SXSW: Will Ferrell's 'Get Hard' Stirs Controversy Wh Gay, Racial Jok - Variety

WHY IS HOLLYWOOD SUFFERG ANOTHER GAY PANIC ATTACK?
IS WILL FERRELL GAY [SEXUALY AND DATG PARTNER REVEALED]
WHAT THE HELL HAPPENED TO WILL FERRELL? HOW THE MIGHTY HAVE FALLENNETFLIXTHE EDY GOD HAS HAD A STRG OF DUDS, OM THE GAY PANIC-Y “GET HARD” TO “DADDY’S HOME 2” WH MEL GIBSON. HIS LATT NETFLIX FILM, “EUROVISN SONG CONTT,” ISN’T ANY BETTER.NICK SCHAGERENTERTAMENT CRICPUBLISHED JUN. 24, 2020 4:26AM EDT WILL FERRELL IS THE FUNNIT EDIC ACTOR OF THE PAST 20 YEARS, A MASTER OF BUFFOONISH ABSURDY WHOSE GIFT FOR JUVENILE NONSENSE—OFTEN LACED WH EXPLOSIVE AGGRSN—HAS RIGHTLY MA HIM A HOLLYWOOD A-LISTER. IT THEREFORE BRGS ME NO JOY TO REPORT THAT HIS LATT, EUROVISN SONG CONTT: THE STORY OF FIRE SAGA, IS NOT ONLY A TWO-HOUR SLOG OF LAVISH PRODUCTN SIGN AND ON-LOTN FILMMAKG M ANY TRACE OF HUMOR, BUT FURTHER NFIRMATN THAT THE STAR HAS GOTTEN HIMSELF STUCK A T OF DIMISHG-RETURNS REPETN. WHAT WAS ONCE SPIRED FOR THE SATURDAY NIGHT LIVE VETERAN IS NOW OLD HAT, WH FERRELL’S NEW NETFLIX FEATURE (OUT JUNE 26) STARK EVINCE THAT HE’S BEE FORTABLE REGURGATG HIS TRAMARK SHTICK—AND, THE PROCS, FOTTEN WHAT MA WORK THE FIRST PLACE.EUROVISN SONG CONTT: THE STORY OF FIRE SAGA NCERNS LARS (FERRELL) AND SIGR (RACHEL MCADAMS), TWO CLOWNISH ICELANDIC POP-STAR WANNAB WHOSE LIFELONG DREAM IS TO W THE TERNATNAL EUROVISN SONG NTT. ACTUALLY, ’S LARS’ DREAM, SCE REGARDLS OF HER LOVE OF MIC, SIGR IS PRIMARILY THEIR DUO (DUBBED FIRE SAGA) BEE SHE LOV LARS AND P TO HAVE A BABY WH HIM. THAT LEAV THE TALENTED MCADAMS SADDLED WH A MIRTHLS SENDARY ROLE AS A CHARACTER WHOSE ENTIRE EXISTENCE REVOLV AROUND HER MALE UNTERPART. UNFORTUNATELY, HOWEVER, THAT’S THE LEAST OF THE PROBLEMS FOR THE FILM, WHICH PUTS S NSIRABLE BUDGET ON-SCREEN—VIA OUTRAGEO STUM AND ELABORATE NCERT SET PIEC AT THE EUROVISN PETN—BUT N’T MAKE TIME TO NCT A SGLE SURPRISG OR UNIQUE JOKE. DIRECTOR DAVID DOBK’S FLAT DIRECTN IS PARTLY RPONSIBLE FOR THE PROCEEDGS’ DREARS, BUT GIVEN THAT THIS IS CLEARLY A PROJECT BUILT AROUND FERRELL—WHO -WROTE THE SCRIPT WH ANDREW STEEL—HE VARIABLY SHOULRS THE BNT OF THE BLAME FOR EUROVISN’S LEANNS. SPORTG LONG BLON HAIR, A WEIRD NORDIC ACCENT AND A VARIETY OF GOOFY TIGHT-FTG AND/OR PUFFY OUTFS, FERRELL PRANC ABOUT LIKE A STUNTED ADOLCENT SPERATE FOR THE GLOBAL SPOTLIGHT, ALL WHILE REHEARSG SONGS WH MCADAMS HIS BASEMENT (WEARG A HORNED HELMET AND MAKHIFT PE) AND SUFFERG SWLS OM HIS DISAPPROVG FISHERMAN FATHER ERICK (PIERCE BROSNAN). HE’S AN OVERGROWN TEEN STILL LIVG AT HOME, NSUMED WH ACHIEVG A SEEMGLY IMPOSSIBLE GOAL, AND POSSSED OF AN UNREASONABLE AND HARDHEAD BELIEF HIMSELF AND HIS ARTISTIC ABILI SPE IMMENSE EVINCE TO THE NTRARY.THIS IS PAFULLY FAIAR TERRA FOR FERRELL, WHOSE LARS IS A MENTED KID WHO BARRELS FORWARD NO MATTER HOW OFTEN HE PUBLICLY EMBARRASS HIMSELF. WORSE, UNLIKE ANCHORMAN: THE LEGEND OF RON BURGUNDY OR TALLAGA NIGHTS: THE BALLAD OF RICKY BOBBY, EUROVISN DON’T ST LARS AS A REFLECTN OF A LARGER I THAT ’S ALSO SKEWERG. FERRELL AND STEELE’S’S SCRIPT HAS NO POT OF VIEW ON LARS, HIS HOME UNTRY, OR THE WORLD OF TERNATNAL POP MIC (AND TV SGG SHOWS). WHOUT ANY SATIRIC PERSPECTIVE, ’S JT A LOT OF BLAND IMMATURY STRAND A SEA OF EXPENSIVE SHOWSTOPPERS