Wilder didn't show a hint of gayness but Some Like It Hot is so abandoned, so radical, and so happy a genre entertainment that it freed countless closeted urges.
When real life imitates, or is shaped by, such Hollywood ideas of bloodshed, the trigger-happy action genre leaves us all the more stymied and bereft.
When the union is a happy one, new genres can spring forth.
All of them have proved themselves happy to evade genre boundaries.
Yet not everyone is as happy with the genre's continued cold war focus.
While grunge looked inwards, rock looked backwards and mainstream pop remained stuck in neutral, dance music forged forward, evolving and spawning myriad sub-genres – happy house, techno, trance, jungle, drum'n'bass.
Which is why, perhaps counterintuitively, from your happy home in genre, you might make your way to Ionesco, to Charlotte Brontë, Amos Tutuola, Leonora Carrington, Alasdair Grey — because you'll find in them, as you do in spaceship battles, something un-, ab-, ir-real that catches the breath.
In my native Poland during its mid-1990s heyday, it was as ubiquitous as vodka or pierogi, and as polarising as genres like happy hardcore and gabber are over here.
Other filmmakers are happy to follow their genre premises wherever they may take them, messages and story morals be damned.
Mahon finds a happy balance between the genre's required sensory appreciation of contrasts and a reflection of the contemporary meteorological muddle and its angst.
