Middlesbrough, Teesside, one of the last steel-making towns in the UK or in fact one of the last places in the UK where they still make anything, is probably the right place to go and see, as I did last week, Warrior, the recently-released, much-hyped MMA Rocky remake set in Pittsburgh, Pennsylvania.
Warrior is essentially a bromantic MMA Rocky. This time there are two Rockies: Joel Edgerton and Tom Hardy, playing actual brothers (rather than ‘bros’) forced to fight one another. Both Rockies are considerably easier on the eye and ear than Sylvester Stallone ever was.
The cinema in ‘Boro was (half) full of groups of young, mostly working class men, several of them even more worked-out than the stars of the movie – but in contrast to the resolutely ‘timeless’ grainy Hollywood faux butchery of Warrior that often looked as if it were set in an MMA version of the 1970s, they were fake-baked, shaven-chested, sexily dressed and very much Twenty First Century tarty. (The North East of England is after all home to Geordie Shore the UK version of Jersey Shore)
Of course, not everything about the film is trying to be timeless. I assume the young men had been drawn, like me, by the poster and trailer for the movie featuring naked, hulking Hardy and a ripped Edgerton eyeballing each other, and the promise of a very sweaty, if incestuous porno climax. (Or, as the promotional copy has it: ‘…the two brothers must finally confront each other and the forces that pulled them apart, facing off in the most soaring, soul stirring, and unforgettable climax that must be seen to be believed.’)
Like all trailers, of course, it lied. Unlike Captain America the deceit wasn’t that the trailer provided you with the only tits in the movie – for free. There were oodles of shots of Hardy and Edgerton’s tits and abs. In fact, toplessness was the default setting of Warrior, and for much of the movie Hardy’s intricate tattoos were the nearest thing he had to a shirt. No, it lied about the spornographic climax. But more of that whinge later.
There were though plenty of homoerotics. It’s a movie about brawny male love – because they’re beating the crap out of one another it can afford to be sentimental and tender, not to mention physical in a way that most ‘bromances’ (essentially a middle-class version of the buddy movie) can’t. It’s about two blue-collar brothers’ twisted, jilted love for one another. About an alcoholic, abusive father’s love for his angry, bitter sons (who of course, love him really). About the love between a coach and his eager charge. And the love between comrades/warriors.
And also about the hero-erotic love that so many straight men have for MMA fighters.
The MMA winner-takes-all tournament both brothers enter (and end up fighting one another) is called ‘Sparta’ – the Ancient Greek City State so famously warlike that according to legend, women had to dress as boys on their wedding night to lure their husbands to bed. Hardy is an ex-Marine who is the subject of a YouTube tribute from another young (cute) jarhead whose life was saved by Hardy. The Theban/Spartan band that is the US Marine Corps turns up en masse and in uniform at Sparta to profess their love and sing the Marine Corps Hymn to Hardy. If this sounds a bit camp, that’s probably because it is.
There are really no women in the movie (and there were very few in the cinema). Edgerton’s equally pretty wife (Jennifer Morrison) is sometimes glimpsed in the background worrying about his fate. But it’s almost as if she’s there as proof of his domesticated goodness – and to make the wisecrack about his flamboyant, handsome ‘unorthodox’ trainer (played by Frank Grillo) who uses classical music to ‘condition’ his fighters being his ‘boyfriend’.
(The coach chooses Beethoven’s ‘Ode to Joy’ as Edgerton’s swishy entrance music, reminding me of the Allegretto from B’s Seventh Symphony in The King’s Speech, which then made me think: a) The King’s Speech is something of a bromance, and b) It’s also something of a boxing movie – voice coach.)
The on-screen relationship with his trainer is clearly coded as a romance. The moment Edgerton persuades him to take him on again is a classic seduction scene. In fact, Edgerton is all come-hither smiles and giggles around his coach and when Edgerton professes later ‘I LOVE MY COACH!!’ it’s quite clear what he means.
Hardy has nothing to do with and doesn’t talk about women, except his dead mother. At one point he calls a woman with kids and reassures her he will live up to his promise – and then you realise he means his promise to his deceased USMC buddy, who we learn described Hardy as his ‘brother in arms’. So it’s about male love again. Male love with big kissable titty lips.
