The holidays are a stressful time, to be sure, but we don’t want your mental health suffering because of Aunt Susan. INTO employees have BEEN THERE so take a few tips from us.
Food 4 Thot co-host Fran Tirado took a trip to Rome to speak with Claire Foy about inhabiting the iconic queer role of Lisbeth Salander in The Girl in the Spider’s Web. In their chat, Foy shares thoughts on Lisbeth’s ability to be as nasty as she wants to be.
The Girl in the Spider’s Web is in theaters now.
It’s been almost two years since her husband, Donald J. Trump, was elected to office, and the world has been on quite a, um, ride ever since.
Now, with the midterm election approaching and tension exploding across the country between Democrats and Republicans, we thought we should tap our special correspondent Melania Trump — impersonated by Maebe A. Girl — to attend the yearly Politicon convention to see how people are feeling about everything.
And like the last two years, this experience was also quite a ride.
Watch above to see how both Republicans and Democrats were grilled on whether they were truly doing their best to ‘Be Best,’ and learn what app Melania keeps catching her husband on.
This year for Coming Out Day, the INTO staff is coming clean about some things related to our identities. It’s not always easy to let people know something so personal about you, especially things that can be potentially stigmatizing.
Thank you for being with us at this difficult time, and sharing in our relief.
A few months ago, our crew of self-identified older lesbians watched Hayley Kiyoko music videos for the first time. They were instant fans, astonished by the out pop star’s ability to fully inhabit herself and her sexuality, and we knew we had to bring Hayley in to meet them.
Hayley was game. Not only was she a fan of the OWLs, but she was dying to meet them, too. The surprise was epic, and the conversation full of tears, joy, and intergenerational connection.
Happy Coming Out Day!
Last year, L.A.-based synthpop artist Alex Black released the Baby EP, a shimmering collection of 80s-flavored nocturnal jams. Today, he debuts the first music video from the collection, an Xavier Hamel-directed widescreen visual for the white-hot disco track “Gutter Streets.”
The video explores the intersection between queerness and the Freudian death drive, pursuing destruction as a generative force. According to Black, “The death drive is usually thought of as this toxic negative force, but so much of my growth as a person and an artist has come as a result of my self-destructive tendencies towards addiction and self-loathing. The death drive isn’t just negative. And there’s something very queer and powerful about that to me.”
Australian singer/songwriter Sam Sparro found Black on Gchat to discuss his lush, seductive ode to masochistic desire.
Sam Sparro: So I realized we’ve known each other about 15 years now. Do you remember how we got our nicknames for each other “Sprinks” and “Soyinka?”
Alex Black: I think more than 15 years! Pretty sure we had our blind date in 2001 lol.
SS: Oh yeah I totally forgot we had a blind date. I was living in London until 2002, so it must have been right after I moved to LA.
AB: And yes, of course I remember. We had a side project around that time called Rainbow Sprinkles. Our only song was “My Cell Phone, I Lost It” and it was a hilarious mess. Rainbow Sprinkles became “Sprinks,” and then a fateful autocorrect turned it to “Soyinka” at some point.
SS: Yeah our little side project—I remember we were really inspired by Fanny Pack and Le Tigre.
AB: Hahahaha, I forgot about Fanny Pack. Yes we were.
SS: So you were studying cultural anthropology at UCLA when I met you. Do you think your education has affected how you make music and the way you present it visually?
AB: Hmm that’s a good question. I was taking a lot of ethnomusicology classes at the time and was interested in a lot of different types of world music. It definitely made me a voracious listener and collector of music, I became obsessed with all these niche subgenres of music I was discovering at the time like Ethiopian Tizita and stuff like that. So I think it taught me how to listen to and absorb music in a way that has stayed with me.
SS: I definitely think of you as someone with a broad taste and knowledge of music. What were the biggest influences on the Baby EP, which I absolutely love btw.
AB: Aw thanks Sprinks. Baby is really a product of about a decade of obsessive music consumption and collecting. I ran this music blog Death Wears White Socks for many years, something I started back when music blogs were first having their moment. I’d post lots of lost cuts from cold wave, neue deutsche welle, italo disco, postpunk.
SS: Yes! I remember!
AB: I would obsessively track down lost stuff on vinyl, rip it to MP3, and upload it to the internet so people could hear it. So a lot of those genres—minimal synth, Belgian new beat, German new wave—you can definitely hear those influences on Baby.
SS: It’s interesting to me how we have so much A.I. trying to predict what we like and presenting us with what it thinks we should like. It’s really taken the human element out of musical selection. You have to be vigilant in curating your musical diet now. How do you find and hear most of your music these days? I have to admit I’ve gotten a little complacent.
AB: Same. I used to spend so much time researching and discovering new music. This was before algorithms were serving it to us, so you really had to work for it. People prided themselves on the unique stuff that they and they alone would discover, and sharing that felt really special and valuable. Now everyone has access to everything, which is great, but it has definitely changed the experience of discovering music.
SS: Haha. “Discovering” what an algorithm is presenting to you…
AB: I also rely on the young Gen Z kids I work with to keep me up to speed lol. “Teach grandpa about the cool music of today” type of thing.
SS: The thing is there’s so much fantastic music being made today but the mainstream playlists are pretty terrible. Anyway, not going to start bashing radio music. It’s futile. Tell me about the concept for the video.
