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I was always good at hiding my emotions and pushing my feelings deep inside, so I had no problem hiding that I was gay until high school. A difference that was hard to comprehend because I grew up being taught that men were essentially programmed to marry women and that is how the world works. I always knew there was something different about me from my friends. Growing up in Trabuco Canyon, in Orange County, Calif., going to church on Sunday and having chapel twice a week at my elementary and middle school definitely was a challenge. He went there hoping to swim, but an injury cut short his career.īefore we tell you the story of how two gay swimmers helped each other come out, we want to share some background about each of us. Josh Velasquez attends the University of Arizona. We wanted to share our stories.Īxel Reed, will graduate this spring from Chapman University in Orange County, Calif., where he was a swimmer. We don’t know where each of us would be without the other. We came out to each other via text, and our bond and friendship has only grown. This quest to centre non-masculine heterosexual desire found its apogee in the 2018 anthology film Lust Stories, where Johar’s section told the story of a newly-wed woman (Kiara Advani) who seeks sexual fulfillment.We’re two swimmers and best friends, both in college, who happen to be gay. This, in fact, is Johar’s other great achievement, as far as Hindi film love is concerned: So many of his female characters, whether it is Pooja in K3G, Jazz in Kal Ho Na Ho or Saba in Ae Dil Hai Mushkil, were unabashed in pursuing what they desired, physical and otherwise. In the way it zoomed in on Shah Rukh Khan’s dripping wet, see-through shirt, the camera’s gaze challenged Bollywood’s idea of romance, opening up space for, among other things, female desire. It is, for example, hard to think of another Hindi film director who allowed the lens to train so lovingly on the sensual male body as Johar did in the song ‘Suraj Hua Maddham’ from Kabhi Khushi Kabhie Gham (K3G). He uncoupled the camera from the male heterosexual gaze, thus making room on the screen for stories that were decidedly non-mainstream before him. Must read | The underappreciated honesty of Karan Joharīut the second way in which Johar, in a sense, “queered” the Bollywood love story is a lot more subtle. Such depictions, as some of his critics point out, did damage that was not helped by the fact that Johar himself, beyond a short in the 2013 anthology film Bombay Talkies, has not made a full-length feature with a queer love story at its heart. As is Dostana (produced by Johar) in which the two male leads ( John Abraham and Abhishek Bachchan) pretend to be gay in an over-complicated attempt to woo the female protagonist ( Priyanka Chopra). It is also not possible to overlook the troubling portrayal of queer folks, especially gay men, in some of Johar’s productions: the jarring comic sub-plot involving the two male leads (Shah Rukh Khan and Saif Ali Khan) and a housemaid (Sulabha Arya) in Kal Ho Na Ho (which Johar wrote, but didn’t direct) is notorious.
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This is not to discount the role that other filmmakers, such as Onir, have played in telling much-needed stories about queer lives, nor is this an attempt to play down the space for such stories that opened up with the decriminalisation of homosexuality in 2018. Buy Now | Our best subscription plan now has a special price