The gay agenda exposed — I infiltrated the alphabet mafia

An Investigative Essay by Chadrick P. Übermensch, Esquire

Author’s note: Navigating a homophobic world as a queer person has never been easy. For years, homophobes have speculated that any advancements by the LGBTQ+ community have been parts of a scheme known as “the gay agenda”. While this is continuously refuted, there is also a panoply of issues within the queer community that affects people of intersecting identities who do not feel represented or accepted within mainstream gay spaces.

 

A few months ago, I made a decision that would alter my life forever. I would consider myself the ultimate alpha-dude-bro — I’m the manliest manly man you could ever imagine. To further bask in my masculine glory, I began posting pictures of my workouts onto Twitter.com. To my utter shock and dismay, I rapidly gained a following of gay men. I gained thousands of followers within the first week, accompanied by unseemly, unsolicited, scandalous messages: “hey handsome,” “I love your body,” “show hole,” “you look incredible.” After thousands of these messages, I had enough. As I thought of the level of sophistication and coordination required to flood my inbox at such a high rate with such disturbing messages, a shiver went down my spine. Something deeply sinister was going on here, and a larger force was behind it all. In that moment, I knew I had to try to expose the Gay Agenda.

I wouldn’t say I have a problem with gay people. The problem comes when they try to shove it in my face. Why are men smooching on the kiss cam at baseball games? Let me watch a dozen muscular men in uber-tight polyester jog together in peace without bringing your ideology into it. If anything, straight people are being discriminated against! We can’t even buy Campbell’s soup without seeing these fruitcakes in their commercials! These egregious exhibits are clearly machiavellian manifestations of the Gay Agenda, which is why I had to put a stop to it.

In order to end the Gay Agenda, I first had to locate the LGBT Organization’s headquarters. They all live in the same facility, you know. I hopped on a bus downtown. In the dead of night, I walked across town to the corner of Fistenberg and Dyckman, where I found a telephone booth. As I entered the booth, I picked up the phone. From what I had learned online before my arrival, I knew the code I had to enter was 6453-73623-927-4373 (the password is mike-pence-was-here). Someone picked up the call. “You’ve reached the Hightower Record Store, how may I assist you?” Taking a deep breath, I responded. “Hello. I’m looking for your selection of Charli XCX vinyls.” Suddenly, a red light turned on and the booth began descending like an elevator.

Once I made it to the main floor, I was in complete shock. The entire place was decked out in enough blacklight and rainbow strobe lights to send an epilectic to the hospital. The music was a confusing blend of incomprehensible hyperpop glitch and early 2000s Eurotrash. Dance floors were packed with thin, pale bodies, in a blend of thrifted and vintage designer fashion. These people had icy looks in their eyes, trembling from gallons of iced coffee. I walked around the main halls, reading the signs above different rooms. There were ones dedicated to worshipping idols (pop idols, that is), blue hair-dying stations, rooms solely dedicated to yelling “we hate the straights!” in unison, rooms for witchcraft in which they’d put curses on Boosie Badazz and Dave Chapelle, and yassification stations as well.

After spending time snooping around the place, I finally found what I was looking for. As it turns out, the Gay Agenda is also a physical agenda! I began reading their program: “Monday — make Ellen emperor for life; bake Betty Crocker funfetti cake; and hunt down Tones and I for making “Dance Monkey.” Tuesday — persuade waiters to hand men dessert menus; enact Critical Gay Theory; and manufacture 750,000 rainbow poppies. Wednesday — bring-your-bottom-to-work day; and light a candle at the altar of RuPaul. Thursday — neuter straight men in public bathrooms; and Golden Girls watch party. Friday — give Cher.” I stashed a copy in my jacket — I could now expose these people for good.

