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xplaining what being in the closet is like is to list all the things that you couldn’t do because of a hurdle that you couldn’t figure out how to clear.
The story of being in the closet, then, is a lack of story, or a story about waiting for a story to start.
You could say that characters like Simon and their urge to assimilate are straight-washing queer narratives, but his refusal to cop to the hallmarks of the coming-out story actually allows for a more nuanced exploration of what it means to declare an identity in today’s world.
Simon eventually posts his coming-out story in his own words even after everyone already knows the truth about his sexuality, which is partly a last-ditch effort to declare his love for Blue—whose own path out of the closet remains unpaved—but also becomes a rallying cry for anyone who fears that the secrets they keep about themselves are what must eventually define them.
What follows is a series of small betrayals on Simon’s part as the struggle to remain in the closet wreaks havoc on his friendships.
When the screenshots inevitably get leaked, Simon’s various white lies and sloppily orchestrated diversions also come to the surface, and he must pick up the remaining pieces of the carefully constructed outward persona that he’s been so desperate to maintain.
Cast: Nick Robinson, Josh Duhamel, Jennifer Garner, Katherine Langford, Talitha Bateman, Alexandra Shipp, Miles Heizer, Keiynan Lonsdale, Logan Miller, Tony Tale, Clark Moore Director: Greg Berlanti Screenwriter: Elizabeth Berger, Isaac Aptaker Distributor: 20th Century Fox Running Time: 109 min Rating: PG-13 Year: 2018 Buy: Video, Soundtrack, Book.
Faye is no more believable than any of the other stereotypes inhabiting , but Tremblay is the one actor here who informs her role with human conviction.
(Also, you may respect Raymond’s restraint for not setting Faye up as a target of one of Marshall’s nemeses.)Cavill isn’t so much bad in his role as he isn’t present, which is understandable given that Marshall has been written with even less personality than usual for the hero of a cops-and-pervs narrative.
The actor seems to want to underplay the role, but he doesn’t communicate a sense of something simmering beneath Marshall’s stoic man’s-man exterior—a quality that Cavill achieved in his underrated performances as Superman.
And so what’s left is a man walking through a role, trying to deliver third-rate dialogue with an illusion of urgency.
Many of us were ever so grateful to shed the skin of our former selves when we finally stepped into the light, but that’s sometimes too simple of a way to say that we didn’t love the version of ourselves who thought we deserved to live in the dark.