Hardy takes on his father as his coach to train for the tournament, but abuses him in revenge for the treatment meted out as a kid. But after a drunken confrontation finally forgives him and literally takes him to bed, holding his old wreck of a dad between his legs and arms and petting him to sleep. He loves his coach too.
After a long, exhausting, slightly tedious and very clichéd final reel, Edgerton gets Hardy where he wants him in the ring, holding him tight in a ‘rear naked choke’ echo of Hardy’s tender moment with his dad – and whispers “I love you” in Hardy’s ear. They stagger out of the ring and out of the arena, clinging to one another. Brothers in arms, finally.
Essentially Warrior is one of those movies about ‘brothers’ that isn’t really about brothers at all. It’s a movie about how ‘real’ brothers are usually no match for those that men call brothers. The way that “I love you like a brother, man” is something of a lie, because most boys and men don’t love their brothers that way. As in this movie, sibling rivalry, age differences and family stuff tends to get in the way. It’s the ‘brothers’ you choose to love that you really love. At least for a while. The phrase men use, and the strapline for this movie, should really be: ‘I love you like I don’t love my brother – that asshole! – man’.
But in one way Warrior is true to the sentiment of ‘I love you like a brother, man’ – the sentiment of ‘not in a gay way’. For all the passionate homoerotics it’s channelling – and despite the very norty, very arousing trailer – it manages to clean-up MMA. A feature-length movie, Warrior is considerably less pornographic than almost any UFC match, which usually last just a few minutes. The fight scenes were mostly a headache-inducing blur of shaky, grainy, poorly lit camera movement. None of the vulgar, compromising and downright lewd positions that characterise the sport and none of the shadowless, multi-angle, explicit, zoomed, overhead voyeurism of pay-per-view UFC (that I wrote about breathlessly here) were permitted.
I’m sure I wasn’t the only one in the audience disappointed not to see Hardy and Edgerton going at it in HD. Any red-blooded UFC fan – and there are loads of them in the UK, as it fast overhauls boxing in popularity – would be.
Perhaps the chasteness of Warrior’s MMA down to the fact that the two actors are just that – actors, not actual MMA fighters, let alone top-level fighters. So the director couldn’t afford to show too much. Or maybe it was because the gritty, obscene mechanics of MMA were too much – for the bromantic storyline. In the end, despite the trailer, Warrior didn’t want you to think it was that kind of girl of course, and offered an emotional climax rather than a physical or even visual one.
Though admittedly, any film starring Hardy’s lips can hardly be called clean fun.
Mark Simpson attends an epic UFC event finds himself turned on to the charms of ‘gay porn for straight men’.
(Originally appeared in Out magazine, June 2008)
Imagine the Space Shuttle taking off with a really fat customized exhaust pipe. Or Visigoths sacking Ancient Rome with kicking bass tubes fitted to their 4-by-4s. Or 20,000 supercharged male orgasms. Simultaneously. And you have some idea what it sounds and feels like in Montreal’s famous Bell Centre tonight for Ultimate Fighting Championship 83, as a spunky young carrot redhead in shorts pins an auburn lad on his back with his heels somewhere around his ears.
I think the technical term for this is a “full mount.” Or maybe it’s “ground and pound.” I get confused. And flustered.
As the chiselled and blond bad guy with the low-slung shorts (Cam Gigandet) in the recent mixed martial arts (MMA) exploitation flick Never Back Down says leeringly to the doe-eyed brunet boxer good guy (Sean Faris) new to MMA, the good news is that in this sport you can choke, kick, punch, pin, and throttle. “The bad news is that it’s gotta end with you looking like a bitch in front of everybody.”
Perhaps it was bad news for him – and for the auburn lad in the ring tonight – but certainly not for the 22,000-strong overwhelmingly young-male audience for the biggest-ever UFC event.
Over 2,500 miles away in Las Vegas, Brit boxer Joe “slapper” Calzaghe is tonight defeating light heavyweight Bernard Hopkins on points. In the long-established world of boxing, there is rumoured to be an ancient and secret tradition called the “perk,” or “perquisite” – by which the losing man may be required later to literally give up what he has lost symbolically. In other words, the fucked gets… really fucked.
