:caption>
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    <loc>http://filmandfishnet.com/Harvey</loc>
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      <image:caption>Leslie (Elizabeth Taylor) &amp; Jett (James Dean) in George Stevens’ Giant (1956).</image:caption>
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      <image:caption>Judy (Natalie Wood) &amp; the ill-fated Plato (Sal Mineo) at the Griffith Observatory in Nicholas Ray’s Rebel Without a Cause (1955).</image:caption>
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      <image:caption>Sal Mineo in Who Killed Teddy Bear? (dir. Joseph Cates, 1965).</image:caption>
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      <image:caption>Vincent Bec is a writer whose sentences are often too long. They hope to one day have a doctorate to back up their ramblings on the representations of gender and sexuality in horror films. They regularly contribute to Anatomy of a Scream and Grim Magazine. Their writing has also appeared on the websites Screen Queens and Scriptophobics. You can follow them on twitter @slasherdaysaint.</image:caption>
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      <image:title>ANTIPORNO: The Ghosts of Fame &amp; Shame</image:title>
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      <image:title>ANTIPORNO: The Ghosts of Fame &amp; Shame</image:title>
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    <loc>http://filmandfishnet.com/sensualmartyrdomneilhowie</loc>
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    <lastmod>2019-04-15</lastmod>
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      <image:title>"And The Apple Tree Languisheth": The Sensual Martyrdom of Neil Howie in THE WICKER MAN</image:title>
    </image:image>
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      <image:title>"And The Apple Tree Languisheth": The Sensual Martyrdom of Neil Howie in THE WICKER MAN</image:title>
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      <image:title>"And The Apple Tree Languisheth": The Sensual Martyrdom of Neil Howie in THE WICKER MAN</image:title>
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      <image:title>"And The Apple Tree Languisheth": The Sensual Martyrdom of Neil Howie in THE WICKER MAN</image:title>
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      <image:title>"And The Apple Tree Languisheth": The Sensual Martyrdom of Neil Howie in THE WICKER MAN</image:title>
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    <loc>http://filmandfishnet.com/postcards</loc>
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    <lastmod>2019-05-18</lastmod>
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      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1558211597739-GMGDP7I71P2Z27ITZ66F/7b_conversion_on_the_way_to_damascus-caravaggio_c.jpg</image:loc>
      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON</image:title>
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      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON</image:title>
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      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON</image:title>
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      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON - Bio:</image:title>
      <image:caption>Kyle Turner is a freelance writer based in Brooklyn, NY. He is a contributor to Paste Magazine, and his work has been featured in The New York Times, The Village Voice, Playboy, Brooklyn Magazine, Slate, and Esquire. His work focuses on identity and issues of queerness and race. He is relieved to know that he is not a golem. http://tylekurner.tumblr.com Twitter: @TyleKurner</image:caption>
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      <image:title>Playing the Whore - Baby, There's No Other Superstar: POSTCARDS FROM LONDON</image:title>
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  <url>
    <loc>http://filmandfishnet.com/givethepeoplewhattheywant</loc>
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    <priority>0.75</priority>
    <lastmod>2019-05-15</lastmod>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Ron (Clark Duke) from Showtime’s I’m Dying Up Here. (Don’t try to guess who’s the BoJack #2 described below based on this, but…the comparison is close.)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557531532754-GQEE6K0M1RDM834XWDE6/Screen+Shot+2019-05-10+at+4.24.41+PM.png</image:loc>
      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>[Sorry, this footnote pertains to the Hollywood/Hollywoo gag and comes from an earlier version of this essay. It’s still relevant, so, um, read it.]</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1557633619255-W5O1Z8H5GJ7NFGSSQ3E6/Screen+Shot+2019-05-11+at+8.45.24+PM.png</image:loc>