THAT GO ON, AND ON, TO NO APPRECIABLY WTY END. DEVOID OF DISTCTIVE CHARACTERIZATN, FERRELL’S PERFORMANCE AMOUNTS TO ROTE HIJKS THAT AREN’T NEARLY ECCENTRIC OR OUTRAGEO ENOUGH TO STA THE MATERIAL. COMPARED TO HIS MAGNUM OP OF DIM-BULB MAN-CHILD RIDICULONS, 2008’S STEP BROTHERS, EVERYTHG HERE FEELS WATERED DOWN AND DRAGGY. EVEN THE OTHER GUYS, FERRELL AND MARK WAHLBERG’S UNRVALUED 2010 P EDY, HAD AN ANGLE ON LAW-ENFORCEMENT DYNAMICS AND RPORATE MALFEASANCE, WHILE ALSO PROVIDG A H WRKLE ON S STAR’S TABLISHED BIG-SCREEN PERSONA. THE THREAD LKG THAT FILM, ANCHORMAN, TALLAGA NIGHTS AND STEP BROTHERS, OF URSE, IS ADAM MCKAY, FERRELL’S LONG-TIME LLABORATOR ANY. MCKAY’S ABSENCE OM THEIR PARTNERSHIP OVER THE PAST FEW YEARS (HE WAS BY DIRECTG THE OSR-WNG THE BIG SHORT AND VICE) HAS RULTED A STEEP CLE THE QUALY OF FERRELL’S FEATUR. SCE THE PAIR’S LAST TEAM-UP, 2013’S ANCHORMAN 2: THE LEGEND CONTU, FERRELL’S FILMOGRAPHY IS A LLECTN OF DISAPPOTG CREATIVE MISFIR: THE GAY PANIC-Y GET HARD WH KEV HART; THE TEPID THE HOE WH AMY POEHLER; THE DISASTRO ZOOLANR 2, WH BEN STILLER AND OWEN WILSON; THE RNDANT DADDY’S HOME 2, WH THE REPUGNANT MEL GIBSON; THE BTAL HOLM & WATSON, WH JOHN C. REILLY; AND THIS PAST FEBARY’S LIMP DOWNHILL WH JULIA LOUIS-DREYF.AS THAT RECENT RUME MAK CLEAR, FERRELL NTU TO GRAVATE TO STRONG -STARS. YET NONE OF THOSE FILMS WAS WILLG TO EMBELLISH S FORMULAIC NARRATIVE WH THE SURREALIST SANY THAT F HIS BT EFFORTS. THEY’RE SAFE TERMS OF PLOT, HUMOR, AND LEAD PERFORMANCE, WHICH UALLY VOLV FERRELL DOG AN EVER-MORE-MOR VARIATN ON HIS TYPIL PROTAGONIST. WHEREAS THE ACTOR HAS THE RANGE TO LOR HIS FANTILE CHARACTERS VARYG SHAS OF LUNACY—SOMETIM ANGRY BENEATH AN ADOLCENT EXTERR; OTHER TIM ARROGANT OR OVERLY SENSIVE ADDN TO BEG BABYISH—HE HASN’T DONE SO MEMORABLY YEARS; NOW, ONE MOST OFTEN EXPECTS CLASSIC FERRELL CRAZS TO MATERIALIZE MEOS (SUCH AS HIS BRIEF SPOT BETWEEN TWO FERNS: THE MOVIE) RATHER THAN HEADLG TURNS. “FERRELL REMAS ONE OF THE ENTERTAMENT DTRY’S MOST ACPLISHED OFF-THE-CUFF EDIANS, WHICH IS WHAT MAK A DUD LIKE ‘EUROVISN’ SO DISHEARTENG.” FERRELL REMAS ONE OF THE ENTERTAMENT DTRY’S MOST ACPLISHED OFF-THE-CUFF EDIANS, WHICH IS WHAT MAK A DUD LIKE EUROVISN SO DISHEARTENG. MORE THAN THE ENDLS PROCSN OF SCEN AND SUBPLOTS THAT SERVE NO PURPOSE EXCEPT TO PROPEL THE PAT-BY-NUMBERS STORY FORWARD—MALY HAVG TO DO WH DAN STEVENS’ ONE-NOTE RSIAN ADVERSARY—’S THE LACK OF SPONTANEY THAT DOOMS THIS AFFAIR. IT’S AS IF, HAVG NCEIVED THE BASIC PREMISE OF PLAYFULLY GOOFG ON THE EUROPEAN MIC WORLD, FERRELL AND PANY FIGURED THE MAJORY OF THEIR WORK WAS DONE, AND THAT THEY ULD OTHERWISE SIMPLY GSY UP THE ACTN WH A MODICUM OF HALFHEARTED RIFFG AND AN AVALANCHE OF GLZ AND GLAMOUR—A TRATG IMPRSN THAT BE MORE PRONOUNCED THE LONGER ONE WAS FOR A CHOICE ONE-LER TO BREAK UP THE MONOTONY. ADVERTISEMENT THE RULT IS A FILM THAT NOT ONLY FAILS ON S OWN, BUT SUGGTS THAT, FOR FERRELL, A REAL RISK IS ORR, ONE THAT TAK HIM OUT OF HIS FORT ZONE AND PLIT, CHALLENG OR SIMPLY PUTS A NOVEL SP ON THE ROUTE HE’S BEEN MG FOR THE PAST FEW S. IT’S CLEAR HE HAS THAT HIM—AND THAT ’S NECSARY, IF HE WANTS TO MATA HIS SPOT AT THE APEX OF AMERIN CEMATIC EDY. NICK SCHAGER
SXSW: WILL FERRELL’S ‘GET HARD’ STIRS CONTROVERSY WH GAY, RACIAL JOK

