
I'm a straight woman and my husband is a gay man - people always ask us what happens in the bedroom
Samantha Greenstone, 37, and Jacob Hoff, 31, from Los Angeles, first met when they both auditioned for the play Fiddler on the Roof a decade ago.
Despite Jacob identifying as gay and Samantha being straight, the pair started to date after experiencing a strong connection with each other that transcends 'plain old sexuality'.
The actors - who are monogamous - tied the knot at the end of 2024 and have since attracted many fans who are curious about their bond, especially since divulging that they are trying to start a family.
The couple took to their Instagram accounts, where they shared almost 480,000 followers between them, to address the question on everyone's lips - do they sleep together?
'Yes and not just side by side under the covers,' Samantha said, while Jacob added: 'No and we don't just cut a hole in the sheet either.'
She responded: 'Nope we do it the good old fashioned way. If you're confused by what that means, then it's not our job to teach you the birds and the bees. That responsibility relies on your parents.'
Jacob chimed in and said: 'I know it's mind-bending to a lot of you to be like "Well he's gay, how can he be sleeping with a woman?" This isn't a woman, this is my wife, this is my soulmate, my partner.'
'I am a woman, I know that someone is going to be like "Wait a minute, she's not a woman, is she a man then?" Because you've got to spell things out for people sometimes.
'It's just a matter of saying that this isn't a surface level connection. It's so deep, it's so intimate. It's two people just coming together - two souls coming together. That's it, there's none of that ephemeral beauty nonsense on top of it.
Samantha ended the video by describing their love as 'pure, amazing and holy,' and captioned it: 'Since you asked - how else does one try and make a baby?'
The video racked up almost one million views and had a mixed response from users as some expressed support for the couple, but others seemed puzzled.
One wrote: 'I'm still so confused. So he is bi?'
Another penned: 'I'll never get it but that's on me. Love that you answer questions!'
A third said: 'You two are both so precious,' and a fourth commented: 'I'm so obsessed with you both.'
But Jacob gets frustrated when he sees comments questioning his sexuality, telling The Mirror: 'We get a lot of, 'well how is Jacob ever going to be fulfilled by not being expressing his gayness?' That's where I see a little bit of the bigotry come in, because it's like, 'oh, you think because I'm gay I'm less loyal to a person?
The video racked up almost one million views and had a mixed response from users as some expressed support for the couple, but others seemed puzzled
'Just because I'm gay doesn't mean that I would ever be less loyal. In a relationship, you wake up and choose your person every day, and that's the same no matter what dynamic.'
They insist that theirs is not a 'lavender marriage' - which is where one partner is heterosexual and the other is covertly homosexual or bisexual and are using the relationship to hide their sexuality - and are monogamous.
Samantha told the outlet: 'To us, marriage is a sacred thing, and we are old-fashioned in the sense that we just want to be with one another. We don't want to open the relationship up, we want that traditional family.'
Despite identifying as gay, Jacob started dating Samantha in 2017 and the pair got engaged at the end of 2023.
Jacob recalled the first time he met his soulmate and said that he first noticed her laugh during their audition, telling the New York Times: 'From the lobby, I heard Samantha's cackle at the end of the song and instantly thought whoever just made that sound is an immaculate human.'
After they were both cast in the show, they became closer when rehearsals started and 'never stopped hanging out pretty much every single day after.'
However, Samantha noted she was 'living in utter confusion' after realizing her feelings for Hoff were for more than friendship and felt a powerful 'magnetism' towards him.
She even went to an energy healer for advice, who claimed the pair 'share a spiritual umbilical cord.'
Samantha made the nerve-wracking decision to text Jacob and admit her feelings to him, which he reciprocated but was nervous about.
'I was like, "Oh my goodness. I can't believe she did this,"' Jacob recalled. 'The answer was yes. But then I was scared. I thought, "If I can't make this work physically, it could ruin everything."'
