Page - 88 - in JRFM - Journal Religion Film Media, Volume 06/02

88 | Yannick Schlote www.jrfm.eu 2020, 6/2, 86–89 and Steve”, which is used to imply an irreconcilable disparity between Chris- tianity and gay love, i.e. queerness in general. Mischievously, Dorian gives Adam and Steve a backstory with this video (with its main chorus “And God made me just like Adam and Steve”).4 Reclaiming derogatory terms and trans- forming them into positive narratives is one of the tools marginalised groups rely on. The researcher and activist Gregory Coles interprets this reclaiming of words as a sort of exorcism of language from linguistically embedded op- pression.5 Strangely, the rite of exorcism marks a crucial point in the Adam & Steve video. The Exorcism (1:55–2:20): In its aesthetics this scene heavily refers to Wil- liam Friedkin’s 1973 cult classic The Exorcist. Dorian is shackled to their bed, two priests (here wearing steampunk fashion including gasmasks) bend over them, reciting verses and swinging a thurible. Their intent is obvious: the Lat- in praefix ex- (out) in “exorcism” suggests the extrication of whatever power is hidden underneath the surface (mostly in humans, but also in haunted objects and places). The audience is familiar with this motif, aware that the priests are forcing Dorian’s demon to show itself. And indeed, it does appear: something is reaching out and manifesting from Dorian’s body, and it bends in agony. But instead of a demon’s face, one sees feathery wings. The inner nature of Dorian brought to the surface is not demonic but angelic. By reusing this motif of exorcism, Dorian counters Pentecostal Christians who believe in exorcising homosexuality, thought to be caused by demons.6 Instead, Dorian establishes theirself, a queer person, as one of God’s heavenly messengers (paralleled in the lyrics “Say I’m an abomination but I’m God’s creation”). Heaven (2:21–2:48): With Dorian’s revelation as an angel, the scenery switch- es to heaven. There, Adam and Steve are kissing – the ultimate sign of God’s approval of their bond. Whilst up until now no other person’s face has been shown – just backs or figures cloaked like the aforementioned priests – this changes in the last heavenly scene. In typical Dorian Electra fashion, two an- gels pole dance next to each other. Just like Dorian, they transcend gender. In the Bible, the symbol of heaven as a state of self-revelation occurs in several verses on eschatological anthropology. When Christ is asked by the Sadducees what life after the resurrection at the end of days will be like, he 4 Adam & Steve (Dorian Electra and Weston Allen, US 2019). 5 Cf. Coles 2016, 425. 6 For one of many examples, see TearsToJoyMinistries n. d.