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@karenlynnfangirling
Tumblr keeps marking my gay opera posts as containing "sensitive content" so in honor of the last few days of Pride Month here's a master post (in reality a tiny sampling) of gay opera gifs, view them while you can
it's mostly divas because I'm Me but it's also the divas they've been censoring lately
This is the stuff I'm on Tumblr for. 😁🥰
Kerry Weaver
here again
Always reblogging this one.
Star Trek: Voyager I "The Killing Game Part 1"
there is an episode of Voyager, a classic filler, where Janeway tells a story of her ancestor, who lived in the year 2000 (I think) and who is incidentally also played by Kate Mulgrew. in the episode the Janeway ancestor wears reading glasses, which I assume is because Kate Mulgrew wears reading glasses and it just made sense to let her wear them in these 2000 scenes. the thing is, it would have been completely normal and sensible to have Janeway the captain of Voyager wear reading glasses. yes, it would have been too sexy for television and people would have died, but it should had been done. speaking of, nahla ake wearing reading glasses is a blessing from all gods and it is extremely funny and sad at the same time how much hate the glasses got from the anti-woke assholes
THIS. All of it. Thank you!
STAR TREK: VOYAGER // S4E18: The Killing Game, Part I
↳ Kathryn Janeway in her White Tuxedo
Always reblogging Janeway in That Tux. 😍 Tags are on fire. 🔥
Producers of Star Trek Voyager thought their lead had no sex appeal and their lead was fucking Kate Mulgrew
I'm still convinced Kate Mulgrew thought, 'what if Katharine Hepburn was a starship captain in space,' and just went with it.
Not sure the Hepburn bounding is intentional, she just does look and sound a lot like her.
There are too many times Mulgrew affects a very subtle version of Hepburn's natural trans-atlantic accent, too many times her cadence and pace feels very Hepburn. Things she didn't do in Mrs Columbo or Cheers.
Obviously, she played Hepburn in Tea at Five, and that may very well have had something to do with it, but there is a way that Mulgrew carries herself as Janeway that is very much 'I'm a 40s film star.'
She parodies it when she's playing Arachnia, but every episode of Voyager, I still feel like she's doing a Hepburn/Dietrich/Veronica Lake thing, even if she doesn't realise to what extent she's doing it. She's clearly aware of how her voice can be used, maybe she didn't realise just how much she physically mimicked Hepburn and Dietrich
- https://www.tumblr.com/rowark/741528155329904640/kate-mulgrew-on-the-subject-of-her-internet
Obviously the production noticed by the time they put her in Dietrich's white suit
https://www.tumblr.com/radarsteddy/715172803725393920/dance-magic-dance-the-white-suit-tho-great?source=share
Do you actually think it was accidental?? I always assumed she literally was playing “Hepburn in space” the entire time.
That's what I'm saying. I don't think it was accidental. I think she knew she looked and sounded like Kate Hepburn, and made a decision very early on of 'what if Kate Hepburn in 1940s but in space.'
Ah I read too fast. Totally agree. Also, the resemblance is insane. If I looked like that, I would spend 25 hours a day swanning about in this:
Looking gorgeously butch and sexy as hell. And I would hit people with my golf club.
No worries. As you will see from the links I put in above, this is a preoccupation of mine as someone who is incredibly obsessed with Hepburn, Dietrich, 40s film stars, and rather in love with Mulgrew. --edit-- since i changed my username, I need to get a new link for the white suit discussion on Mulgrew/Hepburn/Dietrich, will get that in just a moment and add it here.
I think Mulgrew knew exactly what she was doing, and I think they cottoned on by the time they put her in Dietrich's white suit.
But I do genuinely feel Mulgrew intentionally played with the imagery and mimicry of Kate Hepburn for Janeway. I've seen a LOT of Mulgrew's other projects, and she generally does not do this. She did it a bit in one of the Murder She Wrote episodes, but she was playing a diva in this and I think this is where she was experimenting with how much Hepburn she could bring in.
It looks like my awful memory won and I forgot to add the link with a breakdown of Janeway in That White Suit. Sending it back out there for anyone interested.
Also.