      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>“I know I’m smiling right now, but the light inside of me is dying.” A scene from BoJack Horseman, s3e12 “That Went Well” referenced in my video “Vixen” (behind the scenes selfie from that video on the right).</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>A sampling of the 155 videos and several years of my life and labor that I can no longer share easily (save for through this site, but who knows how long that will last). The stats attached to them have been completely corrupted. The relevance they had on the festival circuit is meaningless. Gone. Do any of you remember these? Probably not. But they meant the world to me.</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>(From left to right) my cousins Kevin, Kathy &amp; me putting on a show at my grandparents’ house in the late 1980s.</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Me &amp; my partner at the Griffith Observatory a few months ago. Between its significance in Rebel Without a Cause and BoJack Horseman, feel free to construe this landmark as ominous and this selfie as foreboding. I mean, it is the death drive in me that’s drawn to the place…</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You - BIO:</image:title>
      <image:caption>Danica Anna Uskert-Quinn (@donnauwanna) is a mixed race Filipina-Indian-Chinese-Spanish-Slovak hapa writer, curator, director, video/performance artist whose work has screened at PFF BERLIN, PFF VIENNA, VAULT FESTIVAL UK, ATA, CENTER FOR SEX &amp; CULTURE, and many other domestic &amp; international venues. She hopes to stay alive long enough to finish post-production on an indie feature she wrote-directed-produced and starred in last summer, but your collective disinterest is killing her. She’s also the editor in chief of this publication you’re currently reading. She probably loves you. Right now, she needs your help &amp; generosity: www.paypal.me/danicauskert www.patreon.com/danicauskert</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>“..that ain’t nothin’ new…”. GOOD LORD, it was obvious Apuzzo was going to die, they introduced him with a montage to Bowie’s “It Ain’t Easy,” for crying out loud!</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Diane &amp; Mr. Peanutbutter stare at a drowning BoJack in BoJack Horseman’s opening credits.</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Me and Caleb doing Sarah Lynn and BoJack Horseman cosplay for a video art piece. The reference is to the motel room sequence in BoJack Horseman s3e11, “That’s Too Much, Man!” pictured below.</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Police &amp; reporters crowd around the floating corpse of Joe Gillis in Sunset Boulevard.</image:caption>
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      <image:caption>Mad about her kept boy - Norma and Joe get cozy.</image:caption>
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      <image:title>Give The People What They Want Even If It Kills You</image:title>
      <image:caption>Hollywood 2018 (left) vs Hollywood 2013 (right).</image:caption>
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    <loc>http://filmandfishnet.com/shocktreatment</loc>
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    <lastmod>2019-05-14</lastmod>
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      <image:title>SHOCK TREATMENT - Packaging Mental Health with Fame - BIO:</image:title>
      <image:caption>Alice Collins (@VampAly) is a writer, musician, 'Your Horror Tran', and general weirdo. She has a variety of interests, most centered around film, especially those known as the "lesser genres". Give her your sexploitation, nunsploitation, horror, sci-fi, b-movies, low budget/no budget, and weird stuff and you'll make her a very happy girl. She is extremely sex positive, queer, trans, kinky, and full of all sorts of other labels. Check out her other recent work: TRAPPED BY GENDER https://bloody-disgusting.com/editorials/3551989/trapped-gender-gonna-get-scary-introduction/ https://bloody-disgusting.com/editorials/3559224/trapped-gender-intersexuality-alien-franchise/</image:caption>
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    <lastmod>2019-05-15</lastmod>
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      <image:title>Undoing: Negotiating Fame and Self-Care In Gina Prince-Blythewood's BEYOND THE LIGHTS</image:title>
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      <image:title>Undoing: Negotiating Fame and Self-Care In Gina Prince-Blythewood's BEYOND THE LIGHTS</image:title>
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      <image:title>Undoing: Negotiating Fame and Self-Care In Gina Prince-Blythewood's BEYOND THE LIGHTS</image:title>
      <image:caption>Noni flirtatiously puts her hand on her thigh. Gugu Mbatha-Raw had to be lubed into the latex dress that her character wears for the press conference.</image:caption>
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      <image:caption>The first shots of Noni’s music video.</image:caption>
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      <image:title>Undoing: Negotiating Fame and Self-Care In Gina Prince-Blythewood's BEYOND THE LIGHTS</image:title>
