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Last month one of the big controversies in online movie discussions was the box office failure of the film BROS:
https://deadline.com/2022/10/bros-billy-eichner-reacts-disappointing-box-office-results-proud-movie-1235133197/
The movie, which was which was promoted as a pioneering mainstream romantic comedy about gay men, earned $11.6 against a $22 million budget.
A lot of coverage lamented that romcoms of all varieties are simply dead as far as theatrical excursions are considered:
https://www.yahoo.com/lifestyle/bros-disappointing-box-office-debut-142922789.html
This may not be true if the romcom features major Hollywood stars -- the new Julia Roberts/Geroge Clooney movie has already broken the $100 million barrier -- but the cast of BROS is niche, to say the least, if Eichner (a Youtube celeb and bit player in later Parks & Rec seasons) is the most recognizable face in its cast.
Some questioned whether marketing the movie as an important milestone in gay cinema made it less enticing than marketing it as a funny comedy. Apparently, the narrative of the movie gives some prominence to the discussion of gay history, making it feel even more like a "lesson movie;" I don't know -- like everyone else, I did not go to see the movie, and I watch considerably more movies than most people.
Co-writer/star Billy Eichner blamed "homophobic weirdo[s]" for his movie's failure:
https://dailycaller.com/2022/10/03/gay-rom-com-bombs-box-office-billy-eichner-blames-audience-bros/
The movie podcasts I listen to couldn't find their way into discussing this elephant in the room beyond shallow references to Eichner's comment: Is it actually "weirdo" to be "homophobic" by Eichner's standard? Or is homophobia normative and homophilia is the "weirdo" position? 'Not homophobic' in this context, one assumes, means something like Ibram X. Kendi's "anti-racist:" that is, it's not enough to merely not be homophobic, one must be actively affirming of homosexuality (to the point of buying one or more tickets for BROS) to display one's lack of homophobia. However, if homophobia is to be measured by the reaction to BROS, it suggests that so few people are not homophobic that "not homophobic" is a position on the outer fringes of positions.
What I suspect is that maybe even most "allies" who support homosexuality politically with rainbow avatars, buttons, and bumper stickers, aren't going to go out of their way and spend their $30+ for a night out to watch gay men love each other, including an allegedly strong sex scene. Allyship's appeal as a virtue maybe doesn't easily translate into casual "date night" entertainment. For all of the battling over culture war insertions into big franchises mostly owned by Disney, those are still properties that appeal mostly to normies, who are the biggest box office spenders. If you take away all of the normie appeal -- the movie stars, the special effects -- and just leave the important socio-political content, the audience almost completely vanishes, as should be expected.
It also probably didn't help the box office of BROS that its target market --- young urban progressives -- is the same one most hawkishly cautious about COVID and the least likely to return to movie theaters out of what now could be ascribed to superstitious fears of deadly illness.
I had another thought about this movie today that I'm almost sure didn't occur to anyone who is 100% in on the Ally train, and which suggests a systemic blindspot within the pro-homosexual community: the title. "Bros" may be a term that has entered popular lexicon as a synonym for "Buddies," but etymologically it derives from "Brothers." Its meaning is an intentional blurring of the two: "Buddies" who are so close they are like "Brothers." The poster, https://nerdzone-cinemanerdz.netdna-ssl.com/wp-content/uploads/2022/05/bros-poster.jpg, which over the title shows the backs of two men each with a hand on the other's blue-jeaned ass, has an inescapable connotation of incest in this context.
If for many normies who have internalized decades of calls for tolerance and are no longer actively anti-gay, gay men still seem, when considered closely, pretty gross, adding an incest connotation multiplies that potential nausea exponentially. Can you imagine a movie poster just like that of BROS, but with a hetero couple, for a movie titled, "Like Brother and Sister?" It's almost inconceivable that this would happen outside of some edgy indie fare. (The only comparison that came to mind is Spanking the Monkey (1994) https://en.wikipedia.org/wiki/Spanking_the_Monkey, a dark comedy about a fraught and erotic mother-son relationship, which grossed less than $2 million but launched the career of Oscar-nominated director David O. Russell.)
