I have not seen Fox and His Friends as of yet, however based on the readings by Gregg and Dyer, I have a pretty good grasp on the concept and affects of the film. In particular, Gregg’s emphasis on the influence of Sirk on Fassbinder (especially in saying that “Fox particularly plays like an inverted version of Sirk’s All That Heaven Allows”) reminded me of the film Far From Heaven, which is Todd Hayes’ inspiration from Sirk’s All That Heaven Allows. Hayes’ adds a layer of homosexuality originating from the husband in a normative heterosexual marriage. The husband goes through psychological treatment to “cure” him of his homoerotic desires, fully acknowledging the taboo of and struggle experienced by the gay community in 1950s suburban American. The wife, however, experiences desire not only for a man of a lesser economic echelon, but whom is also a colored man. Unlike Fox, Far From Heaven separates the embodiment of class and homosexual tendencies and manages to make issues of each of them. What is impressive is that despite the fact that Fox did not make an issue of the homosexual characters, according to Gregg, it still manages to be melodramatic. The break in the relationship between the husband and wife in Far From Heaven is rooted in the husband’s embracing his homosexuality, whereas the break in the relationship between Fox and Eguen is rooted in Fox’s neglecting to fully embrace Eguen’s bourgeois. Both films exhibit the mise-en-scene popularized by Sirk while juxtaposing that with their bleak endings : Fox dies alone while his “friends” experience zero remorse and while the husband gets a divorce and lives out his fantasy, the wife becomes a single mom and she and the colored man realize that their freedom cannot go so far as to assume a romantic relationship with each other.