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Wendy Williams apologizes for telling gays to ‘stop wearing our skirts and heels’

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Image courtesy The Wendy Williams Show

Talk show host Wendy Williams has apologized after snarky comments she made on her program about gay men drew heavy backlash this week.

On Thursday’s episode of her popular talk show, the 55-year-old Williams was using her popular “Hot Topics” segment to discuss “Galentine’s Day,” an unofficial holiday made popular by the long-running sitcom “Parks & Recreation” which is centered around women celebrating the other women in their lives.

Noting applause from a few men in her audience, the host said, “If you’re a man and you’re clapping, you’re not even a part of this. You don’t understand the rules of the day. It’s women going out and getting saucy and then going home. You’re not a part.”

She then added, “I don’t care if you’re gay. You don’t get a [menstruation] every 28 days,” Williams added. “You can do a lot that we do, but I get offended by the idea that we go through something you will never go through.”

Her final remarks on the subject were the ones that sparked the most controversy however. Williams finished by saying, “And stop wearing our skirts and our heels. Just saying, girls, what do we have for ourselves?”

“Looky here now, gay men, you’ll never be the women that we are,” she concluded, “no matter how gay.”

Though her comments garnered some applause from the audience, home viewers were quick to chide the talk show host.

“Really?” one commenter wrote. “What sort of ignorance is coming out of your mouth regarding gay men wanting to be women!! Really Wendy?”

“That was really uncalled for,” said another. “Gay men do not want to be women.”

Another wrote, “You’re not the decider of who can be a woman. Every person gets to decide who they are.”

There were also a few positive comments, such as one from a woman who wrote, “Thank you for saying what we as women want to scream everyday. Let us have something.”

On Friday, the beleaguered Williams issued a videotaped apology.

“I’ll start by saying I apologize. I did not mean to offend my LGBTQ+ community on yesterday’s show,” the talk show host began. “I did not realize until I got home and I watched the second running of our show here in New York, and I always watch when I can to critique my delivery or the cameras, the lights, the audience, the camera.”

Saying her comments did not come from “a place of malice,” Williams continued, “I’m very persnickety about how I do my show and one thing that I can tell you right now is that I never do this show in a place of malice. I understand my platform with the community from first grade to intermediate school to high school to college to radio and now to TV. And I didn’t mean to hurt anybody’s feelings. I’m just having a conversation.”

The popular host was visibly upset, holding back tears during the video. She went on to say she tries to “live and let live every day,” because “life is too short,” and admitted that her comments were “out of touch” before promising to “do better” in the future.

She concluded by saying, “I’m 55 years old, and maybe I sounded like your auntie, your mother, your big sister or somebody out of touch. I’m not out of touch, except for perhaps yesterday by saying what I said. So I deeply apologize and I deeply appreciate the support that I get from the community. I will do better. I appreciate you supporting me. Thank you.”

Williams’ video apology is below.

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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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Books

‘Capote’s Women’ is catnip to older pop culture fans

Revisiting iconic author’s seven ‘swans’

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(Book cover image courtesy of Putnam)

Capote’s Women
By Laurence Leamer
C.2021, Putnam $28/356 pages

Her lips are locked tight.

Your best friend knows all your secrets, and she’s keeping them; you told her things you had to tell somebody, and she’s telling nobody. You always knew you could trust her; if you couldn’t, she wouldn’t be your BFF. But as in the new book “Capote’s Women” by Laurence Leamer, what kind of a friend are you?

For months, Truman Capote had been promising a blockbuster.

Following his success with “Breakfast at Tiffany’s” and “In Cold Blood,” he was “one of the most famous authors in the world” but he needed a career-booster. The novel he was writing, he teased, would be about “his swans,” seven wealthy, fashionable women who quite personified “beauty, taste, and manners.”

His first swan was Barbara “Babe” Paley, whom he’d met on a trip with the David Selznicks to Jamaica. For Capote, “Babe was the epitome of class,” simply “perfect” in every way; it helped that the famously gay writer was no threat to Paley’s “madly jealous” husband.

Babe’s “dearest friend” was Nancy “Slim” Keith, who quickly learned that if a lady wanted her confidences kept, she didn’t tell Capote anything. She shouldn’t have trusted Babe, either: When Slim left for a European trip, Babe asked if Slim’s husband could accompany Babe’s friend, Pamela Hayward, to a play.

Slim was aware of Pamela’s predatory reputation, but what could she say?

Of course, Pamela, another of Truman’s swans, stole Slim’s man, a scandal that Capote loved.

Gloria Guinness was highly intelligent, possibly enough to be a spy in Nazi Germany. Lucy “C.Z.” Guest was an upper-crust “elitist” with a “magical aura.” Marella Agnelli “was born an Italian princess”; Lee Radziwill, of course, was Jacqueline Kennedy’s sister.

Through the late 1960s, Capote claimed to be writing his masterpiece, his tour de force based on his swans, but several deadlines passed for it. He was sure Answered Prayers “would turn him once again into the most talked-about author in America.”

Instead, when an excerpt from it was published, his swans got very ruffled feathers.

Every time you stand in line for groceries, the tabloids scream at you with so much drama that you either love it or hate it. Or, in the case of “Capote’s Women,” you cultivate it.

And that’s infinitely fun, as told by author Laurence Leamer.

Happily, though, Leamer doesn’t embellish or disrespect these women or Capote; he tells their tales in order, gently allowing readers’ heads to spin with the wild, globe-hopping goings-on but not to the point that it’s overdone. While most of this book is about these seven beautiful, wealthy, and serially married women – the Kardashians of their time, if you will – Capote is Leamer’s glue, and Truman gets his due, as well.

Readers who devour this book will be sure that the writer would’ve been very happy about that.

“Capote’s Women” should be like catnip to celeb-watchers of a Certain Age but even if you’re not, find it. If you’re a Hollywood fan, you’ll want to get a lock on it.

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