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  <url>
    <loc>http://filmandfishnet.com/ishotandywarhol</loc>
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    <lastmod>2019-06-06</lastmod>
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      <image:title>Valerie Solanas Wants to be Seen in I SHOT ANDY WARHOL</image:title>
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      <image:title>Valerie Solanas Wants to be Seen in I SHOT ANDY WARHOL - Bio:</image:title>
      <image:caption>Vincent Bec is a writer whose sentences are often too long. They hope to one day have a doctorate to back up their ramblings on the representations of gender and sexuality in horror films. They regularly contribute to Anatomy of a Scream and Grim Magazine. Their writing has also appeared on the websites Screen Queens and Scriptophobics. You can follow them on twitter @slasherdaysaint.</image:caption>
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      <image:caption>Three stills from Juraj Herz’s Morgiana (1972).</image:caption>
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    <loc>http://filmandfishnet.com/ff-vol-5-lovedeaththirst</loc>
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    <lastmod>2020-01-01</lastmod>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - MANY THANKS TO OUR DONORS:</image:title>
      <image:caption>Juan Barquin, Christianne Benedict, Jeannie &amp; Elio (“Feo” B), Chris Costa, Colours of the Dark, Stephanie Crawford, Mike Drucker, J. Blake Fichera, Lauren Humphries-Brooks, Galen Howard, John Joyce, Martin Kessler, Nicholas Nguyen, Addison Peacock, James Pleavin-Evans, Annie Mok, Rachael Nisbet, William Scurry, Calum Waddell, Virginia Yapp</image:caption>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Editor’s Notes/Prologue:</image:title>
      <image:caption>Editor’s Notes/Prologue: Among the other brilliant articles, this issue contains three of my own essays of three different lengths and styles on three important men in my life: Galen Howard, Joshua Burge, and my partner, Caleb Quinn. What can I say? I was moved to be as candid as humanly possible by Brianna Zigler’s incredibly personal and touching essay on Bill Hader and Barry. Other factors, like my friendship with the incomparable Kier-La Janisse—who wrote the bible of confessional cinema criticism for f*cked up females everywhere: House of Psychotic Women—cemented my decision to finally publish these pieces. The other work in the issue—particularly that of Soham Gadre and Addison Peacock—further compliments the themes explored in my personal writing: mainly, power play in relationships, complicated desire, Dominance and submission, humiliation, and the right of a woman to be as angry, savage, monstrous and foolish as her male peers. We are gathered here today to talk about love &amp; death &amp; thirst. It’s not gonna be pretty, but let us begin. xoxo - Danica</image:caption>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Performance Anxiety: RELAXER, CAM and the Humiliation of the Submissive Subject as Object</image:title>
      <image:caption>By Danica Anna Uskert-Quinn THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
    </image:image>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - I Was Busy Thinkin’ ‘Bout (Sad) Boys: On Bill Hader And Barry And Me</image:title>
      <image:caption>by Brianna Zigler “When I watch Barry, I want to fuck him, and when he wrestles his trauma and the conflicting nature of his self with the good person he wants to become, I want to be the one to help him through it.”</image:caption>
    </image:image>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Céline Sciamma’s PORTRAIT OF A LADY ON FIRE</image:title>
      <image:caption>By James Cain “Being free is being alone?” asks Héloïse. Yes and no, the film seems to answer: as queer women living in 1700s France, society requires them to live a lie (at least partly – they’re not able to express their sexual preferences to the world). However, by opening up to each other, their story truly captures the heady days of early love, their simmering passion and longing as undefeatable as the waves crashing into the cliffs.</image:caption>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - On Jensen Ackles</image:title>
      <image:caption>By Jaylan Salah THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
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      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - The Glittering Guttersnipe Groupie, The Goddess Of Death: SID AND NANCY's Tragic Seduction</image:title>
      <image:caption>By Peg Aloi THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563139468767-YT5ZWGJ9RI4JS1M7CUKE/Screen+Shot+2019-02-02+at+7.48.45+PM.png</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Support Film &amp; Fishnets</image:title>