As I was exiting the hall, I noticed a different elevator. This one had much less glitz, glamour, and gay. I got inside and the doors closed smoothly — I could barely hear the untz-untz of the Eurotrash music from in here. There were only two buttons: one for the floor I was on, and one below. I descended, and was shocked upon my arrival. The basement was a plain office building, with workers sitting at their desks, getting some work done. However, there was something fundamentally different about who was working in this office compared to the crowd upstairs.

I walked around and struck up a few conversations with folks, still incognito. What made this room different is that most people in it were people of colour, people with disabilities, fat people, and everyone deemed inferior from the upstairs crowd. “Notice how most of the crazies upstairs are white teenagers with no other oppression to claim,” said a Black trans woman. “We’re the ones who make the culture, they’re the ones who distort it beyond repair. We have some common issues, but they disregard us in every way — we’ve gotten so used to it that we expect them to erase us.” I spoke with many others who felt the same way. They made me realize how truly futile some of my issues with the community were.

As I exited the room, I opened a back door to a stairwell. I climbed up dozens of flights of stairs until I reached a door that opened to the street. My watch read 4:30 a.m. As I took a deep breath, I reached into my pocket and grabbed my phone. I opened Twitter.com, swiped through my settings, and deleted my original thirst trap account. As the sun began to rise, I took my copy of the agenda, shredded it, and shoved it through the holes of a sewer grate. It was time for me to go home and rethink some of my beliefs.

 

Feature graphic by James Fay

Categories
Arts

A look into a strange and broken mind

Concordia graduate’s metaphysical short movie will make you wonder what is going on

Kickstarter has been a massive help to independent filmmakers worldwide. The funding platform, designed to connect entrepreneurs to a potential clientele, has brought crowdfunding to its full potential. Got an original vision, massive willpower and force of conviction? Then head over to the website and try your luck. That worked out pretty well for Colin L. Racicot, a Concordia graduate who has been able to finance Beauty, his fifth short-length film.

Racicot is the director, writer, co-producer and editor of the 24-minute mystery story, which will start playing at international festivals later this month. The story is a bit too abstract or “metaphysical,” as the director put it, to describe. An emotionally distant bourgeois man starts to obsess over strange visions after visiting a secret floor at his workplace. His married and professional life are then deeply affected by this change.

Racicot cited science-fiction directors, such as Ridley Scott and Christopher Nolan, as his inspiration, and visually it shows. The editing is elaborate throughout, especially in the opening credits sequence. The colour palette, composed of mostly metallics, dark blue and orange, gives the film a mysterious and increasingly claustrophobic aura. Many shots of buildings and glass structures are narratively irrelevant, but stylistically vital.

Is Beauty worth your time? Maybe. A lot of it comes down to personal taste, and while Racicot should be lauded for his qualities as an editor and stylist, his film is decidedly uneven.

It would have benefitted from a sense of place. Montrealers will recognize that Beauty is set in their city, yet it is never used as an asset. 2006’s Paris, je t’aime featured several stories with themes comparable to Beauty, and the use of the city elevated the stories immensely. Perhaps Racicot’s intention was to have his story set inside the main character’s mind, therefore excluding all possible distraction, but that is somewhat ungenerous towards the viewer.

Daniel Brochu, a voice-actor known for his role as Buster Baxter in the Arthur cartoon series, plays the main character in an intense way that is not echoed by his two co-stars. This contributes to the feeling of emotional isolation, but also lessens the viewer’s connection with the character. The dinner scene that opens the film is tonally out of place and several other scenes unnecessarily stretch the running time.

The conclusion of the film feels calculated, breaking the spontaneity that preceded it. After 20 minutes of uncertainty and mystery, it suddenly loses its special touch and becomes just another one of “that kind of movie.” Which is not to say that Beauty is entirely without interest. Like a cold metal surface, it is smooth to the touch, but ultimately distancing. There are many images of broken glass, but never any blood. That’s what Beauty ultimately lacks: a sign of life.

For more information on Beauty, visit cinesthetique.ca.

Exit mobile version