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If you get their heart, which is very hard to obtain, they will timely express their feelings to you in a way that feels real and important. When they realize you won’t let them in, their precious feelings are crushed, they call you an abusing bitch and make you responsible for all their troubles. Oppositely, nice guys will put up an act, lying to you and befriending you in a slimy attempt at making their way inside your legs. They will be upfront with their intention and let you know what they want right from the start, which makes them more honest. With their refined attention to details, they will mind if you didn’t draw your lines on your eyebrows correctly, notice if you’re carrying 5 extra pounds and be disgusted if your butt jiggles when you walk.
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Since they care too much about their own appearance, they judge women the same way they judge themselves: through an artistic, ideal kind of beauty, the type that amazes a man’s left brain but leaves him more or less sexually aroused. Clothes are meant to be taken off, hair is meant to be pulled, and cellulite - they’ll eat that cottage cheese with their green raisins for dessert. Your little extra fat, unfashionable haircut or whatever piece of ugly clothing you might be wearing don’t mean a thing to them. They want sexy women, but they don’t get bogged down by the details. Their sexuality functions on a more animalistic level, so they don’t assess you with their rationality or analytical skills, but with their guts and instincts. Masculine men don’t care about your little physical flaws Let’s see why this is a terrible mistake. In the past four decades, the nice, effeminate man has been elevated above him as a better lover. Elusive and misunderstood, he seems to have no feelings and only care about himself. All forms of culture have an urgent responsibility to represent gay people in their spectrum of identities, so that white masculinity isn’t the ultimate goal.We all know what’s wrong with the strong, silent type. The issue at hand is the way representation has presented these “straight-acting” men as the zenith of success, which has resulted in internalised homophobia and damaging hierarchies within gay spaces. Now I’m not saying that desiring a man who is masculine or who enjoys football is a problem.
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I have rarely seen femme gay men portrayed as sexually empowered subjects – when we see them in the media, they are often eunuchs, or serve as comic relief. And the currently acclaimed gay-male play at The Young Vic, The Inheritance, is unashamed in its presentation of exclusively cisgender gay men with huge economic and cultural capital. The British breakout feature, God’s Own Country, although an accomplished and rare depiction of rural England, has two straight actors portraying gay men who would no doubt satisfy those seeking a “straight-acting” Prince Charming. The men in the film have an all-boys academic club, where sculptures of Greek gods serve as a clunky projection for their homoerotic desires, as if the perfection of male musculature in antiquity comes hand in hand with what it means to be gay. The critically lauded Call Me By Your Name, though a ravishing piece of filmmaking, links gay male sexuality to the ideal male forms of classical antiquity. This obsession with white masculinity has dominated gay representation in recent film.