      <image:caption>BUY A SHIRT (2 designs available: classic &amp; our collab w/Annie Mok) PATREON PAYPAL CASH APP</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1560396867373-7V93VSOBAZJRPLG1OPFN/myskin_trans_NvBQzQNjv4BqMskb5bNbLRg23wIcdfCnnNsi7hq8V2i38TwKa7aVgeI.jpg</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - The Skin We’re In: Subverting The Male Gaze In New French Extremity</image:title>
      <image:caption>By Addison Peacock “Women are not pretty porcelain dolls or wide-eyed vacant sex toys. Women are hair and teeth, sharp edges and hunger, are pain and survival. We’re here, we’re gross. Get used to it.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563141567845-B288V1MIWVLH4B656U1R/Screen+Shot+2019-07-08+at+11.48.26+PM.png</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - “Not So Typical Love Song, ‘Cause It Hurt Us Again &amp; Again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>by Danica Anna Uskert-Quinn “But even if you love them—not for their fame or their work—but them as individuals, when they’re raw and unguarded and not “on” or in performance mode, when their insecurities seep out after failed auditions and roles lost, when they injure themselves on shoots and reveal themselves to be normal and mortal and human and flawed and vulnerable, the Peter Pan-ish/Lost Boy manchildren that they are—they will never love you. Because you’re only one person. And what a star loves even more than the adulation of one is the adulation of many. What an actor loves more than role play in bed is a recurring sitcom role, an edgy breakout part in an indie by some wunderkind director, anything that leads to more work, more fans. You were just a diversion. You’ll be the one they blame […].”</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563236846545-TDN4I2MY2NSDTQIV03BR/tumblr_lq7e51CqOx1qzmjfxo1_500.gif</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Aquariums &amp; Bell Jars: Love, Death, and the 8th House in Cinema</image:title>
      <image:caption>by J. Simpson “In astrology, the 8th House is often called The House of Sex, Death, and Rebirth. It's the second of the transpersonal houses, building upon Libra's/the 7th House's focus on relationships, marriage, and partnership. It's the moment when two become one, fusing together in a consummation of the Alchemical Marriage, when we cease to be merely ourselves and become a part of a greater whole.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1560396775290-Y88FNUOW8AB9ALS2R1S4/duke.jpeg</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - The Grand Charade of Life, Love &amp; Death: Peter Strickland’s THE DUKE OF BURGUNDY</image:title>
      <image:caption>By Soham Gadre “Using montage quite liberally, Strickland pieces together Cynthia and Evelyn’s roles in each other’s lives through actions and words which taunt and tease. Evelyn sheepishly trots around scrubbing and cleaning the large home, occassionally being bossed rudely by Cynthia. The next minute she stares paralyzed by the sexuality of Evelyn’s undergarments soaking in soap. At night, they make love. In between all this, there are lectures on moths.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563152865654-N94KC45P27NUH44KN3YB/sidandnancy1000x414.jpg</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Love at the Edge of a Knife: Amour Fou in Film</image:title>
      <image:caption>By Danica Anna Uskert-Quinn THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1560396713554-V3QKOCUNESVIST2SD9U3/2tampopo.jpg</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Not Your Mother’s IG Food Porn: Sexy Food Scenes in Cinema</image:title>
      <image:caption>By Brian Fairbanks THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563295571924-MTDYDP2B53LI515K0XNR/2.png</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Love &amp; gratitude to RAW NERVES’ indiegogo backers:</image:title>
      <image:caption>Peg Aloi, Andrea Atwater, George David Allen, Juan Barquin, Becky Belzile, Denise Bostrom, Anne deMaCarty, Emily, Anna Geyer, Madeline Gibson, Kendra Gilpatrick, Marshall Gluskin, Leslie Guerra, Kier-La Janisse, Marianne, Lynn Mari, Wesley McWethy, Jeffrey Meyers, James Murphy, Heather Nguyen, Matthew O’Hare, Addison Peacock, John Plumley, Thayer Prime, Robert Saint John, Spencer Seams, Evan Tomczak, Richard Vincent, and every donor who wished to remain anonymous or who used a fake name. PLEASE NOTE: Because the campaign wasn’t successful and because Indiegogo delayed the disbursal of the funds, rewards and perks will be delayed. Apologies for any inconvenience.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1560397075843-FFFZ006YDSX9H9O2RCKX/orfeu-negro-1959-03-g.jpg</image:loc>
      <image:title>F&amp;F Vol. 5 - LOVE &amp; DEATH &amp; THIRST - Black Death: Marcel Camus’ BLACK ORPHEUS</image:title>
      <image:caption>By Eleanor Igwe THIS ARTICLE WILL NOT BE RELEASED UNTIL THE ISSUE RECEIVES ADDITIONAL FUNDING. DONATE: PAYPAL or CASH APP BUY A SHIRT: F&amp;F CLASSIC or F&amp;FxANNIE MOK PATREON</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/newfrenchextrem</loc>