AB: Yes, the video. So I worked with this director Xavier Hamel, who I know loosely through CalArts, where we both studied. He’s done videos for Bebe Huxley and some other cool queer folx and he liked the song, so we got together and just started kind of comparing notes on the various things we were into. We quickly discovered that we were both absolutely obsessed with the Duran Duran video for “Chauffeur,” which, if you haven’t seen it, watch it—it’s gorgeous.
SS: That’s so weird. I was in a side project with Mark Ronson called “Chauffeur” that we named after the Duran Duran song and we performed it with Duran Duran and I totally fucked up the lyrics and was mortified.
AB: Hahahahah. Of course you performed it with Duran Duran, NBD! And I’m sure you killed it. The video is sort of like this surreal brutalist love triangle between these two incredibly stylish women and a male chauffeur who are all headed for some sort of rendezvous. When they arrive in this concrete parking structure, the chauffeur suddenly becomes a topless woman and they all engage in this mesmerizing sapphic dance. It’s really chic and beautiful, but also very much a product of the male gaze—essentially the straight male fantasy of lesbian love, which we didn’t love. So we decided to put our own queer spin on it and give it a bit more agency.
SS: There’s kind of a Pierre et Gilles feel to some of the shots and kind of a Gregg Araki/Jim Jarmusch ‘90s indie cinema feel as well.
AB: Xav (the director) and I both love all of those references, and I’m sure they crept in, but our visual inspirations were definitely more ‘70s/’80s. In addition to “Chauffeur” we were channeling the films of Rainer Werner Fassbinder, especially The Bitter Tears of Petra Von Kant, which has these sort of lush, faded, tragic interior settings. We really wanted to juxtapose those velvety interiors with the ’80s concrete brutalism of “Chauffeur.”
SS: I find it strange that queer people have more visibly and acceptance than ever before but we have so few cultural superstars, especially in music, these days. Why do you think that is?
AB: I mean, the closet for one, and also this sort of retrograde notion that coming out can kill your entertainment career. If anything, the opposite feels true right now!
AB: I also think that a lot of our most talented queer artists haven’t always played to the masses, and so sometimes they achieve a sort of cult status instead of mainstream stardom. Which is great, but it’s also nice to see some really visible queer superstars coming into their own.
SS: Well, I’m super excited for people to get to see the video—it’s really gorgeous. The EP is so perfect and I’m so honored to have shot the cover photo!
AB: Thanks Sprinks! It feels good to get it out there. I work full time as a writer so it took a really long time to get this project out there into the world—hence the name Baby lol.
SS: Totes. See you at my wedding bitch.
AB: SEE YOU AT YOUR WEDDING BITCH!
Justin Torres didn’t want to have a huge voice in the film adaptation of his acclaimed novel We the Animals. He had never been on a movie set and didn’t exactly know what adapting his book might look like. But after meeting the film’s eventual director Jeremiah Zagar, Torres became a part of the film’s creative force, joining the crew during the casting process and even returning to his childhood stomping grounds to see the scenes acted out.
“If the book was gonna be adapted, it was so much more important to me that it be a work of art,” Torres says of the filming process in a featurette about the adaptation premiering exclusively on INTO. “It’s been such a long experience, but it’s been quite a profound experience.”
He added, “I couldn’t imagine a better adaptation than the way it comes out in the film.”
On this week’s episode of Pillow Talk, L.A.-based psychotherapist Matt Dempsey cozies up to host Jen Richards to discuss his dating life, getting past the fear of getting tested, and how taking the pill “has 100% reduced anxiety.”
If you’re as invested in general faggotry as I am, then at one point you’ve considered that perhaps everyone in The Avengers is gay. Except Hawkeye. But I am not Joss Whedon — nor am I a Marvel executive who has even one iota of power to suggest that Captain America and Bucky Barnes finally admit their bisexuality and go to poundtown.
To accomplish that goal, INTO decided to have me sit down and make Steve Rogers and Bucky Barnes go full on Sammi and Ron and live together in a house until they can’t help the sexual tension any more.
It turned out to be fun, but not that hard. Except for the fact that when the Rogers-Barnes’s moved in, their neighbors showed up like fruit flies on the Trader Joe’s apples I bought and swore I’d eat before they rotted. (I deemed a red-haired neighbor who showed up unannounced “Black Widow.”)
It’s kinda fun to see what Sims talk about when they’re flirting. Steve was talking about a police car, which I hoped was to bring up our nation’s problem with police brutality and Bucky responded by talking about … cupcakes. Honestly, same.
After that, their courtship followed a totally normal, masc4masc trajectory. Captain America sexy posed for Bucky, the two had a first kiss by a lamp and then Steve had the sudden urge to use the restroom.
And hey, they even flirt by gossipping about babies, which is great because not all babies are cute!
I won’t say whether or not they get down to business — watch the video to find out — but I do go into a bunch of theories about topping and bottoming between the two.
And if there are two lessons I can impart on you after all this, it’s that the forced heterosexuality of the Captain America films is silly and don’t sleep with someone who does push ups after sex.
Dancer/model/actor and YouTube star James Butler has a young gay following across the globe, and he wants them to feel comfortable getting tested.
But in a Pillow Talk session with host Jen Richards, Butler admits that he had specific fears attached to getting tested himself. He worried that if a fan saw him in the waiting room, “They’d think: ‘Oh my god, my favorite YouTuber is a ho!'” But he quickly recognized that the more likely sentiment is: “‘Oh, my favorite YouTuber cares about himself and wants to be responsible, healthy, and safe.'”