I suspect that, if homosexuality is still, in the broad scope of sexuality, a fringe deviation from the norm, the act of promoting homosexuality as "normal" has made its proponents tone-deaf to the general public's overall aversion to other sexual transgressions, like incest. That suggesting an extreme taboo like incest in the title either was not noticed as an obstacle or was noticed and dismissed is noteworthy because movie studio marketing departments are notorious for micromanaging every detail to an obnoxious degree to be the most blandly appealing to the widest audience.
Even if you don't think the title BROS connotes incest, the far lesser taboo it suggests has been treated as a consequential obstacle by romcoms for several decades. To take the title BROS at its most benign: How many romcoms are about the earthshaking repercussions of crossing the line from platonic hetero friendship to a sexual relationship? It's a staple of the genre and is often the primary conflict for an entire narrative. My guess is that, IRL, the friends-to-lovers pathway is a far more common transgression than vanilla homosexuality, and yet BROS wants to steal the less common transgression as a given and expects a wide audience to accept it without a blink. It doesn't seem a shock that ignorance of one taboo is joined hand-in-ass with willful ignorance of another taboo within the same broad category, increasing the reasons why a normie audience member could be put off from going to see this. The problem is, as I see it, not only that lines are being crossed that the general audience is not ready to cross, but that the censorious nature of public discourse about homosexuality has made its proponents unaware of the lines that are being crossed.
Also, one more line is being crossed: This is an unusually sexually bold poster for any mainstream comedy, let alone a gay one, right? I can't think of any others that depict fondling, except for some low-grade 1980s sex comedies, and even those are mostly leering rather than active groping. If BROS is supposed to be the gay equivalent of middlebrow comedies like NO STRINGS ATTACHED (2011) (https://m.media-amazon.com/images/M/MV5BMTg2MDQ1NTEzNl5BMl5BanBnXkFtZTcwOTgxNTMyNA@@.V1.jpg) or FRIENDS WITH BENEFITS (2011) (https://i5.walmartimages.com/asr/417b9424-88ce-47b9-affe-58804b299ea0_1.09201acca0a0b0759d602d050606699d.jpeg) those posters don't show touching at all, surprisingly. I also looked through the posters for several other Judd Apatow-produced comedies from the last 20 years, and the only ones that show actual physical contact are STEP BROTHERS (2008) and BRIDESMAIDS (2011), and the contact in those is non-romantic. This is not a prudish criticism of BROS as much as it is to point out how out-of-step it is with mainstream Hollywood, which does have prudish marketing for comedies, and even for comedies mostly about sex. If the intent of BROS is to push envelopes, fine; but it shouldn't then expect mainstream success. If its makers want mainstream success, they need better self-awareness and management of their envelope-pushing.
You may be shocked by the lopsided demographics of yaoi, gay fanfiction, homoerotic vampires, and gay fanfiction about homoerotic vampires. Romance for women often does better without including a cute actress that might make the audience feel inadequate.
It's just that they're not attracted to "bromances", but standard male-female relationships with a non-threatening sensitive boy standing in for a woman. So brokeback mountain probably scored much better with them than this did.
A point i feel like people sometimes miss in these discussions is how weird yaoi/boys love is. It isn't just gay rom-coms, it is essentially porn, regardless of whether there is any actual sex or not.
One obvious aspect of this is that the characters clearly aren't male, just like women in porn aren't really female.
This is often kind of the case in regular rom-coms as well characters being so idealised but in Boys love it's turned up to 11 and humanity is left behind.
Could you expand on this point?
Female sexuality is about being defensive, elusive and making men chase after them - to catch the best, most dedicated fish in the sea. Female porn actresses are depicted somewhere along the spectrum from 'sexually aggressive' to 'total slut'.
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