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    <lastmod>2019-07-16</lastmod>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
      <image:caption>Predator and prey, or is it the other way around? Richard (Kevin Janssens) eyes Jen (Matilda Anna Ingrid Lutz) in Coralie Fargeat’s Revenge (2017).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563299707662-P0O5VUFB9ISFFYHUOL05/REVENGE.jpg</image:loc>
      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
    </image:image>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
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    <image:image>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
      <image:caption>Justine (Garance Marillier) satisfies her cravings in Julia Ducournau’s Raw (Grave, 2016).</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563299621312-1QJYRYPJXZZLLI4FICAL/hero_rvege-21089.jpg</image:loc>
      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
      <image:caption>Writer-director-star Marina De Van in her tale of obsessive self-mutiliation, In My Skin (Dans ma peau, 2002).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563299663385-R48G717PB8TF0JFT6F36/revengetrailer.jpg</image:loc>
      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
    </image:image>
    <image:image>
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      <image:title>The Skin We’re In: Subverting the Male Gaze in New French Extremity</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/sad-boys</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2019-07-14</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563062697740-YX3DP9WPML6H7YB2P1R3/donnie-darko.jpg</image:loc>
      <image:title>I Was Busy Thinkin’ ‘bout (Sad) Boys: On Bill Hader and Barry and Me</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563063927995-P1S7OOCHIJYBF164F88G/C-658VsXoAo3ovC.jpg</image:loc>
      <image:title>I Was Busy Thinkin’ ‘bout (Sad) Boys: On Bill Hader and Barry and Me</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563062661280-VFI8OVPXCG7VCK5DBAAQ/trainspotting-1996-019-opening-ewan-mcgregor-running.jpg</image:loc>
      <image:title>I Was Busy Thinkin’ ‘bout (Sad) Boys: On Bill Hader and Barry and Me</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1563064025993-GYQEXMFA1GGHOOGW5D3Z/AAAABSJMLz9fZVBuBkK36Z_GMYKhKm3GyqOh2E5w7fJhP_L6vF_ocYvI3A7ua_h-Fu99joROOsJ0hxeJvJkW8jh4DN_t3E0ZYvI01A.jpg</image:loc>
      <image:title>I Was Busy Thinkin’ ‘bout (Sad) Boys: On Bill Hader and Barry and Me</image:title>
    </image:image>
    <image:image>
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      <image:title>I Was Busy Thinkin’ ‘bout (Sad) Boys: On Bill Hader and Barry and Me</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://filmandfishnet.com/thirstandgalen</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-10-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565632087962-4ZXP0IE55KQNS6ZHIE94/8754859_orig.jpg</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Nana (Anna Karina) is moved during a screening of La Passion de Jeanne d'Arc in Godard’s Vivre Sa Vie: film en douze tableaux (1963).</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1566178238695-J2ZOXPJ9GGJAXZ1IFA0S/367B9BFE-E202-4FB8-9962-272A00794E2E.jpg</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>At this point, he clearly had a positive impact on my mood &amp; personality.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565724504701-8GWHWAN2J3H2KP6UD4J1/Screen+Shot+2019-07-11+at+5.04.27+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Galen Howard as a boom op in Bleacher’s “Alfie’s Song (Not So Typical Love Song)”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565742684098-UWSHVFXV50GO6QQITL61/Screen+Shot+2019-07-11+at+8.43.50+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>An attentive subby sitting pretty on the tubby in Elle King’s “Ex’s and Oh’s” (2015).</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1567709692481-DTNOML70ISIOECT42HHX/q73LK360vOxcH1VS8MuLBj8TaXJ.jpg</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565805900989-52572PRY7MXBV6OIOGO0/Screen+Shot+2019-08-14+at+10.41.08+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>A close-up showcasing the bi lighting in “Infinite Wave”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565597100028-HFVFO413FOP7652T0TT1/11.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Gosh, Susan’s story sounds familiar.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565743294196-NJRQOF7BXSR4KX8MNVOF/3E62F47B-0424-4CC3-90B0-63FBD586FFE3.jpg</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Examples of post-coital selfies. These aren’t even that bad.