They are the rock and the hard place: Harrow’s the rock and Gideon is definitely the hard place. But it’s not just a love story it’s a story about being enmeshed. There are undeniably elements of the love story between them and if you’re not noticing that in the narrative, either I’m not working hard enough or you’ve got blinders on. Harrow’s feelings for Gideon are more transformative than not. And they’re wonderful! Ianthe sucks, but I hope that my deep affection for her shows. You never get girl Dracos in leather pants. I wanted that relationship to be femme-queer rather than masc-queer, because Draco in leather pants is inherently a male figure. Nothing will change Ianthe, but you really want to believe it might. I’m playing with the idea that you expect the Draco in leather pants character to change: My love will be the magical thing that changes Ianthe. In Gideon, the lesbian goggles are fused to your face. It’s an expression of the fact that in the early Noughties when my lesbian mates told me: “You’ve gotta see this movie, it’s gay,” - the understanding was that nothing was going to be gay, but we had to put on our lesbian goggles. I wrote Gideon focusing on an inevitably homoerotic relationship between every woman who stands next to another woman for more than five seconds. I was going to quote some spots, but then realized I just want to copy and paste this entire interview right into this box, so – No, okay, I’m still going to quote some spots:
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