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NFL free agent Ryan Russell comes out as bisexual

The former Cowboys player wants to ‘live openly’

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Ryan Russell. (Screenshot via YouTube)

NFL veteran Ryan Russell has come out as bisexual in a feature for ESPN.

The 27-year-old defensive end was drafted by the Dallas Cowboys in 2015 but was cut after one season. He went on to play two seasons with the Tampa Bay Buccaneers. Russell missed all of last season due to a shoulder injury. He attempted to tryout in the offseason but didn’t land a position.

Russell told ESPN that after trying out he regretted not coming out as bisexual to the team.

“Have I lied to teammates, coaches, trainers, front-office executives and fans about who I am?” Russell told ESPN. “Not exactly. But withholding information is a form of deceit. And I want the next part of my career – and life – steeped in trust and honesty. During the season you spend more time with your team than with your own family; truth and honesty are the cornerstones of a winning culture. My truth is that I’m a talented football player, a damn good writer, a loving son, an overbearing brother, a caring friend, a loyal lover, and a bisexual man.”

He explained that growing up he struggled with identity issues and stereotypes surrounding being gay and straight.

“I always felt as though my existence slipped between the cracks of two worlds. I wasn’t flamboyant, tidy, or any other stereotypes kids are forced to construct their world around. I wasn’t straight, hyper-masculine or aggressive; I cried quite a bit, and, as a young black man, I didn’t fit the bill. I played football — so I put that in the straight column. I wrote poetry and romance stories — so I put that in the gay column,” he says.“Those two objectives shouldn’t be in conflict. But judging from the fact that there isn’t a single openly LGBTQ player in the NFL, NBA, Major League Baseball or the NHL, brings me pause. I want to change that – for me, for other athletes who share these common goals, and for the generations of LGBTQ athletes who will come next.”

Russell revealed he has dated men and women but was more careful about dating men, especially while in the NFL.

He recalled a time during his first season in the NFL when an unidentified blogger recognized Russell in the Instagram story of a man he was dating at the time. The blogger messaged Russell saying that he had figured out the pair were a couple.

“If the blogger outed me, I was sure that would kill my career, one that was supporting not just me, but my mother and grandfather,” Russell says. “He’d eradicate a childhood dream that was the product of years of work and sacrifice.”

Russell messaged the blogger back “reminding him that there were implications about his actions he didn’t fully understand.”

The blogger said he would do Russell a “favor” by not outing him.

“Let that sink into your brain: Even though openly LGBTQ people are thriving in every area of public life — politics, entertainment, the top corporations in America — they are so invisible in pro sports that a gossip blogger is doing a favor for a bisexual football player by not disclosing that he happens to date men,” Russell said.

Now, Russel just wants to live his life openly.

“Today, I have two goals: returning to the NFL, and living my life openly. I want to live my dream of playing the game I’ve worked my whole life to play, and being open about the person I’ve always been,’ Russell says.

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Movies

Laverne Cox Dives into the Uglies World

Cox is the latest cast member to be announced, although exactly which role she plays is still a guarded secret

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Laverne Cox via Netflix

BURBANK – Imagine a world where at 16, you were forced into an operation that made you conventionally “pretty” along with the rest of the humans in the world.  That is the theme of the new Netflix film Uglies, based on the international best-selling dystopian fantasy novel by Scott Westerfeld.

Laverne Cox is the latest cast member to be announced, although exactly which role she plays is still a guarded secret. Joey King, Brianne Tju, Keith Powers and Chase Stokes were previously announced.

Whatever role Cox plays, her participation stays consistent with her brand of finding one’s authenticity and fighting to live as their truest self.  

Amazon describes the novel’s plot, of which the film is based as: “Tally is about to turn sixteen, and she can’t wait. In just a few weeks she’ll have the operation that will turn her from a repellent ugly into a stunningly attractive pretty. And as a pretty, she’ll be catapulted into a high-tech paradise where her only job is to have fun. But Tally’s new friend Shay isn’t sure she wants to become a pretty. When Shay runs away, Tally learns about a whole new side of the pretty world—and it isn’t very pretty. The authorities offer Tally a choice: find her friend and turn her in, or never turn pretty at all. Tally’s choice will change her world forever.”