WHY IS HOLLYWOOD SUFFERG ANOTHER GAY PANIC ATTACK?

The edy god has had a strg of duds, om the gay panic-y “Get Hard” to “Daddy’s Home 2” wh Mel Gibson. His latt Netflix film, “Eurovisn Song Contt,” isn’t any better. * is will farrell gay *

But reviews have been mostly toxic, wh Variety llg out “some of the uglit gay-panic humour to befoul a stud release recent memory” and The Playlist labellg “more offensive than jt about anythg we’ve seen lately. The film’s unarguably wretched low pot arriv when Hart’s character tak Ferrell to a gay bnch “hookup spot” where he tells him he’ll need to learn to perform oral sex to make his time prison easier. While beg eyed up by every gay man around them, Hart rms Ferrell of the relative ease of approachg a gay stranger for sex, bee “that’s what they do”.

IS WILL FERRELL GAY [SEXUALY AND DATG PARTNER REVEALED]

Meanwhile, Hart is approached by a predatory olr gay man who, even after fdg out Hart’s heterosexualy, ref to take no for an, there’s an important distctn to make here.

The fear of rape is obvly legimate and a man’s fear of beg raped by another man while prison is also unrstandable and by no means homophobic. It punctuat every other le of dialogue and not even particularly ventive ways (the script is sentially multiple, exhstive variatns on “you’re gog to get raped”) film team review Get Hard GuardianBut this fear of rape turns to somethg far more sid when extends to a general fear of gay sex and then a fear of homosexualy general. We go past the dick jok and fd an unrlyg repulsn (moral of the story: gay sex is ewwww gross) that driv the film and livers an unfortable brand of humour that has been largely absent, or at least tempered, recent stars have been forced to fend the jok durg prs for the film, varly unsuccsful ways.

