GLR May-June 2026

Correspondence

pressures, both reviewers responded more to their preconceived notions of the source material and the publicity about the show as “smut,” rather than seriously considering the series at hand, which was formally dar ing in its mix of sexual politics, romance, and the importance of gay visibility and the tremendous effect that can have on others. Plenty of gay men I know were staggered by the emotional impact such storytelling had for us, since it felt completely new, at least in the way Jacob Tierney artfully pre sented it. Its status as a cultural phenome non shows it delighted, touched, and even inspired many beyond the gay community, while being a showcase for queer talents. I loved the very different Boots , too, but it wasn’t the success of Heated Rivalry that killed it. The cowardice of Netflix in the face of criticism from the current Republi can administration did that, as Carman could have noted. There is room for both these series, and many more gay stories be sides, which the enormous success of Heated Rivalry may now encourage even in the face of the incessant wave of repression and conformity we’re being force-fed. Less snark from your pop culture critics in the future would be very welcome. Tom Phillips, New York City To the Editor: You seem to have written two reviews: one displeased and, well, kind of shallow, and a second (the right-hand column in my issue) a little more relaxed. Here you ac knowledge much of what I liked-loved

Heated Rivalry Fans Speak Out To the Editor: Great appreciation for the thoughtful re viewof Heated Rivalry by Jeremy C. Fox [in the March-April 2026 issue]. I would like to continue his discussion with a few more observations to support the reviewer’s reflections about what is going on in Heated Rivalry to build such interest. I feel these additional components to the story have made it so closely watched by everyone. The audience was able to learn immedi ately about four very different families and upbringings as they watched the four main gay characters. And regardless of all those various early life circumstances and up bringing conditions, all four men are gay or discovering their gay identity in real time before our eyes. Over the ten or so years of this series’ arc, Ilya and Shane had sexual experiences with one another maybe seven times. Scott and Kip had a three- or four-year timeline and only had sex twice—with other times possi bly implied. That’s not a lot of sex, really, and the sex is not the focus of the series. The longing, the waiting, the excruciating times apart, the lies, the pretense, and the exhaust ing loneliness—that is the actual focus, the surprise, the learning, and the takeaway as we watched the reality of a contemporary gay and/or closeted experience. Three very important central characters are women—Svetlana, Elena, and Rose. They are the kind and honest voices that guide and mentor these four men to under stand the importance of their coming out and becoming who they truly are by pro tecting, teaching, and advocating for them. Their authentic friendship work is vital to these gay stories. Gay men are indebted to the strong women friends in their lives. This is not missed by the women and others watching this series. When Ilya and Shane, or Scott and Kip, were together in safer spaces, the long si lences, the thinking times, and the pauses before knowing what to say, alongside the ongoing permission requests, permissions to talk, and offers to listen in new ways, were in fact a completely fresh language system being witnessed. It was in this context that these four men were able to teach each other about themselves and allow each other to unfold into more of who they truly are. Shane taught Ilya to trust genuine love, and Ilya taught Shane how to ask for what he needs. Kip taught Scott the meaning of fam ily, and Scott taught Kip how whole and lovable he is. This too is not missed by the women and others watching this series.

Ilya and Shane were both young men who were used and abused by their fami lies. Both are treated like family ATMs (sources of money, tickets, and lifestyles). Both are trapped in their families and the corporate/political dysfunctional systems of their lives. Both must break out of those structures to find the heart of the story line—we are at our Heated Rivalry best when we are free to love openly, whole heartedly, and safely. This again is not missed by the women and others watching this series. Michael Mansfield, Berkeley, CA To the Editor: Surely you could have done better by Heated Rivalry than the snobbish, conde scending review by Jeremy C. Fox, not to mention the gratuitously nasty dismissal by Colin Carman, who used the excellent Boots as a club to beat Heated Rivalry with. I can only assume that, due to deadline

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