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* GettingCrapPastTheRadar: One of the central themes of the movie is how creators got crap past the radar and introduced homoerotic and AmbiguouslyGay gay content past censors. One of the most jaw-dropping examples is Jane Russell's "Ain't There Anyone Here for Love" number from ''Literature/GentlemenPreferBlondes'', a whole sequence in which muscular dudes wearing nothing but swim trunks dance and twirl and do backflips, while Russell's character sings about how she can't get any of them to pay her any attention. The homoeroticism couldn't be much more overt, but because none of the men actually touch each other, it got past 1953 Hays Code censors. Some clear [[WhereEverybodyKnowsYourFlame gay bars]] are depicted too, including drag king acts, but as nothing's explicit it went through censorship.
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* GettingCrapPastTheRadar: One of the central themes of the movie is how creators got crap past the radar and introduced homoerotic and AmbiguouslyGay gay content past censors. One of the most jaw-dropping examples is Jane Russell's "Ain't There Anyone Here for Love" number from ''Literature/GentlemenPreferBlondes'', ''Film/GentlemenPreferBlondes'', a whole sequence in which muscular dudes wearing nothing but swim trunks dance and twirl and do backflips, while Russell's character sings about how she can't get any of them to pay her any attention. The homoeroticism couldn't be much more overt, but because none of the men actually touch each other, it got past 1953 Hays Code censors. Some clear [[WhereEverybodyKnowsYourFlame gay bars]] are depicted too, including drag king acts, but as nothing's explicit it went through censorship.
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Changed line(s) 21 (click to see context) from:
* GettingCrapPastTheRadar: One of the central themes of the movie is how creators got crap past the radar and introduced homoerotic and AmbiguouslyGay gay content past censors. One of the most jaw-dropping examples is Jane Russell's "Ain't There Anyone Here for Love" number from ''Literature/GentlemenPreferBlondes'', a whole sequence in which muscular dudes wearing nothing but swim trunks dance and twirl and do backflips, while Russell's character sings about how she can't get any of them to pay her any attention. The homoeroticism couldn't be much more overt, but because none of the men actually touch each other, it got past 1953 Hays Code censors.
to:
* GettingCrapPastTheRadar: One of the central themes of the movie is how creators got crap past the radar and introduced homoerotic and AmbiguouslyGay gay content past censors. One of the most jaw-dropping examples is Jane Russell's "Ain't There Anyone Here for Love" number from ''Literature/GentlemenPreferBlondes'', a whole sequence in which muscular dudes wearing nothing but swim trunks dance and twirl and do backflips, while Russell's character sings about how she can't get any of them to pay her any attention. The homoeroticism couldn't be much more overt, but because none of the men actually touch each other, it got past 1953 Hays Code censors. Some clear [[WhereEverybodyKnowsYourFlame gay bars]] are depicted too, including drag king acts, but as nothing's explicit it went through censorship.
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%% * GettingCrapPastThe Radar: Due to overwhelming and persistent misuse, GCPTR is on-page examples only until 01 June 2021. If you are reading this in the future, please check the trope page to make sure your example fits the current definition.
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* ButNotTooGay: Discussed, especially in the case of ''{{Film/Philadelphia}}'', where Creator/TomHanks defends the use of this trope by explaining that they had to edit out more explicitly intimate scenes between the main couple because the studio [[ExecutiveMeddling refused to release it otherwise]].
* CampGay: And his less explicitly gay brother, The Sissy. Discussed in depth, with several talking heads having different opinions of the worth of such characters. (Harvey Fierstein likes them: "Visibility at all costs!" and admits he can't hate expressions of "sissies" on the screen since he himself is a "sissy".)
* CreepyCrossdresser: One scene from ''Film/FreebieAndTheBean'' is pointed out how a depraved crossdresser is murdered in cold blood, and how audiences in the theater ''cheered'' it loudly.[[note]]After a lengthy chase, the “transvestite” villain shoots Bean, seriously injuring him, and Freebie faces him in a final showdown in a bathroom at the baseball stadium. Freebie is beaten at first, knocked on the ground by the “transvestite” who interrupts his kicks and punches for a little preening time, but eventually Freebie manages to grab a gun and empties it into the transvestite’s chest. Audiences reportedly cheered at the death scene, not just happy for the villain’s demise but cheering “the death of the fag.” Notably, the shooting was deemed too violent for network reruns of the film, who removed several of the gunshots to reduce it down to just two. - [[https://shebloggedbynight.com/2012/queer-film-blogathon-freebie-and-the-bean-1974/ Queer Blog-a-Thon]][[/note]]
* CampGay: And his less explicitly gay brother, The Sissy. Discussed in depth, with several talking heads having different opinions of the worth of such characters. (Harvey Fierstein likes them: "Visibility at all costs!" and admits he can't hate expressions of "sissies" on the screen since he himself is a "sissy".)
