I was leaving femininity behind, grateful to have an example like my grandpa to grow toward.
The self-regard that came with watching Bergman films helped me feel rich in something, for the first time since arriving in America.
He begged his mother to let him buy the guitar. When she refused, reminding him that it was half of the month’s rent, he wept.
The Roadshow is so kind, so simple, and so pure that you begin to wonder, “Could this even be faked?” When I visited the set in San Diego, I discovered—no, it can’t be faked.
I know that their lips are touching, and that this is the first time it’s ever happened on a free-to-air telenovela.
Who are we if not kin through our deviations? Street hustler and femme queen, macho and maricóncito, variations on a chulo aesthetic.
Girl power was the freedom to make a scene, make no sense, join together and make something irresistible, spectacular, unproductive, joyful, and to radically claim one another.
I knew on a level the humor was cringeworthy, especially as a recently out gay boy facing heterosexist gender roles, but I didn’t care. I needed “Friends” to make our house feel less lonely and empty.
Underneath the shiny veneer of Bollywood, there’s something affirming about seeing people caught in the maelstrom of politics and war making choices—to flee or stay or fight.
I know that I’m living in a ticking clock, and all of this—dinners with my parents, peaceful conversations—will likely be gone one day.