Neil Patrick Harris , recent Tony nominee, is featured naked on the cover of the newest Rolling Stone cover, wearing only a bowtie and a strategically placed top hat. In the article, Harris explains that the weight loss was an attempt to make his body more feminine, but admits he has certainly reached his weight loss limit. Not only has his role in Hedwig and the Angry Inch inspired a physical change for Harris, the actor also says it has allowed him to let go of deep seeded anxiety of appearing too feminine. And so the coming-out process, given that, is a great move. Login Login. Forgotten Password.
Neil Patrick Harris and husband David Burtka have opened up their home for a shoot with Hamptons magazine. I rarely go there wanting to play and do a lot of formal things. Meanwhile chef David, who is gearing up to release his first cookbook Life Is a Party and is, along with Neil, a dad to twins Harper and Gideon, opened up about fishing trips with his son. Olive oil, leonine, salt, and [Gideon] goes to town. Apologies to iOS and Safari users, but you may be unable to comment due to an ongoing issue with Facebook.
There's no suit quite like the birthday suit—and Neil Patrick Harris is working that one well on the cover of Rolling Stone! Th e How I Met Your Mother alum wears nothing but a crooked bow tie and strategically placed top hat in his sexy shoot for the mag, which hits stands Friday. It hasn't exactly been easy, though, to go from touting the bro code on CBS to a grappling with more perverse humor on the Great White Way. In his day-to-day, he's not a very feminine guy. And Harris, 40, still does have that fan base including "so many frat guys," and he's the first to admit, "It doesn't seem right in a way.
In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2. Challenging conventional conceptions of the internet as an exceptionally queer medium, Noah A. Tsika explores the constraints that publishers, advertisers, and content farms place on queer cinema as a category of production, distribution, and reception.