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While there is some culturally ingrained ickiness over anilingus, particularly when performed on the male body, it’s undeniably waning. Last year alone, unisex guides to performing anilingus appeared in magazines as diverse as?Ebony,?Cosmopolitan?and?GQ.?Butts were increasingly sought out in porn, with “big booty” the top gaining search term in the United States in 2014 (it rose by an astonishing 486 percent) according to a?Pornhub survey. And with the?media’s newfound?discovery?of butts as body parts deserving of attention, the societal prohibitions around anal play are likely to continue to wither.

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There’s something about a convalescence that softens up the staunchest prejudices. Both Dowd and McNett were sick when they ventured into new fictional territory. For me, in my mid-20s, it took a combination of illness and a broken heart to break my college-dictated literary diet of American modernists and fat 19th-century novels. I could eat nothing but Cheerios and read nothing but P.D. James’ Cordelia Gray mysteries. I had not opened a detective novel since an Agatha Christie binge in my teens, and I had no interest in James’s more popular character, Detective Chief-Inspector Adam Dagliesh. I now realize I preferred Cordelia because she was a young woman, unaffiliated with any institution, whose comfortless childhood, solitary nature and determination to unearth the truth were all traits I identified with. The melancholy, ruminative nature of the novels came as a revelation to a reader who equated mysteries with Christie’s sprightly but ephemeral puzzles or the stunted emotional range of tough-guy noir.

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He started out as a populist for the little man, and the little man included lots of black folks. That is to say, African-Americans and poor white sharecroppers were the poor people being taken advantage of in Georgia, and Tom Watson made common calls with both of them. But then, he became more and more racist, perhaps in order to become more politically successful, or perhaps he had always been racist and had hidden it at first. I don’t know. That might require a psychoanalyst.

Artie conceived the special to fill unexpectedly vacant airtime on the local PBS affiliate. Lovers Kurt and Blaine, devoted Friends of Judy, hosted an homage to the broadcast that they no doubt would have watched in awe had they been a couple (closeted, surely) in early-1960s Lima, Ohio. Early in the episode proper, there were ostentatious references to 1978’s legendarily awful “Star Wars Holiday Special,” but in the PBS special, that reference was reduced to Finn and Puck dropping by in Luke Skywalker and Han Solo costumes and performing a Springsteen-y version of “Santa Claus Is Coming to Town.” The rest of the special was Judy, Judy, Judy. The filmmaking was vintage 1963, letting action play out in waist-up medium shots and head-to-toe long shots with a minimum of cutting. “Glee” even replicated the old-fashioned network TV special conceit of pretending that the unseen viewer was a party guest (“Well, hello! … Come on in!”). I love that certain McKinley High performers were incredibly smooth on camera, while others glanced nervously at the lens. And the staging of Kurt and Blaine’s “Let It Snow” was a delight.

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