'I am gay,' Jacob explained. 'And as a gay person, you can keep your identity as that even if your relationship doesn't match that.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Guardian
an hour ago
- The Guardian
Sorry, Baby is a smart film about sexual assault and it's here at just the right time
About 25 minutes into Sorry, Baby, writer-director Eva Victor's debut feature out this summer, a bad thing happens to Agnes, Victor's twentysomething academic in a small New England town. The film is forthright and economical with the details; Agnes, an English PhD student, goes to meet her thesis adviser (Louis Cancelmi), with whom she shares a light flirtation and a mutual passion for Virginia Woolf. He shifts the meeting to his house, citing logistics and lavishing praise. Agnes enters at dusk; we linger outside as the shot cuts to dark, signaling hours past. She emerges in silence and hustles to her car, expressionless as she drives away for what feels like an eternity. Back at home, Agnes sits in the bath and tells her best friend Lydie (an excellent Naomi Ackie) what happened in clipped, detached details. He was insistent. She tried to wriggle free and diffuse tension, he kept pushing. Eventually she froze – 'my spine got cold,' she recalls – and she can't remember the rest. Neither say the word sexual assault or rape, though it's not for lack of vocabulary or understanding. 'Yeah, that's the thing,' Lydie eventually acknowledges. 'I'm so sorry that happened to you.' Watching this scene for the first time, my spine got cold, too. I've watched most movies that primarily concern sexual assault released in the near-decade since #MeToo, out of both professional and personal interest, and it was the first time I've seen aftermath depicted this way – this briskly, this delicately, with this particular balance of gravity, context, confusion and resistance to extremity. Which is to say, this honestly – a strange judgment to make on a contemporary trope that definitionally hinges on revelation, of saying or showing what is often unsaid or ignored, but a notable judgment nonetheless. I long to see misogyny skewered on screen as much as anyone, yet so often handling of sexual assault post-#MeToo feels deadened, unimaginative, knowingly freighted, even disingenuous. Or maybe I'm just tired. In the years since the Harvey Weinstein investigations triggered a cultural reckoning with sexual assault – and then a swifter, more powerful backlash to that reckoning – numerous films and television series loosely grouped under the #MeToo umbrella have transmuted that first heady period of disclosure that has long passed, hinging on the exposure of trauma and the shedding of naivety. At best, projects like Kitty Green's underrated The Assistant or the cerebral Women Talking wrought suspense out of the chilling clues of routine, buried abuse. (The depiction of a vituperative, haunted female perpetrator in Tár, released the same year as Women Talking, is so singular and layered as to exist in its own category.) So often these stories were shaded with self-satisfaction – a bit in She Said, depicting the 2017 New York Times investigation into Weinstein, egregiously so in the Fox News-centric Bombshell. At worst, such self-importance tipped into outright smugness, as in a string of buzzy, so-called #MeToo thrillers – Emerald Fennell's Promising Young Woman, Olivia Wilde's Don't Worry Darling, Zoë Kravitz's Blink Twice – that reveled in the depravity of men, each trying to shock with a passé, privileged version of 'misogyny is really bad, actually.' A dominant type of trauma logic presided – unruly, unsubtle, annihilating, desperate. Even the deftest handlings of sexual assault, as in Michaela Coel's masterful 2020 series I May Destroy You, still somewhat adhered to what critic Parul Sehgal memorably termed the trauma plot: trauma as totalizing identity, hero's journey and definitional event, an explanation rather than a limited experience. The Bad Thing in Sorry, Baby – for all her capacity with the English language, Agnes struggles to name it out loud, owing to an aching and believable mix of shame, confusion, fury, denial and disassociation – does mess up her life. She bolts awake at night, considers burning down his office. She adopts a stray cat. Most insidiously, she doubts his validations of her talents. But Victor is much more interested in the business of living than the logic of the trauma plot. Sorry, Baby traces the fallout of one damaging event, but also lots of other things around it that relate and expand – her job, her relationship of mutual physical comfort with her neighbor, her evolving relationship with Lydie as the latter gets married and has a baby with a person Agnes doesn't love. With the exception of Agnes's professional rival Natasha (Kelly McCormack), an off-putting and nakedly competitive weirdo better suited for a full-on comedy skit, the film thankfully resists extremity at every turn. It's fitting that this sharp-eyed portrait of fallout arrives now, as the dust has settled on the heady rush of #MeToo, revealing things to be worse than they were. Catharsis and awareness materially changed little. The film shows Agnes doing her due diligence, going to the hospital for a rape kit and reporting to school administrators. Both act self-protectively, neither do anything, to which Agnes offers resigned indignation. Asked later if she went to the police, she says no, because she doesn't want him to go to jail. A small example of a conundrum made even more pressing by the legal swing against convictions of alleged perpetrators: is it even worth reporting? What are they going to do, if they can't make it un-happen and the options are nothing but protracted, expensive, almost certainly life-altering and potentially devastating. What consequences do you want? How do you live with it? Sorry, Baby's argument is one woman's halting, idiosyncratic, weird path forward. Yet for all its realism, the film is not fatalistic – Victor's roots are in standup comedy, and over a taut and often funny 93 minutes, she presents a different and refreshing theory of trauma, more in line with lived experience outside the bounds of plot: violence shattered something irreplaceable, and shards skittered weeks and months and years into the future, and sometimes you step on them and remember. More time, you don't, and other stuff happens. 'I remember moments of it, and I can feel in my body that it was really bad,' Agnes tells a gruff but kindly shopkeeper years after the incident. 'But then sometimes I don't think about it, which is weird. And I feel guilty when I don't think about it.' You inch forward, then you walk. You laugh with your friends, you forget, you remember, you keep going, in a plot that doesn't end but does not define, either. Sorry, Baby is out now in US cinemas. It screens at the Edinburgh film festival on 14 August, and is out in the UK on 22 August and in Australia on 3 September


The Review Geek
an hour ago
- The Review Geek
Ghost Killer Discussion and Ending Explained – why do they need a cleaner?
