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TAYLOR MAC is a boundary-breaking theater artist whose creativity and accomplishments defy categorization. In a career spanning 25 years to date, the actor, playwright, performance artist, director, producer, and singer-songwriter has racked up a slew of awards and nominations in their many fields of endeavor. Their work has attracted the attention of numerous scholars and writers, whose critical essays on Mac have been collected by David Román and Sean F. Edgecomb in the aptly titled The Taylor Mac Book.

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TODAY’S digital technologies have created possibilities for whole new worlds of immersion and experience, and with them a panoply of subcultures organized around these sites. Under the rubric of “Fantasy Lands,” let us visit a few of these milieux with relevance to LGBT life and culture.

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Takes on News of the day.

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As a young adolescent who had not yet started to question his sexuality, I was stunned by the experience of romancing my female Hawke with a female party member. The idea of gay and lesbian people existing was no surprise to me, but the fact that I had initiated a same-gender romance in a video game—despite knowing that both characters have different gender identities from my own—affected me very differently than did the passive experience of, say, witnessing a gay kiss on TV or film.

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Defenses of fanfiction have been made on its creative merits, on its transformative merits, on its god-why-do-we-need-to-defend-enjoying-stuff merits, but one of the most important needs that “fic” meets is its ability to provide a low-risk space for people who are questioning their identity to explore it in a new way.

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Rural spaces don’t have the queer population density, the culture of “outness,” or the explicitly LGBT spaces, especially ones that are fixtures, that the metropolis has. But they do have Grindr and Scruff.

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