Eight staunch Scotsmen with right proper stauners under their sporrans

Since A Discovery of Witches features staunch Scotsman Adam Stevenson, features a Scotch comedian trapped in London, and one of Robert Oberst's strong men was Scottish, I figured it was time for some Scots studs. 

A kilt malfunction in Edinburgh.

Pub mates in St. Andrews, site of the most prestigious university in Scotland.

Pub mate stauner -- a semi. 

St. Andrews prof explores his kinky side.

There are about 60,000 Scots Gaelic speakers in Scotland, mostly in the Hebrides.  You often hear it spoken in Stornoway, on the Isle of Lewis.

Vietnamese-Scots chub from Stornoway, skittish about showing his tadger.

The Callanish Stones, Lewis

More Scotsmen after the break. Warning: explicit.

Gemstones Episode 3.6 Continued: Kelvin and Keefe fight, BJ and Stephen fight, and nobody likes hologram Aimee-Leigh

Previous: Episode 3.6: BJ swallows a lot, Keefe learns about hard wood, and Kelvin gets a girlfriend

In the earlier scenes of this episode, Kelvin attempts a reconciliation, but when he sees that Keefe is doing fine without him, he gets all bitchy and flubs it.  Later, he "works some things out," apparently decides to pursue the heterosexual trajectory, and prepares to ask Taryn for a date. As they are putting away gym mats and flirting....

The Second Reconciliation Attempt: Keefe enters with a rocking chair carved with Kelvin's name on a tree. This is way too much for a "let's stay friends" gift: he is attempting a reconciliation. You're the one who left, dude. You could just ask to get back together.

He is not wearing a sexy outfit; actually he is sweaty and rather disheveled, as if he rushed over the moment he finished the chair.  

Why a rocking chair for an athletic 34-year old?  "This is true love: we'll be together forever."  I am reminded of Robert Browning's famous lines from "Rabbi ben Ezra": "Grow old with me -- the best is yet to be."  But viewers may be more familiar with John Lennon's version:

Grow old along with me. Two branches of one tree.

Face the setting sun when the day is done

Or Tom Odell's:

Grow old with me. Let us share what we see, and the best it could be

You'll be the one who makes me hurt, makes me come

Makes me feel like I'm real

Keefe expected Kelvin to be alone to accept his gesture.  Nope, Taryn is there.  He knows that the youth group has just ended out, and that Taryn is the new assistant youth minister; why wouldn't she be there?

Kelvin looks nervous and decidedly guilty, as if he has been caught cheating; he pulls Keefe into a bro-hug, asks inane questions ("Is that chair made of wood?"), and stammers "We were just...um...we..." until Taryn takes over and explains that they are just working together.  

Platonic pal advocates, pay attention:  Taryn wouldn't think it necessary to inform Kelvin's buddy that he has nothing to worry about, they are not having an affair.  Either she has inferred that they are lovers, or one of the guys told her.   

Keefe turns on the jealousy, and asks if Taryn has replaced him. As assistant youth minister, of course. But he means as a romantic partner.

Angry at the implication, maybe feeling guilty because he was planning to start a relationship, Kelvin plays along: he asks Taryn to give them a moment alone, touching her affectionately on the back to usher her out, exactly as you would ask your girlfriend to give you a moment to talk to your ex.  

Keefe continues to lash out, demanding to know if Kelvin and Taryn have had a "physical connection."   Romantic but not sexual partner advocates, pay attention: Kelvin and Keefe must have had a sexual relationship, or Keefe wouldn't think to ask about sex with his "replicant."  

More fighting after the break

"Ripley": A slow, artistic version of the gay-subtext con artist/murderer, with Tom's bum and Dickie's dick

 

The Talented Mr. Ripley (1999) stars Matt Damon as the charming con-artist Tom Ripley, who has a gay-subtext romance with Jude Law's Dickie before murdering him and adopting his identity.  The 2024 version is a tv series, and reputedly overtly queer, taking the gay subtext into text.  I reviewed the first episode.

Scene 1: Rome, 1961, atmospheric black and white.  Having just killed someone, a man with his face obscured puts on his shoes and hat and starts dragging the body down a palatial staircase.  

Scene 2: Six months earlier, New York. Tom (Andrew Scott) gets up in his run-down room in a residential hotel, walks the mean streets, steals someone's mail, and writes out a fake "payment overdue" notice

Then he goes to a bar and starts one of those highly-closeted 1960s hookups with a guy named Al (Bokeem Woodbine) Whoops, no, Al is a private detective, hired to find him and hook him up with the wealthy Mr. Herbert Greenleaf.  Tom refuses, then leaves to ride the subway and walk the mean streets some more.  

Back home, someone left his business card: From the IRS!  

Scene 3: Tom continues his scam: he steals payment checks, then calls or writes the sender, claims that it was lost in the mail, and has them send a new check to his own post office box. Nice establishing shots of the art deco post office and bank.  

Uh-oh, the clerk thinks something is wrong, and goes to consult the manager. Tom has to run away, and close down the whole collection agency scam!  What to do next?  Maybe Herbert Greenleaf's job won't be so bad...

Scene 4: Greenleaf Shipbuilders.  Tom is escorted past the big ships to the office, where Herbert Greenleaf tells him about the job: his son Dickie,  Tom's old acquaintance, has been living in Italy for years, pretending to be a writer or a painter, but really just goofing off.  Greenleaf wants Tom to convince Dickie to come home.

Why Tom?  They didn't know each other well.  Because none of Dickie's other friends wanted the job. Why would someone on the bottom of Dickie's friends list, who he doesn't know well and doesn't care about, be able to talk him into leaving Italy?  Tom must have a really big dick.

Scene 5: While he's considering the job, Tom has dinner with the Greenleafs. Back story dump: He went to Princeton. When he was young, his parents drowned. Uh-oh, maybe he killed them. Then they look at some photos of Dickie when he was young, in college, and now, in Atrapi, with Marge -- "girlfriend, friend, who knows?"  So Dickie is gay.

Scene 6: Tom at the tailor's, inspecting the clothes the Greenleafs bought for him. He gets his passport, signs travelers' checks, throws out his scam checks, and we're on the Orient Express!  In the Swiss alps; I guess in those days you flew in through Paris?   

He writes to his Aunt Dottie, who is getting a dental procedure -- which we see, for some reason: "You're free of me now, and I of you." I like the slow, moody structure, with the beautiful, weird shots of fire escapes, catwalks, and sculptures, but it's a little too slow.  How much time do we need to devote to Tom brooding?.

Scene 7: Naples. Tom gets off the train, changes some travelers' checks, and asks for a bus to Atrapi.  He is pushed into a cab instead, and arrives at a darkened station in the middle of the night.  Nothing to do but wait until morning, then get on the real bus -- for a trecherous drive through the mountains!

Atrapi, finally!  He asks someone, in bad Italian, for Richard Greenleaf, and is directed up endless stairs, through arches and corridors, up more stairs. to a villa.  Where he is told that Richard is down on the beach!  Is this supposed to be a comedy?

Scene 8: Tom at a shop, trying on a very bulging swimsuit, while ladies giggle at him. He asks for something a little less revealing. 

The beach is deserted -- oh, there in the distance is Dickie, lying down, fully clothed, with Marge's head on his thigh.  Tom wakes them and introduces himself, pretending that this is a chance meeting. Dickie doesn't remember him, but invites him to go for a swim.  Uh-oh, Tom is afraid of the water, since his parents drowned.  He won't set foot into the water.

More Dickie after the break