For better and for worse, the gay teen thriller Ganymede manages to capture the bleak horror of having to listen to a frothing anti-gay rant from some amped-up street corner preacher, or loud-mouthed bully. The kind of slur-filled noise that transmits fear and hate, and not a hint of Christian love.
Too many queer and questioning teens — like the film’s protagonist, high school wrestler Lee Fletcher IV (Jordan Doww) — are subjected to that barrage every day, at home, at church, at school. Lee’s small-town life is one long sermon on traditional values, ministered by his strict religious parents, and hellfire-spouting church pastor, all of whom are aware that the boy is battling certain so-called demons.
Lee is battling those demons literally, not just internally. In his nightmares, and in his waking life, he’s physically stalked by a hideous, skull-visaged creature that creeps out of his closet, or rises from the shadows in a corner of the room.
Conjured by Lee’s fragile, tortured psyche, the Creature (performed, with the aid of prosthetics and makeup, by Lucas Turner) is his sexual confusion and “reprobate thoughts” given physical shape. And, it seems, the Creature is especially triggered by Lee’s attraction to fellow senior Kyle (Pablo Castelblanco), who is gay and out, and totally into Lee.
Thankfully, Kyle is written with emotional complexity to go along with his crush on the good-looking jock. Portrayed with wit and confidence by Castelblanco, Kyle recognizes that Lee is suffering and confused, and not exactly boyfriend material, but he can’t help falling for the wrestler’s kind soul.
In a sweet heart-to-heart, spoken in Spanish and English, between Kyle and his supportive mom, Kim (Sofia Yepes), he confesses his feelings for Lee. His mom warns him to be careful about this boy.
In a different scene, and for completely different reasons, Lee’s mom, Floy (Robyn Lively), warns her son to be careful about Kyle. The cracked mirror images of maternal concern mark one bright spot of understated storytelling in a film — co-directed by Colby Holt and Sam Probst, from a script by Holt — battling its own demons of overacting and over-the-top psychodrama.
Lee’s parents don’t just preach and lecture about their traditional values. Floy and Big Lee (Joe Chrest) — as in “Bigly,” ha ha — shout and weep over their son like the world has ended, or their kid has died. Floy screams her frustrations into the bathroom mirror. Big Lee breaks down sobbing.
These responses might be psychologically valid in a real-world context, but as depicted here, they just look unhinged. Floy screaming to Lee that Kyle is evil because he flaunts his gayness is both high camp and utter drivel: “He’s a little Flaunt Leroy!” That’s an actual line.
“Mom, stop,” pleads Lee. And, he’s right. Please, stop. But then the family’s church leader, Pastor Royer (David Koechner), also calls Kyle a “little Flaunt Leroy.” That’s before the preacher whips out his makeshift electroshock machine for some unsanctioned conversion therapy.
Yet, conversion therapy, and attempts to pray away the gay, only leave Lee even more disturbed, and vulnerable to attack by his demons. Hence, Lee is constantly being scared awake by supposedly frightening, usually imaginary, brushes with the Creature.
He’s holding hands with Kyle, but suddenly, it isn’t Kyle, it’s a demon. Cut to, Lee waking up screaming. A girl at school plays footsie with Lee under the cafeteria table, but it isn’t a girl’s foot, it’s a demon! Lee screams.
Again and again, the film goes back to the same underwhelming well of scream cuts, stirring in blood and body horror, but never evoking the terror that truly grips Lee: his fear of himself.
Ganymede (★★☆☆☆) is available to streamon cable and digital VOD, including Apple TV, Fandango at Home, and Prime Video.
In two very different plays currently on D.C. stages, two very different families rally around a grown son who's been the victim of a violent hate crime. While the Castros in John Leguizamo's The Other Americans at Arena confront anti-Latino bias in Queens, New York, the Benhamous of Joshua Harmon's Prayer for the French Republic at Theater J face rising antisemitism in Paris.
And while both plays are set in the recent past, both sharply reflect the atmosphere of this instant, where, at least on this side of the Pond, and according to FBI statistics, hate crimes against Jews and Latinos, among other groups, are on the rise. Not coincidentally, right-wing purveyors of hate are also ascending, now in the U.S., and in the Paris of 2016 that's depicted in Prayer.
Ask Alexa if she's ever been in love. Chances are, she'll reply with a cheeky and playful answer that was preprogrammed by Artificial Intelligence. But if you've ever pondered the possibility that human form could exist behind your digital information gadget, your answer has just arrived at Broadway's Belasco Theatre where Maybe Happy Ending, Will Aronson and Hue Park's completely original musical about robot romance, has just opened.
That thumbnail description is unlikely to have folks jumping online or flooding the box office to secure tickets. But like love itself, this show is worth the risk.
Desiree Dik was already making one hell of an impression as a contestant on season six of The Boulet Brothers' Dragula, the horror-themed drag reality competition on Shudder, even before the incident known as ChickenGate.
Bringing their own livewire energy to the Emmy-nominated series' celebration of gore, guts, and glamour, the Falls Church, Virginia native proved a fierce competitor in a host of intense drag horror challenges.
Their "Killer Doll" drag won praise from guest judge and killer doll expert Jennifer Tilly, one of Desiree's horror movie heroes. And for their performance as a pervy pilgrim fisting a raw chicken on the show's Holiday of Horrors episode, Desiree was hailed by head judges Dracmorda and Swanthula Boulet for taking filth to outer space.
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