Combine this:
And this:
And you get this:
Believe me. Kate Mulgrew knew exactly what she was doing. Her appearance to Kate Hepburn is astonishing. Her voice has that 40’s gravel, and she was trained and an actress, so I’m sure all she would have seen these movies growing up, seeing how Hepburn displayed herself. She probably heard agents and casting directors say ‘she’s a young Hepburn.’
Janeway’s movements, expressions and gestures are so very practiced. Her enunciation is slightly different than Mulgrew’s voice when she speaks. I refuse to believe that Mulgrew had no idea she looked and sounded just like one of the most famous Golden Era actors in Hollywood, and that she did not take advantage of the fact that she looks like she could be her sister or daughter. Or clone.
ode to short sleeves
not enough people talk about black turtleneck janeway and i’m here to correct that
My lesbian awakening was with this storyline. Many thanks to the DtC board - it was the first time I'd ever found my people. 🏳️🌈
Kate Mulgrew
Smash
Pass
* Points to profile picture * 😁
Do You Know This Disabled Character?
Kerry Weaver from ER
I know them
I’ve heard of them
I don’t know them
Kerry Weaver has Congenital Hip Dysplasia and uses a mobility aid.
Oh hello there! 🥰 Anyone else miss ER?
I just binged all 13 episodes of the series Awake (2012). Fascinating concept, really well carried out. Kept me guessing and wondering. It got super meta and surrealistic especially in the last episode, but the suspense was amazing.
That aside, though. Am I the only one who just sees Kerry Weaver every time Laura Innes is on the screen? I was having ER flashbacks galore. (And enjoying every second of it, if there was any doubt. 🥰)
Kathryn Janeway looking at Seven of Nine
the white suit tho
Great thought, but for those unaware, Kate Mulgrew’s gorgeous tux from The Killing Game was 100% a reference to Dietrich’s suit in Blonde Venus (1932) with Cary Grant, a pre-Code film directed by Josef von Sternberg. It’s hard to tell in Killing Game, but Mulgrew’s lapels are also sequined. So is the stripe in the trousers. It is basically a replica of Dietrich’s suit, no question.
Okay, so I have a PhD in queer fashion and media. So this is something I happen to know a lot about. So let me explain a few things.
For starters, You cannot get a more explicitly queer-coded woman than Marlene Dietrich.
Cary Grant (another closeted Queer in Hollywood) is also in Blonde Venus, and although their chemistry is great, their romance is unbelievable because it’s very clear that they are both absolutely queer. Hattie McDaniel appears in this film, another Queer in Hollywood (and the first Black person ever to win an Oscar). In both Blonde Venus and Morocco (1930), Dietrich flirts with both men and women. Dietrich was considered a Drag King in her day. She famously proclaimed, ‘I am a gentleman at heart.’
Dietrich often refused to wear anything but trousers, and openly declared that she had plenty of women lovers. She is an iconic staple for queer sexuality even today. She famously kissed a woman in Morocco whilst wearing a tuxedo- with an audience watching and cheering. She then kisses a man, the audience applauds, and she exits. This scene (below) was added at Dietrich’s own behest. The scene was extremely controversial, and they had to defend it against the censors for months.
A short segment featuring Quentin Crisp and Susie Bright talking about the significance of women wearing male attire in film. Features clip
This very scene is one of the many reasons The Hays Code was enacted (rules from a super-Catholic man who bribed his way into Hollywood and forced the religious ideologies onto the screen), and this scene was one that The Hays Code often pointed to as 'immoral’ and 'perverted’ and 'sexually explicit.’ You can thank the Hays Code for the split beds Lucy and Ricky had, for rules that a kiss must not last longer than a certain amount of time, that, absolutely, NO queer ANYTHING could be acknowledged to exist. Everything had to be subtext, and that’s why so many old black and white films feel really queer.
But Dietrich openly proclaimed herself queer, dressed in men’s clothing, kissed women on screen- and became a Queer icon not just in fashion, but in sexuality, decadence, and identity. The so-called famous ’Dietrich’s Sewing Circle’ (of which Hattie McDaniel was a member) was essentially every Queer woman in Hollywood who all had affairs with each other. Books have been written on this. Here’s a brief article about one of those books that goes through some of the basics.
Okay, Queer Fashion Film Academic, what’s your point?
The point is that by wearing a duplicate of a Dietrich suit- one where she openly flirted with women, no less–Janeway is 100% coded as queer in The Killing Game.