I don’t know how much truth there is to the “perk,” though the breathless trash talk of modern-day boxers in the run-up to a fight – “I’m gonna make you my bitch/girlfriend/punk” – certainly doesn’t discredit it. But I’m fairly certain that the “perk” doesn’t exist in the “full-contact” brave new world of mixed martial arts (MMA), an omnivorous blend of boxing, freestyle wrestling, judo, tae kwon do, kick-boxing, karate, jujitsu, and Thai boxing that is rapidly replacing boring old traditional boxing, especially among young men, as the fighting sport. The perk isn’t needed. Because in MMA you get perked in the “ring” in front of everybody. On pay-per-view TV. The “perk” is the whole perking point, man. And UFC, by far the most successful purveyor of MMA fights for the cable TV voyeur, looks remarkably like gay porn for straight men: ultimate fuck-fighting.
In the octagonal UFC cage set up over the Bell Centre ice hockey rink — octagonal perhaps because it better affords multiple viewing angles than a square boxing ring – Mac Danzig is still on his back; his sweaty, pumped, almost translucently white torso is flushed with the auburn heat that auburn skin produces when it is aroused. His panting, fetching head has been pushed up against the cage by redhead Marc Bocek’s energetic pounding, as if the cage were in fact a headboard. Bocek isn’t making love, however, or at least not the vanilla kind. He’s hammering the living daylights out of Danzig, stoking the crowd into ever-higher waves of frenzy. Although the Octagon is right in front of me, I’m watching all of this on one of the giant screens overhead: MMA is mostly a horizontal sport — one that requires multiple zoom lenses and a big TV to enjoy properly.
Bocek pauses for a moment to grab his partner/adversary by his hips, almost tenderly, and drag him backward while still kneeling between his legs, not wanting to break contact and negotiate that tricky “re-entry.” It isn’t, though, out of consideration for his chum’s cricked neck. He’s worried that Danzig will use the cage to get up off the canvas — and then get him in the “bitch” position. MMA is all about fighting for top. (Or maybe for extremely truculent bottom.)
Unfortunately for Bocek, Danzig succeeds in breaking away anyway, jumps to his feet, and deftly, impersonally, brings up his knee and smashes it against Bocek’s left eyebrow, which provokes another roar of excitement from the crowd and opens up a very nasty laceration that spills hot blood everywhere, streaming into his eye, across his face, down his chin, and splatters across his lily-white chest — and all over his opponent. MMA is definitely not safe sex. The ref pauses the fight to examine Bocek’s eye. If the blood is preventing him from seeing, the fight will be declared in Danzig’s favor.
Turning to my beautifully produced glossy fight program, which includes full-page colour images of the topless young fighters arranged opposite one another and their vital statistics, I learn that Danzig is 5 foot 8 and 155 pounds, 28, and a Cleveland native. His feisty opponent, Bocek, from Woodbridge, Canada, is 26, and is also 5 foot 8 and 155 pounds. As someone who has a thing for redheads and short-asses, I’d say they are well matched.
The ref continues the match – and why not? Blood looks good on TV. There are only a few seconds left of the third and final round (UFC fights only go to a maximum three rounds at five minutes each — about the average length of a porn scene). Bocek, despite the turned tables and his pasting and what must be deathly tiredness, is still putting up an astonishing fight. Danzig scores a take-down almost immediately and moves, as they say in MMA, “directly to the mount.” Bocek “gives up his back” to try to save his ruined face from further punishment but is then caught in a “rear-naked choke” by Danzig’s powerful, fatally inviting arms. He “taps out” (submits) at 3 minutes, 48 seconds.
I don’t know about Bocek, but these were some of the longest 3 minutes, 48 seconds of my life. I’m aroused and inspired and exhausted and confused. For my money, Bocek won that fight – morally speaking. Which of course means that he lost very badly. His face is roadkill. He is really fucked. But he displayed that quality you hear people talk about reverently in MMA: heart.
Despite the gore, MMA is generally safer than boxing — there are fewer fatalities and brain-damage is less common. Because the fight is “full-contact,” the head doesn’t take all the violence. When it does, though, it’s pretty gruesome. Yet amid all the mayhem, there is a touching tenderness to MMA. Not because it looks to my twisted, queer eye like very rough sex — but because of that “heart” business. After a bout is over, most fighters hug each other in a pseudo-post-coital embrace that re-enacts the warlike hug earlier, only this time it’s a hug of warm brotherhood.
