Annette Bening and Julianne Moore in The Kids Are All Right. Photograph: Handout
Recent posts on EphBlog have recognized the importance of the gay community to the Williams College campus.

Hollywood, as usual, is imitating life.
The lede from an article in this ams’ Guardian:

The two favourites for the 83rd Oscar for best actress are Natalie Portman and Annette Bening and, if either of them wins, the ceremony will also mark a momentous night for many more women: it will be the night when lesbian sex scenes became part of the cultural mainstream.

Bening’s role as the strong matriarchal figure in a gay family in The Kids Are All Right naturally involves showing the daily intimacies of life with her on-screen partner, played by Julianne Moore. In contrast, Portman’s brittle portrayal of the prima ballerina at the centre of Black Swan, a part that has already earned her both a Golden Globe and a Bafta, draws her into a lesbian encounter with a rival ballet dancer that is far from domestic. In both these very different films the gay content is presented as merely incidental to the plot. In fact, of course, it is key to what makes both screenplays feel like fresh, modern stories.

It may be that a choice of words used in a non-pejorative sense is necessary when “gay content is presented as merely incidental to the plot”. Or situations in the plot we call ‘real life’.

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