"no hints were dropped" ok not to be that person but here are the hints that were dropped regarding Colin and Trent being gay:
1. Colin mentioning Grindr in a joke
2. Trent touching the arm of a man in the background
Here is one of the hints that Keeley was bi (even though I do believe she's been canonically bi since season 1, but not everyone sees it this way)
1. Her desktop background was in the colors of the bisexual flag
Here were some of the hints that Ted was bi:
1. Bisexual flag colored triangles above his head in the hallucination sequence
2. Inverted pink triangle next to him in that same sequence (and you can't tell me the creators didn't know, when the Homomonument is based on that symbol)
3. Countless (countless!!!) comments about men's physiques ("huge muscular thighs all caked in mud", whistling at a picture of Pep, "look at that head of hair", "he's strong", "he looks like a Rodin sculpture in cleats", etc.)
4. About a man (Higgins) and a woman (Rebecca), he had to say: "that's a crowd I don't mind being smack-dab in the middle of"
5. Him checking Trent out in the pub in 2x07 (his eyes are up there, Ted!)
6. "It could go either way", "I contain multitudes" and other comments in this vein
7. Bi lighting as he entered the Yankee Doodle Burger Barn
8. Giving similar looks to the female waitress and the male waiters in that restaurant (including a waiter in a cowboy costume that looked like he belonged in a gay club, who tipped his hat at Ted when greeting him)
9. "That's cause you were put into a box", "That box ceases to exist today", the box in the hallucination sequence breaking into triangles (as in the bi triangles and the inverted pink triangke), "we've been playing too rigid", "our guys need freedom", "fast, fluid, free, with full support", the "box that one needs to break out of" being a prominent motif in season 3
10. Wishing Beard called him pet names ("Honey, is that an ingredient or something you just called me?")
11. His crush on Pep
12. The connection between Ted and Colin: "my whole life is two lives, really", both wearing orange in Sunflowers, "I just want to kiss my fella" (Colin doesn't say "fella" , but Ted says it all the time), Ted just needs to get inspired and Colin's play is "inspirational" after he comes out, as per the commentators
And so much other stuff that, had Ted not self-identified as straight (*cough* put himself into a box *cough cough*) , you could make the case that he was canonically bi.
Here are some of hints that there was a romantic connection between Ted and Trent:
1. They hit a lot of romantic beats, and not in the jokey self-aware way in which Roy and Ted hit them in "Rainbow", but in an organic and sincere way
2. They both checked each other out: Trent checked Ted out when Ted was changing in front of him, Ted checked Trent out when Trent came up to him in a pub and hit him with a pick-up line while his date that looked a lot like Ted waited for him outside
3. Did I mention that Trent was on a date with a moustachioed man who dressed in a similar style to Ted? Let's mention it again
4. In that very bar, during a 50 second long conversation, Trent managed to say the word "love" three times. I searched the word "love" in the transcripts of the episodes. There's no other instance in which its frequency is this high
5. "Love our chats" incomplete rule of threes
6. "Sport, it's quite the metaphor" (implied: a metaphor for love; see also "love's a beautiful game" from the song Ed Sheeran wrote for Ted Lasso), "Also makes for a heck of a nickname", "Good night, Ted", "Good night, sport"
7. The soft, romantic, melancholic song playing in the background of this scene, while Ted and Trent are the last ones left in the office, with lyrics such as "When your words begin to crumble like the sidewalks all around this crummy neighborhood / From the chalky cliffs of Dover / I'd come over, I'd start over if I could"
8. Trent wearing sunflower colors in the episode "Sunflowers" and in the finale; sunflowers symbolize Ted's home (it's not subtle). He's the only character dressed like that. I'm still looking for any other explanation other than "Trent is Ted's home"
9. Their constant flirting and the way they look at each other with incredible fondness
10. The entire episode "The Strings That Bind Us". It's structured around Ted and Trent's relationship, and the way Trent changed because of Ted (in season 2, Ted defined a soulmate as someone who changes your life forever). The red string metaphor. Ted points out that soulmates are connected by a string tied to their little fingers. Ted and Trent both extend their little fingers out in similar shots. They are connected by a huge block of red in their last scene of the episode. Ted makes several comments about other men that apply to Trent ("Look at that head of hair", "Frames his face nicely", "My favorite one, he was clean shaven"). Many more details that lead back to Ted and Trent: Nate tells the restaurant owner to tell Jade he said "Hello". Immediately after, Ted and Trent say "Hello" to each other. The map that Nate's father used to ask out his mom has the number 1.3 written on it and an illustration of two people at a table in a restaurant. Ted and Trent went to a restaurant together in season 1, episode 3. The last scene of the episode mimics a "Race for Love" scene from a romcom, with Trent chasing after Ted. Trent also does not say a word to anyone other than Ted in the entire episode. He is completely focused on Ted
11. "Trent, what do you love? Is it writing?" and Trent ends up writing a book about Ted and naming the manuscript after Ted and he only cares about Ted's opinion on it (he leaves the room when Beard starts reading, but stays in the office after hours just to watch Ted read. "I just wanted you to like it.")