WHAT THE HELL HAPPENED TO WILL FERRELL? HOW THE MIGHTY HAVE FALLENNETFLIXTHE EDY GOD HAS HAD A STRG OF DUDS, OM THE GAY PANIC-Y “GET HARD” TO “DADDY’S HOME 2” WH MEL GIBSON. HIS LATT NETFLIX FILM, “EUROVISN SONG CONTT,” ISN’T ANY BETTER.NICK SCHAGERENTERTAMENT CRICPUBLISHED JUN. 24, 2020 4:26AM EDT WILL FERRELL IS THE FUNNIT EDIC ACTOR OF THE PAST 20 YEARS, A MASTER OF BUFFOONISH ABSURDY WHOSE GIFT FOR JUVENILE NONSENSE—OFTEN LACED WH EXPLOSIVE AGGRSN—HAS RIGHTLY MA HIM A HOLLYWOOD A-LISTER. IT THEREFORE BRGS ME NO JOY TO REPORT THAT HIS LATT, EUROVISN SONG CONTT: THE STORY OF FIRE SAGA, IS NOT ONLY A TWO-HOUR SLOG OF LAVISH PRODUCTN SIGN AND ON-LOTN FILMMAKG M ANY TRACE OF HUMOR, BUT FURTHER NFIRMATN THAT THE STAR HAS GOTTEN HIMSELF STUCK A T OF DIMISHG-RETURNS REPETN. WHAT WAS ONCE SPIRED FOR THE SATURDAY NIGHT LIVE VETERAN IS NOW OLD HAT, WH FERRELL’S NEW NETFLIX FEATURE (OUT JUNE 26) STARK EVINCE THAT HE’S BEE FORTABLE REGURGATG HIS TRAMARK SHTICK—AND, THE PROCS, FOTTEN WHAT MA WORK THE FIRST PLACE.EUROVISN SONG CONTT: THE STORY OF FIRE SAGA NCERNS LARS (FERRELL) AND SIGR (RACHEL MCADAMS), TWO CLOWNISH ICELANDIC POP-STAR WANNAB WHOSE LIFELONG DREAM IS TO W THE TERNATNAL EUROVISN SONG NTT. ACTUALLY, ’S LARS’ DREAM, SCE REGARDLS OF HER LOVE OF MIC, SIGR IS PRIMARILY THEIR DUO (DUBBED FIRE SAGA) BEE SHE LOV LARS AND P TO HAVE A BABY WH HIM. THAT LEAV THE TALENTED MCADAMS SADDLED WH A MIRTHLS SENDARY ROLE AS A CHARACTER WHOSE ENTIRE EXISTENCE REVOLV AROUND HER MALE UNTERPART. UNFORTUNATELY, HOWEVER, THAT’S THE LEAST OF THE PROBLEMS FOR THE FILM, WHICH PUTS S NSIRABLE BUDGET ON-SCREEN—VIA OUTRAGEO STUM AND ELABORATE NCERT SET PIEC AT THE EUROVISN PETN—BUT N’T MAKE TIME TO NCT A SGLE SURPRISG OR UNIQUE JOKE. DIRECTOR DAVID DOBK’S FLAT DIRECTN IS PARTLY RPONSIBLE FOR THE PROCEEDGS’ DREARS, BUT GIVEN THAT THIS IS CLEARLY A PROJECT BUILT AROUND FERRELL—WHO -WROTE THE SCRIPT WH ANDREW STEEL—HE VARIABLY SHOULRS THE BNT OF THE BLAME FOR EUROVISN’S LEANNS. SPORTG LONG BLON HAIR, A WEIRD NORDIC ACCENT AND A VARIETY OF GOOFY TIGHT-FTG AND/OR PUFFY OUTFS, FERRELL PRANC ABOUT LIKE A STUNTED ADOLCENT SPERATE FOR THE GLOBAL SPOTLIGHT, ALL WHILE REHEARSG SONGS WH MCADAMS HIS BASEMENT (WEARG A HORNED HELMET AND MAKHIFT PE) AND SUFFERG SWLS OM HIS DISAPPROVG FISHERMAN FATHER ERICK (PIERCE BROSNAN). HE’S AN OVERGROWN TEEN STILL LIVG AT HOME, NSUMED WH ACHIEVG A SEEMGLY IMPOSSIBLE GOAL, AND POSSSED OF AN UNREASONABLE AND HARDHEAD BELIEF HIMSELF AND HIS ARTISTIC ABILI SPE IMMENSE EVINCE TO THE NTRARY.THIS IS PAFULLY FAIAR TERRA FOR FERRELL, WHOSE LARS IS A MENTED KID WHO BARRELS FORWARD NO MATTER HOW OFTEN HE PUBLICLY EMBARRASS HIMSELF. WORSE, UNLIKE ANCHORMAN: THE LEGEND OF RON BURGUNDY OR TALLAGA NIGHTS: THE BALLAD OF RICKY BOBBY, EUROVISN DON’T ST LARS AS A REFLECTN OF A LARGER I THAT ’S ALSO SKEWERG. FERRELL AND STEELE’S’S SCRIPT HAS NO POT OF VIEW ON LARS, HIS HOME UNTRY, OR THE WORLD OF TERNATNAL POP MIC (AND TV SGG SHOWS). WHOUT ANY SATIRIC PERSPECTIVE, ’S JT A LOT OF BLAND IMMATURY STRAND A SEA OF EXPENSIVE SHOWSTOPPERS THAT GO ON, AND ON, TO NO APPRECIABLY WTY END. DEVOID OF