Pablo Rodriguez

“The teeming sexuality of King Cobra—and the business of gay masculine desire, the filming and selling and buying of it—is what gives the movie, for some of us, an urgent claim on our attention, a cinematic charge. Gay men as superficial capitalists driven to crime seemed to me, in that moment, a more progressive step in post-gay cinema than yet another anguished-victim scenario. Your white approval of Moonlight was supposed to make you feel virtuous. And while it’s nice to feel virtuous, it’s worth considering whether feeling virtuous and being virtuous are actually the same thing.”
― Bret Easton Ellis, White