Especially with that tuxedo scene and the way she’s talking to Seven. In fact, most of the scenes in those episodes where she is talking to Seven, you will notice that Mulgrew plays Janeway with a bite- her eyes linger on Seven just a bit longer, her body language is just a bit more open and fierce than usual.
Even in Paris, for a woman to wear what Mulgrew/Janeway is clearly coding herself as a Queer person through that specific outfit. She is wearing a giant billboard that says I AM QUEER.
By putting Kate Mulgrew in a replica of a Dietrich 1940s tuxedo, Janeway is visually coded as queer through replication and imitation of one of the most Queer icons in cinematic history. That suit is too famous, too iconic, too specifically loaded with subtext and text of queerness through Dietrich.
I am convinced that the costume department 100% knew what they were doing, and part of me wonders if Kate Mulgrew herself had pushed for that suit. Why? Because Kate Mulgrew herself was the one who pushed for Janeway to have a same-sex relationship. According to Screenrant, anyway):
Above quote from this article.
(Anyway, regardless of whether Screenrant is correct or not, the point still stands without that.)
Watch Blonde Venus. Watch Morocco. Then, watch Kate Mulgrew in The Killing Game. She imitates Dietrich’s body-language, her mannerisms, the smirk, in that opening scene. There is no question- Janeway has been possessed by Dietrich’s characters.
Funnily enough, for the rest of those two episodes, Kate Mulgrew is also very clearly imitating another Queer woman through her voice intonation and mannerisms, general fashion and hairstyles: Katharine Hepburn.
Because of her absurd visual and voice similarity to Katharine Hepburn (another Queer in Dietrich’s sewing circle), Mulgrew once played Hepburn in Tea at Five.
Like Dietrich (bisexual), Hepburn was very clearly Queer coded. Evidence suggests that she was a lesbian and that her relationship with Tracy was set up by the studios, but it is possible that she was bisexual as well. Like Dietrich, she was also famous in Hollywood for her male-coded attire, though she preferred regular suits to Dietrich’s tuxedos.
She, like Dietrich, had the same problem whenever they teamed up with Cary Grant- watch Philadelphia Story and tell me that the real ending of that movie is not Hepburn’s character, Grant’s character and Stewart’s character all ending up in a thruple together. The movie makes no sense if that’s not the real ending.
Hepburn wore trousers on film sets and this upset the studio so much they literally stole her trousers, trying to force her into a skirt. Hepburn just walked around in her knickers, refusing to wear the skirt. Eventually, the studio gave her back the trousers.
Okay, I’m going off tangent. Here’s your takeaway:
Kate Mulgrew, (because she’s an absurdly amazing talent), is very heavily is influenced in mannerism, voice, accent and appearance by two of the most Queer-Coded women in cinematic history in The Killing Game. Through fashion and performance, she embodies Dietrich’s Blonde Venus and Morocco characters, and through appearance, voice and body language, she gives that image an additional layer of of Hepburn’s fierce, Queer persona.
Conclusion: Arguably throughout all of Voyager, but specifically In The Killing Game, Kathryn Janeway is visibly Queer.
By the way, although she never got credit for it, the person who wrote Blonde Venus was Dietrich herself. Both she and von Sternberg were suspended for several months because the movie was considered too salacious by the Hays code, and it caused production problems for over a year.
The BFI has a great write-up on Dietrich’s queerness and fashion, you can read it here: https://www.bfi.org.uk/features/my-best-girlfriend-queer-dietrich-screen
That white suit means so much more than you thought.
This just makes it all even more awesome, and I already loved this episode and all the costumes in it - particularly That Tux. *fans self* (Although, honorary mention to the all black outfit.)
Welcome to Le Coeur de Lion.
Star Trek: Voyager Season 4, Episode 18 & 19: “The Killing Game”
*fans self*
The Met's Agrippina from 2020 is the most impressive amount of comedy I've seen crammed into an opera in a long time, especially one listed as an opera *seria*. Just, so much fun in the staging and the amazing acting. 🥰
some of my favorite Janeway outfits! 🖖
(click images for optimal quality)
💙 thanks @zonchzone for
1. getting me into star trek in the first place
2. sending me reference pictures
These are amazing! 🤩 How many outfits do you recognize?