Another huge, manly Gallic roar. The arena’s giant screen is now tuned to the locker room; a rangy young blond skinhead fighter has peeled his shirt off, revealing a well-oiled fleshly fighting machine. The light behind him and his piercing blue eyes gazing into the camera, not to mention the low position of the locker-room cam, give him the cast of a demigod. It’s Georges “Rush” St-Pierre, the handsome, stylish 26-year-old local Montreal boy who tonight is hoping to seize back his UFC Welterweight belt from Matt “the Terror” Serra, 33, the no-nonsense Long Island master of Brazilian jujitsu who dispossessed him of it last year with what some people said was a lucky punch.
We’ve only been watching the hors d’oeuvre. All this blood has just been so much foreplay.
“STOP LOOKING LADIES!” some funny guy in the audience shouts. It’s the weigh-in, a day earlier. Ed “Short Fuse” Herman, another 20-something boy-next-door red-headed fighter, from Vancouver, Wash., is naked on the stage under the spotlight, a towel held up by two lieutenants to shield his “short fuse.” Funnily enough, it’s mostly men rather than ladies doing the looking here in this packed auditorium. Though some are perhaps doing more looking than others: From where I’m seated at the side, I manage to catch a glimpse of Ed’s white butt as he bends over to slip off his briefs (a day later he will fight in shorts cheekily advertising ‘CONDOM DEPOT’ — across his butt).
Several guys have had to take their underpants off – to cheers. I can’t help but wonder whether the UFC officials, for showbiz’s sake, pretend some of these guys are closer to the weight limit than they are.
UFC knows all about showbiz. According to Forbes magazine, its pay-per-view shows have drawn well over 2 million viewers, most of them male and ages 18 to 49. Formidably shrewd, motor-mouthed former boxing promoter Dana White hosts The Ultimate Fighter, UFC’s hit PPV series on Spike (a men-only Big Brother with grappling gloves), which has taken MMA, essentially a semi-organized barroom brawl in the ’90s, cleaned it up, introduced some rules — including no stomping, no spitting, no throat strikes, no punches to the back of the head, and “no groin attacks of any kind” – and made it into a hot, multiangle, high-impact PPV commodity.
Described memorably by John McCain in 1998 as “human cockfighting,” and under threat of a total ban, MMA has become a different, more saleable, less relentlessly violent kind of “cockfighting” in the nurturing hands of the UFC – so much so that McCain himself recently relented: “The sport has grown up.” As a measure of just how grown up, UFC – for which casino owners the Fertitta brothers paid $2 million in 2001 – is today valued at roughly $1 billion. Cultural respectability has arrived too in the form of a recently published $2,500 MMA art book titled Octagon with a foreword by man-loving straight playwright David Mamet, who wrote and directed the MMA-themed movie Redbelt. MMA is also coming to major-network TV: CBS recently announced plans to air four MMA fights (non-UFC) annually — despite the disapproval of CBS chairman Sumner Redstone. “I’m a lover, not a fighter,” he said, perhaps missing the way UFC brings loving and fighting spectacularly together.
There is a lot of passionate hero worship in the world of MMA, not so much homoerotic as hero-erotic – or herotic. Straight male fans and fighters themselves will enthuse with shining eyes about “my idol”, in a way that in most other contexts would be considered much too ‘gay’ to keep a straight face. But perhaps that’s not so surprising, since MMA owes a lot to those notorious warrior homos, the ancient Greeks. Although today’s MMA came to us via Brazilian jujitsu (alas, not conducted in Speedos, as the name may suggest), many consider it the modern version of pankration, a combination of boxing and wrestling that was the basis of combat training for Greek soldiers and an original Olympic sport. With lethal purity, pankration had two primary rules: no eye-gouging or biting. Fingers were often snapped off. Sometimes death or unconsciousness was the only form of submission (rather like this year’s Democratic primaries).
