Lesbian and gay drama maps onto this topography. The history of scripted live performances by or about lesbian, gay, bisexual, transgender, and queer people in New York City is the history of a vexed relationship with Broadway, the mainstream visibility it offers, and the politics and aesthetics it polices. Broadway is an object of desire, a longed-for sign of success that can seduce theater practitioners toward conservative aesthetics and politics, away from radical experimentation and social engagement. Broadway spotlights a few extraordinarily talented queer playwrights - often but not always white gay men - while routinely eclipsing equally brilliant people of color, white lesbians, and feminists of all stripes. But theater practitioners who refuse and are refused by Broadway have created other venues, and the syncopation between these sites and Broadway, between the experimental and the established, characterizes New York's theater scene.
In a fever of randiness, Weyoun 6 finally manages to seduce??? lure??? Julian, into mating with him, assisted by a mysterious fragrance with compelling side affects.Then Julian makes a very unexpected discovery about Weyoun that is both a surprise, and horrifying for the Vorta.
Weyoun has told Julian one too many fibs in his attempts to seduce him, and now he's facing the problem of no longer being believed, which leaves him in a rather unpleasant situation. It also turns out that being resistant to most toxins and poisons is not necessarily all it's cracked up to be. 041b061a72