DISTCTIVE CHARACTERIZATN, FERRELL’S PERFORMANCE AMOUNTS TO ROTE HIJKS THAT AREN’T NEARLY ECCENTRIC OR OUTRAGEO ENOUGH TO STA THE MATERIAL. COMPARED TO HIS MAGNUM OP OF DIM-BULB MAN-CHILD RIDICULONS, 2008’S STEP BROTHERS, EVERYTHG HERE FEELS WATERED DOWN AND DRAGGY. EVEN THE OTHER GUYS, FERRELL AND MARK WAHLBERG’S UNRVALUED 2010 P EDY, HAD AN ANGLE ON LAW-ENFORCEMENT DYNAMICS AND RPORATE MALFEASANCE, WHILE ALSO PROVIDG A H WRKLE ON S STAR’S TABLISHED BIG-SCREEN PERSONA. THE THREAD LKG THAT FILM, ANCHORMAN, TALLAGA NIGHTS AND STEP BROTHERS, OF URSE, IS ADAM MCKAY, FERRELL’S LONG-TIME LLABORATOR ANY. MCKAY’S ABSENCE OM THEIR PARTNERSHIP OVER THE PAST FEW YEARS (HE WAS BY DIRECTG THE OSR-WNG THE BIG SHORT AND VICE) HAS RULTED A STEEP CLE THE QUALY OF FERRELL’S FEATUR. SCE THE PAIR’S LAST TEAM-UP, 2013’S ANCHORMAN 2: THE LEGEND CONTU, FERRELL’S FILMOGRAPHY IS A LLECTN OF DISAPPOTG CREATIVE MISFIR: THE GAY PANIC-Y GET HARD WH KEV HART; THE TEPID THE HOE WH AMY POEHLER; THE DISASTRO ZOOLANR 2, WH BEN STILLER AND OWEN WILSON; THE RNDANT DADDY’S HOME 2, WH THE REPUGNANT MEL GIBSON; THE BTAL HOLM & WATSON, WH JOHN C. REILLY; AND THIS PAST FEBARY’S LIMP DOWNHILL WH JULIA LOUIS-DREYF.AS THAT RECENT RUME MAK CLEAR, FERRELL NTU TO GRAVATE TO STRONG -STARS. YET NONE OF THOSE FILMS WAS WILLG TO EMBELLISH S FORMULAIC NARRATIVE WH THE SURREALIST SANY THAT F HIS BT EFFORTS. THEY’RE SAFE TERMS OF PLOT, HUMOR, AND LEAD PERFORMANCE, WHICH UALLY VOLV FERRELL DOG AN EVER-MORE-MOR VARIATN ON HIS TYPIL PROTAGONIST. WHEREAS THE ACTOR HAS THE RANGE TO LOR HIS FANTILE CHARACTERS VARYG SHAS OF LUNACY—SOMETIM ANGRY BENEATH AN ADOLCENT EXTERR; OTHER TIM ARROGANT OR OVERLY SENSIVE ADDN TO BEG BABYISH—HE HASN’T DONE SO MEMORABLY YEARS; NOW, ONE MOST OFTEN EXPECTS CLASSIC FERRELL CRAZS TO MATERIALIZE MEOS (SUCH AS HIS BRIEF SPOT BETWEEN TWO FERNS: THE MOVIE) RATHER THAN HEADLG TURNS. “FERRELL REMAS ONE OF THE ENTERTAMENT DTRY’S MOST ACPLISHED OFF-THE-CUFF EDIANS, WHICH IS WHAT MAK A DUD LIKE ‘EUROVISN’ SO DISHEARTENG.” FERRELL REMAS ONE OF THE ENTERTAMENT DTRY’S MOST ACPLISHED OFF-THE-CUFF EDIANS, WHICH IS WHAT MAK A DUD LIKE EUROVISN SO DISHEARTENG. MORE THAN THE ENDLS PROCSN OF SCEN AND SUBPLOTS THAT SERVE NO PURPOSE EXCEPT TO PROPEL THE PAT-BY-NUMBERS STORY FORWARD—MALY HAVG TO DO WH DAN STEVENS’ ONE-NOTE RSIAN ADVERSARY—’S THE LACK OF SPONTANEY THAT DOOMS THIS AFFAIR. IT’S AS IF, HAVG NCEIVED THE BASIC PREMISE OF PLAYFULLY GOOFG ON THE EUROPEAN MIC WORLD, FERRELL AND PANY FIGURED THE MAJORY OF THEIR WORK WAS DONE, AND THAT THEY ULD OTHERWISE SIMPLY GSY UP THE ACTN WH A MODICUM OF HALFHEARTED RIFFG AND AN AVALANCHE OF GLZ AND GLAMOUR—A TRATG IMPRSN THAT BE MORE PRONOUNCED THE LONGER ONE WAS FOR A CHOICE ONE-LER TO BREAK UP THE MONOTONY. ADVERTISEMENT THE RULT IS A FILM THAT NOT ONLY FAILS ON S OWN, BUT SUGGTS THAT, FOR FERRELL, A REAL RISK IS ORR, ONE THAT TAK HIM OUT OF HIS FORT ZONE AND PLIT, CHALLENG OR SIMPLY PUTS A NOVEL SP ON THE ROUTE HE’S BEEN MG FOR THE PAST FEW S. IT’S CLEAR HE HAS THAT HIM—AND THAT ’S NECSARY, IF HE WANTS TO MATA HIS SPOT AT THE APEX OF AMERIN CEMATIC EDY. NICK SCHAGER

