This isn’t meant to excuse the uncomfortable intolerance normalized throughout Bad Boys II, but rather a way of being cognizant of the larger cultural forces dehumanizing queer people and making jokes like these appear normal.
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While discouraging to see, this was par for the course in an era where even Spider-Man would ask wrestlers if their “boyfriend” made them their outfit for the ring. Perhaps the culmination of this came with Bad Boys II in 2003, which featured an onslaught of homophobic gags. So it went on with Michael Bay’s works, which tended to feature queerness only as the butt of jokes or in stereotypical characters that the audience was supposed to laugh at. That’s how much of a microcosm Paul is of the stereotypes gay men were locked into in this era of American cinema.
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As Paul darts out of a tense scene making tiny squeaks and flailing his hands around, it’s easy to imagine this character being plopped into any other 1990s or 2000s action movie with ease. In this case, the use of such a stereotype was meant to provide cis-het audiences with amusement at seeing a conventionally “feminine” man being contrasted with the ultra-macho personality of Sean Connery’s John Patrick Mason.
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There’s no question that Paul is supposed to inhabit the “pansy” stereotype that so many Hollywood depictions of queer men fell under. Anthony Clark’s Paul in The Rock, for example, is a perfect example of this a man who enters the film saying “Helloooo” and then, upon being called a barber, notes that he’s actually a “stylist” in a heavy mincing lisp.
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Gay people weren’t shown as multi-layered human beings just existing, but rather manifesting as people coded as gay stereotypes for the sake of providing comedy for cis-het audience members. This level of prominence means that queerness in Bay’s first two decades of filmmaking was often manifesting in an exclusively negative light.