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A classic example is the “flower boy,” a young male whose personal style recalls the extreme aesthetic flair of Johnny Weir - think boat neck angora sweaters, elaborately fur trimmed waistcoats, and neon-colored fitted pants that make jeggings feel modest - but whose look invites none of the same speculation about his sexuality.Ī case in point is actor Lee Jong-Suk, an iconic flower boy in heavy rotation on contemporary K-dramas, whose promotional video for fashion magazine Ceci Korea might be one of the queerest things I’ve ever seen. They epitomize the extreme melodramatic pitch and romantic intrigue of American soap operas, but are situated within an often-critical economic and political context absent from our domestic varieties and populated by male heterosexual types whose feeling and presentation isn’t hamstrung by our gender standards.
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As cultural products second only to the now ubiquitous “ K-pop” in globally disseminating South Korean culture, these single-season TV shows are at once universal and culturally particular. When a friend introduced me to Korean dramas, I was immediately drawn into the emotional intensity of their romantic comedies and the comparatively unbridled intimacy of their depiction of male friendship.
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While Lena Dunham’s Girls gives us bathtub scenes of a socially acceptable deeply intimate sorority, the idea that two men might love one another with all the passion of a romance but stripped of its erotic charge still raises suspicion, if it isn’t outright unintelligible. Some 40 years after gay liberation, our evolving culture’s awareness of gay life beyond sex has usually taken the shape of commodity consumption, of the endless baubles and chic cachet an “out” identity affords. “How is it possible for men to be together?” was the question Foucault unfurled at the heart of the gay experience beyond sex, “ to live together, to share their time, their meals, their room, their leisure, their grief, their knowledge, their confidences?” When normative culture reduces homosexuality to just sex, Foucault argued, it forecloses the possibility of a new way of life already emergent in gay friendship, in the trenches of brutal military conflict, in the locker room. IN AN INTERVIEW published in the April 1981 issue of Gai Pied, Michel Foucault proposed that gay male friendship represented the apotheosis of homosexuality’s capacity to challenge the regimes of normativity.