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565311787341-MMWA2WSTXJ9QBTSK2GDO/Screen+Shot+2019-08-08+at+5.02.43+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565312116590-WJQPEU8TMJCGWYCUHTNU/Screen+Shot+2019-08-08+at+5.03.34+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Eat to the beat: Galen in Weezer’s “Thank God For Girls” vs. my piece “birthday binge”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565805797219-7JTGENDMPGKMW3SP9HCT/Screen+Shot+2019-08-14+at+10.39.43+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1566573292891-OUQQ5VI3XCOW9NAPILYB/Screen+Shot+2019-08-18+at+11.37.36+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565313420495-EME3821YE6NGHNQ7KX21/Screen+Shot+2019-08-08+at+4.46.59+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>A medium close-up showcasing bi lighting in “leave me alone”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565755822719-QKNEQSLU7KN5RX7VFJ9D/Screen+Shot+2019-07-11+at+6.23.22+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“Hot Girl Walks By: A-Holes on a Bench”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1566154643605-ZQQ1Z8FYAD2ZYYS18VMC/Screen+Shot+2019-08-18+at+11.36.01+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565761460370-QX8D8X7E15NNB99TZDV6/Screen+Shot+2019-08-08+at+5.02.43+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>I think you've got something on your face: a cannoli cream facial in “Thank God For Girls”</image:caption>
    </image:image>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Lay it on thick: “I don’t want you but I still need you”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Sweets for the sweet: Galen and a bowl of halo halo (a Filipino dessert) at Neri’s in Ktown, August 2019.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Galen, bound and gagged in “Surprise!”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Marty Jackitansky (Joshua Burge) does a Travis Bickle in Joel Potrkus’ cult classic Buzzard (2014).</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics - BIO:</image:title>
      <image:caption>Danica Anna Uskert-Quinn (@donnauwanna) is a mixed race Filipina-Indian-Chinese-Spanish-Slovak hapa writer, curator, director, video/performance artist whose work has screened at PFF BERLIN, PFF VIENNA, VAULT FESTIVAL UK, ATA, CENTER FOR SEX &amp; CULTURE, and many other domestic &amp; international venues. She hopes to stay alive long enough to finish post-production on that indie feature she wrote-directed-produced and starred in last summer. She’s also the editor in chief of this publication you’re currently reading. She probably loves you. Right now, she needs your help &amp; generosity so she doesn’t get evicted: PAYPAL CASHAPP PATREON BONFIRE (F&amp;F CLASSIC) BONFIRE (F&amp;F x ANNIE MOK) What she wants more than that, though, is for Galen Howard to forgive her and take her back.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Galen, overpowered by an aggressive female in “Surprise!”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Me, overpowered by a dominant client in “The Business”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Alone again in Breaks Co-op’s “Sounds Familiar.”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Pour it on me: Galen Howard gets wet &amp; messy in The Smashing Pumpkins’ “Solara”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“How I love those days we didn't get out of bed/Left your taste in my mouth/Your strange voice in my head Oh, I wanna hear it again/'Cause back then we were caught in a love song so loud…”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Down for the count in Bad Suns’ “One Magic Moment.”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Dumb work made while I was with Galen.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>THEORY - “Straight Jacket”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Me, bound and gagged in “Ceremony”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Neon Indian - “Slumlord Rising”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Sex worker and writer Sally (Karley Sciortino of VICE’s Slutever) with a client/potential subject in the Easy episode “Side Hustle” (s2e3). When we were dating, Galen asked me to watch episodes of Easy that paralleled our relationship. To me, his selection of “Side Hustle,” “Private Eyes,” and “Art and Life” indicates that he was aware the relationship was going to devolve into this—an article, some play, some performance art, nothing more. “Side Hustle” is one of my favorite eps because it’s well-observed and painfully accurate, and, TBH, I’m mildly jealous that Karley Sciortino and series creator-writer-director Joe Swanberg were able to accurately depict the realities of not just the gig economy but certain forms of outcall sex work (especially in relation to its emotional and therapeutic aspects). What they accomplished in a single episode is what I’d hoped to accomplish with my web series, The Business. At any rate…I chose this still because when you’re fucking and writing about someone, it’s difficult to turn off that journalist in you, even in your more intimate moments, and I found that I couldn’t maintain that boundary around Galen.