MMA’s younger fans are not likely to acknowledge their sport’s homoerotic heritage. For most of these young men, many of them blue-collar and swooningly in love with masculinity, gay means unmanly and passive and emasculated – and therefore major turn-off. MMA is gay porn for straight men because its violence not only justifies the intimate, protracted, eye-popping physicality of the sport but also preserves its virility – the very thing that gets many of its fans hot. These fighters can’t be fags – look how fucking tough they are, dude! It’s a bit like how in gay porn “real” tops never bottom – for the sake of the bottoms watching.
Sometimes the MMA fighter really is homo – like professional MMA fighter Shad Smith, who was recently profiled in The New York Times. From a tough blue-collar background, Smith was desperate to hide his sexuality at first. “I was petrified because I didn’t want anyone to find out,” he told the Times. “And I would try to be the toughest person around. That way no one would suspect. No one would ever say it. No one would think it.” Doubtless there are quite a few Shad Smiths who became very good, very determined, very motivated scrappers because they weren’t escaping to college or opening a hairdressing salon.
The tough-guy image is something of an illusion — if an entrancing and convincing one. Surprisingly often, fighters turn out to be sensitive, introspective loners – “fags” who aren’t actually fags — such as Mac Danzig, the beefy auburn-haired killer who is in fact a vegan and whose main pastime, when he isn’t turning another lad’s face into tenderloin, is nature photography. That’s also the story of Georges St-Pierre, a bullied slight boy at school who turned to MMA for salvation, who with his tight, wiry body, immaculately groomed presentation and designer clothes looks rather metro. As one observer put it: “He’s the kind of flash Europunk you might think you could wipe the floor with if you came across him in a bar, but you’d be very, very wrong.”
Likewise you might expect a fight between Serra and St-Pierre to be billed as good ol’ USA versus Frenchy “fag,” but you’d be wrong. Because GSP – to give St-Pierre his brand name – is generally considered to be an exceptional fighter, genuinely excellent in several disciplines, or maybe because this is such a visual medium, he has begun to look like the David Beckham of UFC, albeit one who actually reads books and is, heaven forfend!, interested in philosophy (that’s the French for you). His photogenic face and body and his workouts have been splashed across countless health and fitness magazines.
His opponent, Matt Serra, may be breezily unpretentious and resemble an unpainted fire hydrant, but he is definitely no idiot: “I think they look at Georges as the Crest poster boy with the sparkle in his teeth, the looks, the physique, the body and the athleticism…the real version of what Van Damme was doing,” he’s said. “And then comes me — the Joe Pesci–style ‘Heyooo!’ But it’s cool, man. I’m down with it. I fit in those shoes real well. I’m just looking forward to having another good fight.”
When he turns up for his weigh-in, a relentless tidal wave of boos greets him. An Italian-American pocket battleship at 5 foot 6, Serra weighs in at 169.5 pounds; he appears indifferent to the roiling sea of hatred around him. The booing doesn’t stop when the host offers him the microphone, and whatever he says is completely drowned out. So he offers the crowd two fingers, meaning “two times” and V for victory – and, perhaps, “fuck you.”
Ecstatic cheers greet his challenger St-Pierre, who’s taller by four inches but in stature by several feet. St.-Pierre fluidly strips down to his tasteful and tastily filled-out black underwear and also weighs in at 169.5 pounds. Offered the mike, he graciously tells the crowd they shouldn’t hate Serra and that “I don’t fight with angerrr – I fight with my ‘eart.” The two men pose for the cameras in a fighting stance and then they hug, GSP kissing Serra’s huge neck.
There was no trash talk in the quieter surroundings of the press conference the day before. The fighters had been polite, respectful, even friendly. “C’mon, I’ve got nothing against the French,” protested Serra when the journalists dug up some “Frenchy” quotes from the past. St.-Pierre, for his part, was touchingly open. “I am nervous and scared to fail but that’s normal,” he admitted. “I ‘ave butterflies. but I ‘ave to make the butterflies fly in formation.”
The Bell Centre outdoes itself as Georges St.-Pierre, surrounded by his lieutenants, makes his way to the stage in a natty red jujitsu jacket. Climbing into the Octagon, he peels off his silky, tight black T-shirt, and then his baggy trousers come off, revealing tight black trunks with just a white fleur-de-lis on the side of his firm right buttock. It matches the arty tattoo on the back of his steely calf.