11. Trent's crush on Ted, confirmed by Jimmy Lance (and also obvious in the show, if you ask me)
Now, why would I believe that none of these hints were intentional? Maybe some could be explained away, but all of them? The hints we got for Colin, Trent and Keeley were so much smaller than this, and those turned out to be intentional.
anon i wish i could offer you the response you deserve, but i cannot stop rereading this masterpiece & focusing on the portions of evidence you provided that i didn't even pick up on until you laid them out. holy shit
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i'm sure it's been said but i feel like both Raxtus and Ronodin can be argued as "the only gay kid in the family and consequently shunned/rejected" and it's like. so weird bc Mull is so Mormon he'd probably rather eat his shorts than even acknowledge the possible existence of gays but
i mean. Raxtus literally has a fairy form. he's a fairy dragon.
Ronodin was just emo lol
and they both get so thoroughly rejected and sidelined by their families their whole lives and it turns Raxtus into an awkward but basically decent guy who runs back to the approval of his family once he's performed masculinity/violence enough to be accepted, only to then realize that he's basically just being used and still not fully trusted/accepted and having to betray them to save his real friends
(who sadly are probably actually homophobic but that's ok bc they're not dragon-phobic so that works out for him)
while Ronodin's like "fuck it. chaos and murder then!" and can you really blame him? he spent his entire life trying to conform to the "right" (in this case, Light) way of life, started spending time with the outgroup and learned to question things, then was told he was "too corrupt" to remain in his home
like. the symbolism is right there.
it's so funny, because sure Raxtus isn't a bad guy, but Ronodin definitely is and he pretty much gets sent to a type of hell at the end of Dragonwatch
and while Raxtus gets kind of a happy ending, like, him becoming an effective killer in a war and being accepted by his dad for being Good At Murder in the first Fablehaven series is presented as a happy ending. if Celebrant didn't wind up being the main villain for Dragonwatch, that probably would've been the end of it! gay kid learns how to soldier and is finally accepted by his homophobic family bc he's finally aggressive enough for them to love him
(i mean i have MANY issues with Celebrant being the main villain later and the reasons he's framed as bad but like. that's a separate rant lol)
the queer reading is right there. but also it's very bad and you can tell completely unintentional. or at the very least highly repressed. idk man i don't look into Mull as a personal individual bc i doubt i'll like what i see and i don't care that much but Dragonwatch was SO MUCH MORE MORMON than Fablehaven already was and it's so weird, seeing the fingerprints of it all over.
i feel like he either has a new editor or he's been doing this for long enough and sold enough books that he has the clout to veto changes made by editors or SOMETHING, bc i feel like? he's gotten worse?? and more unfiltered?? that or something happened and he's like. even more religious than before or something idk
like fablehaven was just kinda generic/bland fantasy with some fun ideas for magic items/powers/one sentence character premises, with just a hint of sus Mormon ideology, and then Dragonwatch just went. Full Mormon.
but then there's somehow even more weirdly queer shit. like. he's repressing so hard he's approaching queer from the other side??
idk man i wish this deeply mediocre man's writing wasn't a formative piece of middle school reading, leading to me still giving more of a shit than i really should over questionable children's literature now
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I've always been a little thrown off by the way the characters (the team and the passengers) react to Reid trying to talk down Ted, and I've never liked that the episode ends with Ted being shot (although I appreciate that he survives).
I'm not saying this to be critical of the characters: the team doesn't have audio, and the passengers (save for Elle and the incapacitated psychologist) don't have the knowledge to see Reid getting through to him, but:
I don't know. Look at Ted's face. I'm bad at reading expressions, but at the very least, this doesn't seem like the expression of someone unaffected by what's being said to him, or the face of a man who's about to start shooting people. During the conversation, Ted stops aiming the gun at Reid, and yells at Leo to shut up when he tells him to shoot Reid.
I really think that Reid was on his way to talking Ted down, and I wish he'd gotten to do it. I don't think Elle hitting Ted while Reid is talking him down makes a lot of sense*. She's one of the few passengers who can understand that Ted is calming down, and I think she's at the right angle to see his changing expression. I wish Reid had gotten the chance to keep talking, because I do think he was close to ending it without anyone else getting shot.
One other thing I noticed while watching this episode—throughout the episode, Leo has always been onscreen while he speaks, either in the same frame as Ted, or the camera cuts to him while he speaks. However, if you rewatch the scene, notice that whenever Leo speaks during it, not only is he always offscreen, but his voice has an echo to it that wasn't there before. I don't think most of the analysis I post is reflective of the writer's intent, but that seems very intentional to me, symbolizing that Leo is becoming less real to Ted and therefore losing his grip on him.