Of the casting, Cox posted on her Instagram, “I feel so blessed to be an artist hopefully getting better at my craft, certainly working hard to do so. What a privilege this film is, based on a powerful young adult book series by @scott_westerfeld!! What a privilege to work with such incredibly talented and committed young actors and @mcgfilm, our incredible director, oh McG you’re just incredible. Stay tuned!”

Cox will also star in the upcoming Netflix series Inventing Anna. Shonda Rhimes and her Shondaland partner, Betsy Beers, are executive producing that 10 episode series.  It is based on a true story in which a grifter faked being an heiress and fooled New York’s high society with her scam.

Uglies will be directed by McG, and has producers John Davis and Jordan Davis for Davis Entertainment Company; Robyn Mesinger for Anonymous Content; Dan Spilo for Industry Entertainment; and McG and Mary Viola for Wonderland at the helm.  Joey King, Jamie King, Scott Westerfeld, John Fox are executive producing.

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Online Culture

Vlogger StanChris; My religious mom reacts to Norway’s “gay Santa” ad

My religious mom reacts to Norway’s gay Santa advertisement! Let’s see what she has to say about it.

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Screenshot via YouTube

LOS ANGELES – The twenty-something StanChris, the Out YouTuber who has been building his audience on his YouTube channel by vlogging about the ordinary everyday experiences of his life as a young gay guy is back- this time interviewing his mother.

My religious mom reacts to Norway’s gay Santa advertisement! Let’s see what she has to say about it.

My religious mom reacts to Norway’s “gay Santa” ad

********************

S O C I A L – L I N K S

→Instagram : stanchris https://instagram.com/stanchris

→ Twitter : stanchrisss https://twitter.com/stanchrisss

Subscribe here!!: https://youtube.com/c/stanchris

Watch more: https://youtu.be/rjI4c7nSXkw

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Movies

Verhoeven returns with subversive tale of lesbian nun in ‘Benedetta’

Period drama delivers sex, violence, and horrors of the Black Death

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Daphne Patakia and Virginie Efira in ‘Benedetta.’ (Photo courtesy IFC Films)

There was a time when Paul Verhoeven was a big deal in Hollywood.

The Dutch filmmaker first attracted international attention during an early career in his homeland, with critically acclaimed movies like “Turkish Delight” and “Soldier of Orange,” which found an audience outside of the Netherlands and brought him greater opportunities in America, Once here, he adapted his style to fit a more commercial mold and forged a niche for himself with violent, action-packed sci-fi blockbusters, scoring major hits with “Robocop” and “Total Recall” before reaching a pinnacle with “Basic Instinct” – arguably still his most influential and iconic film.

Then came “Showgirls.” Although the Joe Eszterhas-scripted stripper drama is now revered as a “so-bad-it’s-great” cult classic, it was a box office bomb on its initial release, and its failure, coupled with the less-spectacular but equally definitive flopping of his next film, “Starship Troopers,” effectively put an end to his climb up the Hollywood ladder.

That was not, however, the end of his story. Verhoeven moved back to his native country (where he was hailed as a returning hero) and rebounded with the critically lauded “Black Book” before spending the next two decades developing and producing new projects with other filmmakers. In 2016, he assumed the director’s seat again, this time in France, and the resulting work (“Elle”) put him once more into the international spotlight.

Now, he’s back with another French film, and fans of his signature style – a blend of social satire, psycho-sexual themes, graphic violence, and near-exploitation-level erotic imagery that has prompted some commentators to label him as a provocateur – have every reason to be excited.

“Benedetta,” which receives its long-delayed (due to COVID) release in the U.S. on Dec. 3, is the real-life story of a Renaissance-era Italian nun (Virginie Efira), whose passionate devotion to her faith  – and especially to Jesus – sparks disturbing and dramatic visions. When young novice Bartolomea (Daphne Patakia) enters the convent and is assigned to her as a companion, it awakens a different kind of passion, and as their secret relationship escalates, so too do her miraculous episodes, which expand to include the physical manifestation of stigmata. Soon, despite the skepticism of the Mother Abbess (Charlotte Rampling), she finds herself heralded as a prophet by the other sisters and the local community, leading to controversy, investigation, and a power struggle that threatens the authority of the church itself.