* CreepyCrossdresser: One scene from ''Film/FreebieAndTheBean'' is pointed out how a depraved crossdresser is murdered in cold blood, and how audiences in the theater ''cheered'' it loudly.[[note]]After a lengthy chase, the “transvestite” villain shoots Bean, seriously injuring him, and Freebie faces him in a final showdown in a bathroom at the baseball stadium. Freebie is beaten at first, knocked on the ground by the “transvestite” who interrupts his kicks and punches for a little preening time, but eventually Freebie manages to grab a gun and empties it into the transvestite’s chest. Audiences reportedly cheered at the death scene, not just happy for the villain’s demise but cheering “the death of the fag.” Notably, the shooting was deemed too violent for network reruns of the film, who removed several of the gunshots to reduce it down to just two. - [[https://shebloggedbynight.com/2012/queer-film-blogathon-freebie-and-the-bean-1974/ Queer Blog-a-Thon]][[/note]]
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* ButNotTooGay: Discussed, {{Discussed}}, especially in the case of ''{{Film/Philadelphia}}'', where Creator/TomHanks defends the use of this trope by explaining that they had to edit out more explicitly intimate scenes between the main couple because the studio [[ExecutiveMeddling refused to release it otherwise]].
* CampGay:And The film shows many gay characters of the type, along with his less explicitly gay explicit brother, The Sissy. Discussed It's {{discussed}} in depth, with several talking heads having different opinions of the worth of such characters. (Harvey Fierstein likes them: "Visibility at all costs!" and admits he can't hate expressions of "sissies" on the screen since he himself is a "sissy".)
* CreepyCrossdresser: One scene from ''Film/FreebieAndTheBean'' is pointed outhow where a depraved crossdresser is murdered in cold blood, and how audiences in the theater ''cheered'' it loudly.[[note]]After a lengthy chase, the “transvestite” villain shoots Bean, seriously injuring him, and Freebie faces him in a final showdown in a bathroom at the baseball stadium. Freebie is beaten at first, knocked on the ground by the “transvestite” who interrupts his kicks and punches for a little preening time, but eventually Freebie manages to grab a gun and empties it into the transvestite’s chest. Audiences reportedly cheered at the death scene, not just happy for the villain’s demise but cheering “the death of the fag.” Notably, the shooting was deemed too violent for network reruns of the film, who removed several of the gunshots to reduce it down to just two. - [[https://shebloggedbynight.com/2012/queer-film-blogathon-freebie-and-the-bean-1974/ Queer Blog-a-Thon]][[/note]]
* CampGay:
* CreepyCrossdresser: One scene from ''Film/FreebieAndTheBean'' is pointed out
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Interesting, though it's not in the film.
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* NoBisexuals: The film never once mentions bisexuality, even while discussing Crassus from ''{{Film/Spartacus}}'' who (through a metaphor) indicates he's bisexual (as part of a deleted scene the commentators discuss). Brian and Max (''{{Film/Cabaret}}'') are also bisexual, given their relationship with Sally plus each other, but were just described as homosexual. Susie Bright, whose commentary is a part of the film and who's bisexual herself, never brings this up oddly enough. (To be fair, Christopher Isherwood was outraged that Brian wasn't completely gay as he was, since ''Cabaret'' is based on his autobiography, and he had no sexual interest with Sally Bowles in the book.)
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* NoBisexuals: The film never once mentions bisexuality, even while discussing Crassus from ''{{Film/Spartacus}}'' who (through a metaphor) indicates he's bisexual (as part of a deleted scene the commentators discuss). Brian and Max (''{{Film/Cabaret}}'') are also bisexual, given their relationship with Sally plus each other, but were just described as homosexual. Susie Bright, whose commentary is a part of the film and who's bisexual herself, never brings this up oddly enough. (To be fair, Christopher Isherwood was outraged that Brian wasn't completely gay as he was, since ''Cabaret'' is based on his autobiography, and he had no sexual interest with Sally Bowles in the book.)
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Changed line(s) 24 (click to see context) from:
* NoBisexuals: The film never once mentions bisexuality, even while discussing Crassus from ''{{Film/Spartacus}}'' who (through a metaphor) indicates he's bisexual (as part of a deleted scene the commentators discuss). Brian and Max (''{{Film/Cabaret}}'') are also bisexual, given their relationship with Sally plus each other, but were just described as homosexual. Susie Bright, whose commentary is a part of the film and who's bisexual herself, never brings this up oddly enough.
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* NoBisexuals: The film never once mentions bisexuality, even while discussing Crassus from ''{{Film/Spartacus}}'' who (through a metaphor) indicates he's bisexual (as part of a deleted scene the commentators discuss). Brian and Max (''{{Film/Cabaret}}'') are also bisexual, given their relationship with Sally plus each other, but were just described as homosexual. Susie Bright, whose commentary is a part of the film and who's bisexual herself, never brings this up oddly enough. (To be fair, Christopher Isherwood was outraged that Brian wasn't completely gay as he was, since ''Cabaret'' is based on his autobiography, and he had no sexual interest with Sally Bowles in the book.)
