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I adored Love, Simon, even though I’m more than a decade older than its target audience it’s the kind of film I would have loved to be able to see in a cinema when I was younger, instead of furtively looking for representation online. Netflix recently dropped Alex Strangelove, a high school comedy which shares multiple DNA strands with Love, Simon, the big-screen YA adaptation everyone was talking about earlier this year.
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But we may finally be on the verge of a true revival. My beloved subgenre seemed to die out at around the same time that the mainstream rom-com gave way to the Judd Apatow era, populated by stoner comedies that more often than not focused on the experiences of straight men. But to a lonely gay boy living in the midlands, they were a source of hope. Watching them through the lens of 2018, it’s impossible to ignore their overwhelming whiteness, not to mention the way they perpetuate gender archetypes, frequently casting masculine-presenting beefcakes as romantic leads.
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The smutty teen parody Another Gay Movie and its sequel weren’t exactly made with the intention of being taken seriously, but they blew my mind with the mere fact that every character was gay, and therefore they had scope to portray different kinds of queerness. Even the trashier entries in this niche hold a special place in my heart. Eating Outhas the kind of premise you might find in an old Hollywood screwball comedy Caleb pretends to be gay in a misguided attempt to get closer to the object of his affection, Gwen, setting off all kinds of hijinks. In a delightful reversal of type, it is the straight characters who fulfil the role of quirky sidekick (including a very funny turn by Parker Posey). But in addition to following well-trod tropes, they showed gay love as a norm - they used the shared cultural vocabulary we all learned via When Harry Met Sally and Notting Hill to drop same-sex romances into a cinematic landscape that any viewer could instantly recognise.įor example, Adam & Steve follows the budding relationship of two New Yorkers, one an uptight WASP, the other a neurotic Jew. In many ways, the gay rom-coms I devoured in secret were just like the Meg Ryan vehicles I would watch with my mother love stories in which two attractive people got off on the wrong foot, then were placed in all kinds of farcical situations before realising their true feelings for each other. They felt like a gift when every mainstream film I could find featuring gay characters either reduced them to stereotypes or ended with them tragically dying.
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These films centred same-sex love stories and, just as importantly, they allowed gay characters to have happy endings. Not only did these gay-friendly rom-coms feed my hunger for gay content, which was scarce enough in the early 2000s, they also provided the kind of representation that I couldn’t find in the standard token gay characters on TV.