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>More food, more mess in “I don’t want you but I still need you”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“The Bridemaker”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Wet &amp; messy fetishism in “balanced breakfast”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Poor Susan Alexander Kane (Dorothy Comingore), nearly driven to suicide by being forced into a leading role in a major production by her pigheaded, egotistical partner, Charles Foster Kane (Orson Welles, Citizen Kane).</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Wet &amp; messy fetishism explored in “creamy”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565597599965-XPAG3EXK7SX92YEDO7GE/Screen+Shot+2019-08-12+at+12.55.51+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Public food play: feeder/feedee food porn at Souffle’s, a popular soufflé pancake spot in LA’s Ktown, July 2019.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1569133352864-GM7R5ZPSEVB54HTGIG3H/Screen+Shot+2019-09-17+at+8.22.59+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Despite the fact that I usually wear the braids, and Galen has drawn comparisons to Bud Cort his entire life, I’m the Harold this time around.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>More “HOT MESS”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Bisexual lighting in Slugabed’s “Infinite Wave”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Choke on it: Galen being force fed a slice of pizza in “Galen: is Mr. Sun, mother f*****,” episode 7 of Galen: the Series.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565755707324-AKY3F5ND8ZIQ7R8RIOVA/Screen+Shot+2019-07-08+at+10.20.39+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“Surprise!”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565481054362-DWOQUC7X1CQ7YDRPL61Q/IMG_7884.JPG</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“I could swear by your expression That the pain down in your soul was the same As the one down in mine…”</image:caption>
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    <image:image>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565632977167-4XD69O8GKDYL2OLIB0TB/Screen+Shot+2019-07-12+at+5.11.04+PM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>A lover not a fighter. Galen hugs his friend, a dysfunctional alcoholic director going through relationship drama in “Galen: has your back”- Galen: the series (ep 10).</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Bound and gagged with women’s underwear in Surprise!</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>It’s in his eyes. Galen Howard in Bad Suns’ “One Magic Moment.”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“The Origin of Love”: PDAs at Joe Dana’s Midnight Matzoball Movie Screening of Hedwig and the Angry Inch at the Kibitz Room, June 2019.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1565938136589-DJDS0SRN3DL2OEUFYYTL/IMG_1502.JPG</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Galen has had a great deal of difficulty understanding my attraction to Marty Jackitansy—Joshua Burge’s character in Buzzard. At my worst moments, I am Marty. I, too, am a sexy sad [tom]boy. I have a dark past, I’ve done terrible things, I’m not a great person. I have a lot of emotional and psychological trauma, and while I’ve used that to distance myself and push people away, I’ve reached a point where I want someone to care for me, fawn over me the way we on Film Twitter fawn over these SSBs. I poured my heart out in this piece &amp; IRL, in the hopes that Galen would be that person, but he flat out refused. It’s not a role he wants for himself. So I guess I’m still casting if anyone wants to take the part… At any rate, I’m with Brianna—when I don’t feel like one, I fucking love sexy sad boys. Honestly, Galen also falls under the sexy sad boy banner. The main difference between him, Caleb &amp; other SSBs I’ve been attracted to is that Galen has deep empathy for other people instead of being mired in his own bullshit. [Read Brianna’s article on Barry &amp; the “sexy sad boy” trope here. My article on my SSB hubby Caleb Quinn can be read here, and my article on longtime SSB crush/friend Joshua Burge is here.]</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>“I used to trust nobody, trusting even less their words/until I found somebody, there was no one I preferred.” (Cat Stevens - “I Think I See The Light,” Harold and Maude OST)</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>From “Galen: becomes palpable,” Galen: the series ep 13 (2011).</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Bisexual lighting in my piece “leave me alone”</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
      <image:caption>Intimate moments in Galen: the series.</image:caption>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5531eb6de4b0c759b385ac75/1566221990252-HV4MA9UZ30BUY9T8T122/Screen+Shot+2019-08-13+at+11.03.06+AM.png</image:loc>
      <image:title>“Not so typical love song, 'cause it hurt us again &amp; again”: Starfucking &amp; Thirst Politics</image:title>
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