*this is a criticism of the writing, not the character. yes, elle is impulsive, but the choice to hit ted while he's being talked down and is no longer aiming the gun at anyone seems like a strange and risky choice.
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“He was my best friend,” says Ringo softly. “Yeah. I loved Harry.”
rolling stone interview
“Ringo and I spent a thousand hours laughing,” Nilsson said.
ringo: with a little help, by michael seth starr
Mark Hudson: “I think that Harry's friendship with John was also very very close, but I - I don't think it was as intimate as his relationship with Ringo Starr.”
Harry Nilsson: “I had a relationship with John - we were roommates a couple of times you know, short times […] But uh, Ringo and I are the, Ringo and I are friends. It's funny I always thought I would be closer to John but then over the years Ringo and I ended up being pals.”
Michael Seth Starr: Harry, born in Brooklyn, New York, in June 1941, was less than a year younger than Ringo. They were both three years old when their fathers (Richard and Edward, respectively) abandoned their families, never to return. They both enjoyed alcohol and practical jokes and were garrulous in nature, at least early in their relationship. Neither man had completed any semblance of an education. Ringo left school at the age of fifteen; Nilsson, who was extremely bright, dropped out of school in the ninth grade.
Ringo Starr: “I think I could always call Harry, night and day, and he would come and save me. I'm very lucky with friends like that.”
Chris O'Dell: “They became really, really close friends, and a lot of it was based on how much alike they were. They shared a sense of humour. You can never underestimate Ringo’s sense of humour. It’s there, it’s a huge part of who he is. Harry was also like that. [...] They were like brothers.”
Harry Nilsson: “I saw Ringo in an interview once looking very nervous saying “Well I'm probably the best rock and roll drummer in the world” and the truth is he is. But he looked very scared saying it. I could see him being scared about it, not scared, but not comfortable about it. And I wanted to be right there and say “Yes! You are! It's okay! You are the best rock and roll drummer in the world ever. That's it. Period, the end.”
Doug Hoefer (Harry's Cousin): “They would fight about shit and hang up on each other. Then time would go by and one of them would call the other back and they would pick up where they’d left off. I’m not really sure exactly how they pissed each other off, but they would . . . because Harry had a very strong personality as well.”
Stephanie La Motta: “He said, ‘I’m Harry’ and he goes searching all over the place - and I’m screaming for Ringo - who comes out and hugs Harry, because he loved Harry. They had a special bond. It was unbelievable this bond I saw between them. He loved Harry as much as Harry loved him.” (she was screaming because Harry was barging into their hotel room and she had no idea who he was)
Ringo Starr: “Harry’s no longer with us. He’s been gone 20 years now. I still miss him.”
Music played this way
All I need is my imagination
Take me far away
Where I can be with everyone who loves me
Harry's Song, by Ringo, 2008
There's no more oyster bar
There's no more Ringo Starr
There's no one left to love but you and me
UCLA, by Harry Nilsson
Ringo paid for Harry to have cosmetic dentistry to straighten his front teeth. [...] Some of Nilsson's closest friends believed that self-consciousness about his crooked teeth had been a significant factor in his decision not to appear in live concerts. Samantha Juste, for example, said: "He didn't have great teeth. I remember when he had his teeth fixed, it did a lot for him. In the early days he didn't smile really. Those teeth made a big difference to him, and to his confidence."
- from "Nilsson, The Life of a Singer Songwriter" by Alyn Shipton
Most commentators have focused on "You're Breakin' My Heart" as the one song that expressed Nilsson's emotional torment about [his wife's] departure. However, there is another interpretation, which was that it represented his first quarrel with Ringo Starr. There are coded references to Starr and their social life together, notably in the lines, "You won't boogaloo - Run down to Tramps - Have a dance or two". The reference to the Beatles' Drive My Car [You won't drive my car, might be a star] is another clue to this possible interpretation.
- again from "Nilsson, The Life of a Singer Songwriter"
For reasons of his own, Ringo did not attend Harry’s funeral, which was held on January 17, a day that was rocked by aftershocks from an earthquake in nearby Northridge. He claimed to be too grief-stricken, and Barbara went in his place.
- from Ringo: With A Little Help, by Michael Seth Starr
"We tried every which way to get Ringo to talk on camera. What came back to us each time was that there are three people he just does not feel comfortable talking about in person: John Lennon, George Harrison and Harry Nilsson. It’s just too emotional for him and I totally respect his feelings on the matter. Ringo was, however, tremendously supportive of the film including providing us with photos and making it possible to use Son of Drac, a film that Ringo and Harry made in the early 1970s but has been locked away in a London vault since 1974. At the end of the day, we were happy to have his support and understood the decision he made. Sometime later we had heard that he saw the film and liked it but thought some things were missing from the story. And I said to myself, “Yeah, Ringo, you were missing…” (laughs).
- John Scheinfeld, about making 'Who is Harry Nilsson..?'
(I have found absolutely no evidence that ringo starr knitted this)
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