Cheers turn to boos. Matt Serra has arrived in a baggy black T-shirt with big white lettering: BUY GUNS SELL GUNS — GUNSAMERICA.COM. The stats on the big screen make difficult reading for Serra: GSP is taller and younger and has a longer reach. Worse, he is more popular and better-looking and has nicer pants. He’s the favourite in every way.
The bell rings, and they touch gloves. In a flash St.-Pierre has Serra on the canvas. All that frustration, regret, resolve, training — and heart — have exploded. All over Serra. To tire him out, St.-Pierre lets him get up, keeping him within range of his own fists but out of Serra’s. Then he takes him down again. St.-Pierre’s purposeful, ominous shoulders rise up like medieval armour, like Joan of Arc seriously narked.
End of round 1. Serra’s eye is swelling up badly. He looks beaten already.
Round 2. Plucky Serra tries a kick. St.-Pierre catches it and takes Serra down. After Serra stands up again, St.-Pierre lets fly a barrage of punches. Serra is too groggy to parry them. St.-Pierre — part panther, part lethal ballet dancer — comes in for the kill, easily taking his opponent down again. Serra offers his back, and St.-Pierre knees him repeatedly, athletically in the ribs in a manner which somehow manages to be as passionate as it is impersonal.
The ref stops the match, and it’s all over: technical knockout. Canada has won. Montreal has beaten Long Island. The butterflies flew in formation. Terrifying formation. And judging by the noise from the crowd, the entire world and its dad have just climaxed.
A grinning St.-Pierre executes a winning somersault. The crowd chants, “FUCK YOU, SERRA! FUCK YOU, SERRA!” He has been fucked. He was fucked. He is fucked. He is without any doubt whatsoever the fuckee. But he exhibits no resentment. The warriors embrace warmly, another kiss from GSP to that huge, now sweaty neck. Serra holds St.-Pierre’s arm up for the crowd, then hoists him on his shoulder, carrying him for a few staggering steps.
If MMA is gay porn for straight men, then tonight a part of me wonders whether, for all its spilled blood and mashed faces, it isn’t the better kind.
After all, no one could seriously accuse gay porn of having “heart.”
‘What other culture could have produced someone like Ernest Hemingway,’ waspish bisexual American exile Gore Vidal once asked of America’s favourite so-butch-he’s-camp writer, ‘and not seen the joke?’. The answer, was, of course, that only a culture that couldn’t see the joke could produce a Hemingway.
I don’t know whether Matt Lucas and David Walliams read Vidal or Hemingway, but in Little Britain USA, the recently launched HBO spin-off of their hit UK TV comedy sketch series (which is also airing on BBC1), they seem to be posing that question again – though this time the answer has some bearing on the likelihood of Stateside success of their show. In Little Britain USA ‘Our Boys’ (as a cheer-leading UK media seem to have tagged the camp duo) have put their probing finger on one of the most ticklish fault-lines of US culture: how ‘gay’ big butch God-fearing America can seem – and how comically in denial of this Americans can be.
There certainly seems to be a bit of Hemingway, who loved his guns, in the moustachioed cop (played by Walliams) who gets a visible hard-on while demonstrating his impressive collection of weapons to his fellow officers. But it’s in the steroid-scary shape of the towel-snapping ‘Gym Buddies’, Tom and Mark, who like to take long showers together after pumping iron, and graphically re-enacting what they did to the ‘pussy’ they pulled last night – with each other’s huge latex bubble-butts and tiny penises – that the so-butch-it’s-camp not-so-hidden secret of American culture is graphically outed by Little Britain USA.
Along with pathological denial. In last week’s episode, when an alarmed bystander glances nervously at them humping naked in the locker room they retort: ‘Whaddyou lookin at? Are you A FAG??’ Walliams, who is so camp he’s almost butch (a ladies’ man off-screen he has been described repeatedly by the UK press as ‘the ultimate metrosexual’), seems especially proud of the Gym Buddies sketch – describing it as ‘possibly the most outrageous we’ve ever done’. Certainly it’s drawn most fire from critics in the US, who have given the series very mixed reviews.