” Jtifyg the reactns on screen as ditive of what the two, or many straight men, would really thk only go so far as a ver, pecially when the film cis to clu, and make an unholy ms of, gay characters as ’s admirer the gay bnch scene crops up later, as a piful attempt to show the film’s acceptance of gay characters, when Hart offers relatnship advice over the phone. Humour rived om gay panic has progrsed to the bromance edy, typified by films such as I Love You, Man and Superbad, where straight male characters learn to be fortable at exprsg emotn wh one another, whout fear of beg misterpreted. Last year’s 22 Jump Street went one step further wh a leadg duo whose timate iendship rembled a relatnship, and even clud a scene where Channg Tatum chastised a bad guy for g the word “faggot” as dated homophobia Get Hard is surprisgly old-fashned but sadly not an isolated stance, even ntemporary films.

Michael Bay’s back talogue, up to and cludg last year’s Transformers: Dark of the Moon, is full of badly judged gay jok (check out this hio montage) and this year’s first Kev Hart edy The Weddg Rger was also packed wh uneasy moments (The AV Club’s AA Dowd lled “a 100-mute gay joke”) weekend, Get Hard is predicted to be a big h wh an timated $40m gross the US spe a llectn of toxic reviews.

If is as succsful as analysts suggt, , and the relative lack of non-stereotypil gay characters mastream cema, mak an tertg parison to the treatment of homosexualy on TV.