Ghost Killer Plot Summary Appearing in film festivals since September 2024, Ghost Killer finally claws its way mainstream with a digital release this month, hitting the US via Well Go USA and markets still to be named by AppleTV+ from July 22. University student, Fumika, played by Akari Takaishi (Baby Assassins, My Beautiful Marriage), stumbles upon a bullet shell and inadvertently puts it in her pocket. The next thing she knows, the ghost of Hideo Kudo – a murdered hitman – appears in her room. Played by Masanori Mimoto (Death Note, Prisoner of War, MIU404), the middle-aged Kudo believes he's stuck until his murder is avenged. Fumika isn't so keen. I mean, she doesn't want to kill anyone. Though she does accept Kudo's help when she spots her friend, Maho, getting beaten by her boyfriend. With the clasp of hands, Kudo is able to possess Fumika's body, providing his strength, speed and cunning. While Fumika is in there too, conscious, but without control of her limbs. Once Fumika realizes Kudo's power, she's both scared and a little fascinated. When he warns her against meeting a guy she admires, her feelings begin to change. She decides to become someone who helps others. Except, to help Kudo, they may need to get someone else involved too – the crime gang's cleaner, Kagehara, played by Mario Kuroba (Hard Days, Trillion Game, Our Fake Marriage). It could be tricky as he's not a good guy. How do Kudo and Fumika become connected? It's the bullet casing she picks up. But even getting rid of it doesn't seem to free her. What happens to Maho's boyfriend? After Kudo beats him up, he's all for getting rid of him, but Fumika isn't ready to go so far. Instead, they just leave him in the alley. Why do they need the cleaner, Kagehara? After fighting the guys who try to drug Kumika, they decide they can't just let them out to attack more innocent women. So, Kudo convinces Fumika to call on Kagahara to help out, as he has special 'necessary' skills. How do they convince Kagehara? They fight him. Kagehara astutely recognizes that it can't be some young girl fighting and taunting him just like Kudo. What does Kagehara do once he knows? With his 'cleaning skills' he gets rid of the drug attack guys. But he also tells their crime boss, 'The New Owner,' that Kudo was killed but isn't necessarily gone. Why does Kagehara play both sides? It seems like he changes his mind a few times on whom to support – likely just keeping himself alive. In that back-and-forth, he gives Fumika's location away. But he also helps her again. Who killed Kudo? This is a bit of a spoiler – you've been warned. The New Owner sent Kagehara to shoot Kudo. And though he doesn't remember the details after death, at the time, he had encouraged Kagehara to face off and kill or be killed. How does it end? Fumiko and Kagehara help Kudo reach peace, then go their separate ways. Fumiko moves in with Maho and is much happier living with a friend. But the next time she finds a shell case… she drops it right back on the ground. Got more questions on Ghost Killer? Drop 'em in the comments below. For more, check out our review. Read More: Ending Explained and movie reviews


BBC News
2 hours ago
- BBC News
Love Island's Cierra Ortega apologises for derogatory social media post
Love Island USA's Cierra Ortega has apologised for old social media posts including a derogatory term for Chinese people, following her sudden removal from the hit TV show. In a video message, the 25-year-old content creator from Los Angeles said the post in question that led to her departure was made in 2024 and that a follower messaged her to explain that it was a slur. "In that moment, I was embarrassed," she said, adding that she "immediately deleted the post".Ortega, who is of Mexican and Puerto Rican heritage, said she and her loved ones had been harassed online over the posts, including by people calling immigration authorities on members of her family and issuing death threats. "What's been extremely, extremely difficult is the way people are approaching my family and my loved ones," she said. "They have had ICE [US Immigration and Customs Enforcement] called on them. My family doesn't feel safe in their own home. I'm receiving death threats."There's no need to fight hate with hate. I don't think that that's justice." Ortega said she was in agreement with the network's decision to remove her from the show and said she understands why viewers were upset. But she took issue with social media posts claiming that she did not delete the derogatory post or doubled down on using it. "I was apologetic and I educated, not only myself on the true meaning and history of the word, but also anyone around me."I think the backlash has obviously been very hard to deal with."Ortega's departure from the show, a spinoff of the popular UK reality series, follows that of fellow islander Yulissa Escobar, who left after videos of her using a racial slur on a podcast in 2021 Love Island USA can learn from the UK show's own tragediesLove Island USA's Cierra leaves show after racism rowMs Escobar later apologised, saying on Instagram she used the offensive term "ignorantly, not fully understanding the weight, history, or pain behind it".She followed up her apology with a second post, saying she had received death threats and that she "came back to a warzone" after leaving the season of Love Island USA has been wildly popular and Peacock, NBC's streaming app that airs the show, said the series was ranking as the most streamed reality series. But its skyrocketing success has led to contestants being relentlessly cyberbullied on social media, so much so that the show aired a statement during a recent episode with a plea for viewers to halt the harassment.