Lucas and Walliam’s gleefully amoral queer sensibility – they’re basically drag queens on a revenge trip, especially when they dress up as men – was always going to be difficult for America to swallow. But touching Uncle Sam up in the locker room may well make it a lot harder… er, I mean, more difficult. America, even that part of it that watches HBO, may not want to get that joke. Especially when made by a couple of faggy Brits. And by the way, while we over here might think American butchness tres gay – e.g. the locker-room and volley-ball scenes in Top Gun – all Europeans look ‘faggy’ to Americans, especially us Brits. The sketch featuring Walliams as a flaming Brit Prime Minister trying to get into the straight black US President’s pants probably won’t offend as much as Walliams hopes since most Americans thought Tony Blair was gay anyway.
Rather sweetly, compared to the UK, America is a country where masculinity and machismo is still sacred – despite having done more than any other country to make it obsolete by inventing men’s shopping magazines. In the US of A, it seems, anything masculine can’t be gay and vice versa. Hence Hummersexual Tom and Mark. Hence ‘Don’t Ask, Don’t Tell’. And hence all that fuss the US made over that mediocre gay cowboy movie Brokeback Mountain which, when it arrived in the UK, promptly bored everyone senseless.
America’s love of the masculine body, is gloriously ‘gay’ – or, more accurately, homoerotic. But alas, until now Uncle Sam has been terribly ashamed of his natural, red-blooded and blatantly bloody obvious bi-responsiveness.
Only America, God Bless, could have produced UFC, a hugely popular pay-per-view ‘full-contact-sport’ that involves two young muscled men in shorts trying to get each other’s legs around their ears (Tom and Mark probably watch it together – in their UFC shorts). Only America could produce a best-selling men’s workout magazine like Men’s Health, put men’s pumped tits and abs on the cover every month and strenuously maintain the pretence that none of its readers are gay or bisexual – or even metrosexual. Only America could produce a film like last year’s ‘300′, essentially a toga-themed Chippendale flick for teen boys – but because it was made for American teen boys its denial was even more preposterous than its pectorals: the baddie had to be a big black club queen in a spangly Speedo.
Mind you, ‘300′ had at least one virtue, albeit unintentional: it was rather funnier than Little Britain USA. Perhaps the biggest problem Walliams and Lucas face in ramming their sensibility down Uncle Sam’s throat isn’t America’s gay denial or gagging reluctance to see the camp joke, but simply the fact that, on the basis of the first couple of shows, their American ‘outing’just isn’t very funny.
When it comes to mainstream or traditional sports the US is, compared to Europe, South America and Australia, somewhat resistant to Sporno – rather coy about strutting its stuff. Nonetheless, the US is home to specialist, completely non-coy S&M Sporno.
Say hello to Ultimate Fighting/Mixed Martial Arts, a new – and ferociously violent – sport from the USA in which two hyper-fit pleasingly muscled young men in Speedos grapple in a cage in positions that Chi Chi La Rue might blush at. Though in Ultimate Fighting, everyone fights for top.
Or maybe they’re just very feisty bottoms.
Unlike rugby or football, MMA doesn’t use Sporno to make itself more marketable or mediagenic – MMA simply is Sporno. Hardcore Sporno. Yes, I know, my filthy mind is working overtime again. But that doesn’t mean that UF isn’t filthy too.
MMA is also rapidly becoming very popular with spunky lads in the UK – earlier this year I attended a local ‘cage fight’ as a mate of mine was competing. The atmosphere was, as they say, heavy with testosterone – so I breathed deeply. And the short-haired thick-necked lads in the audience shouting ‘GWORRN!! STICK IT TO ‘IM, STEVIE!!’ certainly added the sense of excitement.
But since most of the ‘action’ in MMA is on the mat (the combatants are usually only on their feet for the first few seconds because the main objective seems to be getting your opponent’s heels behind his ears) I found myself slightly frustrated by the ‘live’ experience watching from beside the ring: most of the time I could see bugger all.
This sport isn’t really meant to be watched in the flesh. It’s designed to be consumed in the privacy of your own bedroom via voracious multiple-angle telephoto video camera lenses with a pause and rewind function. Enjoy.
(I don’t know about you, but I think the ref in this clip is getting in the way deliberately.)