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3. There are ways that this segregation might provide opportunity for what Judith Halberstam and others call queer kinship: “relations that grow along parallel lines rather than upward and onward. This queer form of antidevelopment requires healthy doses of forgetting and disavowal and proceeds by way of a series of substitutions” (73). Yet the nerds most often are seen to reject the “Mus,” and in most of these movies the possibility of queer kinship is pretty vexed. For instance, in Old School and Accepted, the protagonist “gets” the popular girl; the only overtly queer character is a caricature in Revenge of the Nerds; and yet an argument probably needs to be made about the intense homosociality of all of these films and how that interacts with the disability “closet” I mention in another part of this chapter.
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