A not so subtle gay reference in First Class.

The name of the ship that Shaw owns and lives in is called Caspartina.


This is the ship that Erik boards in First Class in order to confront and kill Shaw.

The name Caspartina is a direct reference to the boat Caspartine in the film Stardust, the film version of which was also directed by Matthew Vaughn.


In Stardust, the captain and owner of the flying vessel is Captain Shakespeare. He dreams of the “world across the Wall,” otherwise known as England, but believes because of his familial heritage that he is destined to become a pirate. (Hmm.) He’s also gay. And a cross-dresser who has a penchant for feather boas. (Hmmm.)

Can’t help but see that parallel to Shaw, who serves as an obvious subtext for Erik in First Class. Erik basically becomes Shaw in the end. So there is a connection between Captain Shakespeare and Erik Lehnsherr.

This is also the same scene where Erik meets Charles.

“I thought I was alone.”

“You’re not alone. Erik, you’re not alone.”

In Stardust, Captain Shakespeare is also responsible for taking aboard two hitchhikers that he catches in his nets, Tristan and Yvaine. These two are also in love, but don’t realize it– and who makes them realize it? Captain Shakespeare. (He also attends their wedding later on.)


But, like I’ve stated before, for every action/hint/event that happens in connection with Erik also happens in connection to Charles. And it happens, as well, with a subtext for Charles– Hank.

When Charles meets Hank in the following scene, he unintentionally “outs” him as a mutant to everyone in the room.


Charles to Platt, as he’s shaking Hank’s hand: “How wonderful. Another mutant already here. Why didn’t you say?”

Platt: “Say what?”

Charles: “….Because you don’t know. (To Hank) I am so, so sorry.”

Platt: “Hank?”

Hank: “You didn’t ask, so I didn’t tell.”


That’s not even subtle. It’s blunt. It’s not a coincidence that these references are both made for Charles and Erik, and they’re presented in the way that queer subtext has been done for ages– hidden in the references, the dialogue, the subtextual characters.

The difference this time, I believe, is that instead of staying hidden forever, it’s the intention of the writers and the directors to reveal the true nature of Charles’ and Erik’s relationship in the last film. There is simply no other way to successfully resolve their story arc.


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