Inspired by “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy,” Judith C. Brown’s biography of the real Sister Benedetta, Verhoeven’s latest work is perhaps his most quintessential to date. In his screenplay (co-written with “Elle” collaborator David Birke), the Dutch auteur – who is also a widely recognized, if controversial, religious scholar – gives free reign to his now-familiar obsessions, weaving them all together into a sumptuously realized period drama that delivers copious amounts of nudity and sex, bloody violence, and the horrors of the Black Death while exploring the phenomenon of faith itself. Is Benedetta a saint or a harlot? Is she chosen by God or mentally ill? Are her visions real or is she a fraud, cynically exploiting the beliefs of those around her in a bold-faced grab for power and glory? And if she’s lying, in the larger context of a world held firmly in the grip of a church that treats salvation as transactional and levies its presumed moral authority to unlimited financial and political gain, which is greater evil? Though the film strongly implies the answers lie somewhere between the “either/or” of absolutes, it shrewdly leaves the viewer to contemplate such questions for themselves.

What concerns “Benedetta” more than any esoteric debate is a sly-yet-candid commentary on the various levels of societal hierarchy and the ways in which the flow of power perpetuates itself through their devotion to maintaining the status quo. As Benedetta’s perceived holiness carries her upward through the strata, from unwanted daughter of the merchant class to Mother Superior and beyond, more important than the veracity of her claims of divinity are the shifting and carefully calculated responses of those she encounters along the way. Fearing the loss of their own power, they ally and oppose themselves in whichever direction will help them maintain it. It’s a Machiavellian game of “keep-away” in which those at the top will not hesitate to use economic class, gender, sexuality, and – if all else fails – torture and execution as weapons to repress those they deem unworthy.

Inevitably, the above scenario provides plenty of fodder for Verhoeven’s movie to make points about religious hypocrisy, systemic oppression, and the way white heterosexual cisgender men keep the deck eternally stacked in their own favor – all of which invites us to recognize how little things have changed in the five centuries since Sister Benedetta’s time. That, too, is right in line with the director’s usual agenda.

Ultimately though, the signature touch that makes the movie unmistakably his is the way it revels in the lurid and sensational. Verhoeven delights in presenting imagery designed to shock us, and key elements of the film – from hyper-eroticized religious visions and explicit lesbian sex, to the prominent inclusion of a blasphemous wooden dildo as an important plot point – feel deliberately transgressive. This should be no surprise when one remembers that this is the director who brought us not only “Basic Instinct” and “Showgirls” but also “The Fourth Man,” a homoerotic psychological thriller from 1983 still capable of making audiences squirm uncomfortably today; and while all this titillation may trigger the most prudish of viewers, it makes “Benedetta” into a deliciously subversive, wild-and-wooly ride for the rest of us. More to the point, it underscores the film’s ultimate observation about the empowering nature of sexual liberation.

Helping Verhoeven make maximum impact with this obscure historical narrative is a cast that clearly relishes the material as much as he does. In the title role, the statuesque Efira successfully creates a compelling and charismatic figure while remaining an enigma, someone we can believe in equal measure might be sincere or corrupt and with whom we can empathize either way; likewise, Patakia exudes savvy and self-possession, transcending moral judgment as the object of her affection, and the two performers have a palpable chemistry, which is made all the more compelling by their thrillingly contemporary approach to the characters. Rounding out the triad of principal roles is Rampling, a cinematic icon who brings prestige and sophistication to the table in a masterful performance as the Abbess; more than just a grounding presence for her younger co-stars, she provides an important counterbalance with a subtle and layered performance as a woman who has devoted her life to a belief in which she has no faith, only to find herself overshadowed by a charlatan.

“Benedetta” is not exactly the kind of film that’s likely to put Verhoeven back on the Hollywood fast track – it’s far too radical in its underpinnings for that. Nevertheless, it’s a welcome return to form from a unique and flamboyant filmmaker we’ve missed for far too long, and his fans – along with anybody with a taste for provocative cinema – should consider it a must-see.

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