Is patrick bateman gay
American Psycho: Bateman’s repressed homosexuality
No, The only reason that Patrick does not murder Luis when is has the chance is because Luis shows affection towards him. Patrick views the people around him – and the world in general – as loveless, and he’s sort of right; there seems to be no real devote between his friends or their love interests. Patrick wants to ‘fit in’, but he doesn’t really want to. He views himself as better than his ‘friends’, and therefore has no issue in killing and, perhaps, ‘cleansing’ the world, but that’s a long shot.
However, he does not kill Luis, Evelyn or Jean because they all, in one way or another, convey affection for him. He is conflicted, as although previously he felt that there was no adore around him, he has now been confronted with that fact and does not know how to react.
In the ‘Confronted by Faggot’ chapter, Patrick is frightened. He has, inadvertently, led on a queer male in whom he, Patrick, has no sexual interest. He tries to distract himself, and he wants to let everyone in the direct vicinity know that he is not ‘with’ Luis in any sense of the word.
I don’t have a copy of the novel to
Above is a scene from the feature American Psycho where Patrick Bateman’s sexuality is completely put into question. At first glance of the film,
we are expected to think that Patrick is the most heterosexual man out there. He is extremely attractive, in shape, wealthy, sexually active with many women, engaged, and successful. There’s no possible way a traits like that could hold an internal struggle with their sexuality, right? WRONG! Watch the link above and see if it has the potential to change your mind. During this scene it looks as if Patrick is going to kill Louis. But for some reason he begins to struggle? A struggle that we haven’t seen before with Patrick and murder. Once Louis turns around and confesses his love for Patrick, Patrick could have killed him on spot.
Since Patrick is an extremely judgmental character one might assume that louis confessing his love would journey him over the edge, and he would be killed immediately. That was not the case. Instead Patrick touched Louis for a prolonged period of time, and then allowed Louis to touch him. This didn’t make instinct according to Patrick Bateman’s character. What could this m
Welcome to the dark closet of Halloween horror.
Whether it’s necessary subtext by a closeted director, a dire warning to young viewers by a Hollywood Code, or a subtle stab by writers at hetero-cis arrogance, the horror genre has long been a dark closet of gay themes, preying on heterosexual panic and feeding on contemporary perspectives of the “gay menace” to enforce, test or outright flout the boundaries of acceptable love.
This Halloween, dig into ten classic Horror stories, in print and on film, that hide their queer themes in plain sight. Sometimes infuriating, sometimes liberating, all these works rely on a queer-coded villain… some of them are seductive enough that you end up rooting for them.
1. Rebecca (1940)
It’s not impossible to peruse queer subtext into the titular (dead) character’s scandalous affairs, or Mrs. Danvers’ obsession with her beloved mistress. Daphne du Maurier was a notorious bisexual person after all. But in the hands of Alfred Hitchcock, what was barely-there subtext in the novel became text on motion picture — or at least as close to it as the Hays Code would allow.
On the silver screen, housekeeper Mrs. Danver’s Homosexual Predator meter jumps to 11 —
(note: though I include no part of the explicit violent and sexual sections of the book, some of the quotes from the book do consist of language that will be very offensive to some)
A two decade old novel might seem appropriate now, of haves in glass towers and have nots protesting in the streets, a book which is supposedly either a literal story of an investment banker who is a serial killer, or an investment banker who only imagines that he kills a series of men and women, his murder spree a “metaphor” for his profession’s indifference to larger society and the damage he does to it. Curious about whether this book would shed light on the turmoil now, I found a third theme – the book is a cryptomorph, its subject neither mass murder, or a metaphor for the financial nature, but about being lgbtq+ and closeted during the first years of the AIDS outbreak. This is not a case of a symbolic undercurrent; almost all the male characters, including Patrick Bateman and Timothy Price are same-sex attracted closeted men, with that aspect of their lives, off-stage and unspoken directly of, but most certainly there.
Though almost all the men are gay, they all try to conceal their orientatio
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