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Set against the backdrop of Las Vegas, the film follows a young man named Major Tom Ryan (that's his legal name; it's explained in the film) as he navigates a complex time of self-discovery. The movie is deliberate and very compelling, and told through a series of extended conversations, full of genuine philosophical insights, that Tom has with various people he meets - ironically - through his association with the malevolently charismatic owner of a Vegas adult entertainment enterprise named Jordan.

Tom is a kid from Long Island on the run from his very real, but decidedly first-world problems, and through these conversations, he learns a lot about how the real world looks, gains perspective, and moves a little closer to being a fully realized adult. And, yes, in the meantime, he gets caught up in a lot of fun hijinks, faces some (often literally) naked truths, and has some interesting, and frankly entertaining, sexual encounters (all of which, believe it or not, are 100% story and character relevant).

There's a pretty intense series of tragic events in the last part of the film, and that's good because it feels necessary to bring the stories full circle, get Tom (and a couple of other characters) across the finish line, and I think that works well to balance out the tone of the film, making even its most indulgent and hedonistic elements justified building blocks in the film's narrative. The best part, though, is that all of these events are rooted in the psychological issues and concerns of the characters, not their alternative orientations or work in adult entertainment. The film is very modern and non-judgmental in this way, which I really appreciated. The folks who'd be messed up in any profession or situation are messed up here, and the folks who are decent and good are the same.

Notably, the film balances emotional depth with physical appeal. The diverse male characters are portrayed in ways that will absolutely cater to scopophilic pleasures (the female and gay male gaze), with instances of nudity and physicality that are not only justified within the narrative but necessary to telling the story, with its moral insights and ethical messages. This approach integrates a physical representation within the larger narrative, ensuring that characters are seen as complete individuals, even when they aren't wearing very much.

I want to mention, too, that the emphasis on emotional depth challenges traditional narratives and portrayals of men in films, offering a more nuanced and introspective view. The film succeeds in providing empathy and understanding for its characters.

I'm giving the film a 9, not a 10, because there are a few elements that could have made this film revelatory and near-perfect, but I agree with an online critic who noted the few weaknesses in this film probably result (either directly and directly) from the film's limited budget and the fact that it was shot during the COVID quarantiine. The film's American-auteur style, reminiscent early Linklater, Burns, or Anderson may not align with all viewer preferences, but it's a film worth seeing and I highly recommend it! And if long conversational scenes aren't your thing, the youthful hijinks, plentiful flesh (the eye-popping frontal nude scene from the star is probably best known, but it's just the start) and diverse hook-ups just might be. This balance means "Station to Station" has a little something for everyone, from those who like to analyze movies to those who just want to ogle them.

In conclusion, "Station to Station" is a significant step forward in the evolution of the female and gay male gaze in cinema. Its thoughtful integration of physical appeal with emotional depth and narrative complexity offers a more inclusive and empathetic cinematic experience. Whether one appreciates its literary qualities or focuses on the visually-driven scenes, the film stands as a meaningful contribution to diverse perspectives in film.

"A Night in Heaven" is an intriguing film to discuss in the context of the female and gay male gaze, particularly when compared to "For Ladies Only" the "other" male stripper film from the time, created to capitalize on the sudden rise and popularity of the Chippendales in the early 80s.

The film, set in Titusville, Florida, revolves around a college student, Rick, who works as a stripper and his professor, Faye Hanlon, who is going through a marital slump. Their worlds collide when Faye, taken to a strip club by her sister, sees Rick perform.

In contrast to the other film, "A Night in Heaven" delves into a more complex and emotionally charged narrative. It attempts to explore the dynamics of desire and power from a female perspective, with Faye's character finding an unconventional escape from her unfulfilling marriage. However, the film has some challenges, particularly vis-a-vis plot and dropped/unresolved storylines. In this way, the execution might not have fully captured the nuances proponents of the female gaze seeks in storytelling.

While "For Ladies Only" focused more on the spectacle and excitement of male strippers, primarily serving as entertainment for the female gaze without deeply engaging in complex emotional narratives. "A Night in Heaven" aimed higher as a film, trying to venture beyond just the physical appeal of its subject. But, to be honest, it struggles in cohesively articulating its themes, potentially limiting its impact on advancing the female gaze in cinema, but not negating it.

"Toy Boy" is a solid Spanish telenovela with a sexy twist, but a middling-to-poor complex mystery drama, which feels a lot like what it aspires to be. The show follows two (so far) particularly dramatic chapters in the lives of a group of male strippers, a subject inherently ripe for the exploration of the female gaze. However, its delivery is a mixed bag in terms of advancing this perspective, as well as being the show it wants to be.

The show orbits around Hugo, a young, charismatic felon-turned-stripper who finds himself embroiled in a murder mystery. It's really visually vibrant, colorful and bright and has plenty of scenes catering to the aesthetic appreciation of the male form, which is a plus for the female gaze, which has been long underserved in television.

Importantly, the men aren't just eye candy; they have backstories, dreams, and struggles, which adds layers to their characters. They are diverse in any number of ways and the show doesn't shy away from presenting them in a light that is both desirable and emotionally accessible, a key aspect of the female gaze that seeks depth beyond physicality.

However, "Toy Boy" sometimes falters in this balance. The plot can feel meandering, and while it tries to give substance to its characters, it often gets lost in melodramatic twists that feel more telenovela than nuanced drama. This is fine given the novela like aspect of the show, but they clearly want to go for a deeper, more nuanced prestige miniseries sheen, as well, and when they try to achieve a profound exploration of men, it falls short.

I appreciate the show's attempt to weave complex storylines around its male characters, challenging the one-dimensional portrayal often seen in shows with similar themes. Yet, the execution feels uneven. For every moment that feels genuinely insightful into the male psyche, there's a counterpoint that slips into stereotype or over-the-top drama. It's a balancing act that "Toy Boy" doesn't always manage successfully.

The portrayal of women in the show is also a little problematic. While it's refreshing to see the male characters objectified and in the spotlight, the female characters sometimes end up as mere plot devices or romantic interests. This is a missed opportunity, considering the potential of the female gaze to revolutionize how women are portrayed in relation to men in such narratives.