Abstract
Laurie Lynd's film The Fairy Who Didn't Want to Be a Fairy Anymore (1992) examines the cultural mechanisms of normalization and masculinization in contemporary heterocentrist society. This article compares Lynd's essentialist approach to sexual identification, camp subculture, and the economy of sissyness and body politics with Hans Christian Andersen's tragic story "The Little Mermaid" and with Tim Burton's romantic fantasy Edward Scissorhands (1990).
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