Amid the screams of shock and laughter at a packed advance screening of Brüno, one could also detect slight sighs of relief. There were many gay people in the audience, and nothing interests them quite like monitoring how they are treated in movies and TV.

It seems the gays have found, if not a friend in Brüno, at least a very tenuous ally in his over-the-top (and under-the-bottom) stereotype.

After watching Brüno, a character played by Sacha Baron ''Borat'' Cohen, traipse across America and incite whatever homophobic responses and misadventures he can (especially in such places as Arkansas and Alabama), gays seem ready to accept that the movie, which opened Friday, will not hinder their hopes for pop-culture progress. Nor is it likely to inspire any. What Brüno inspires in gays is a lot of talking and typing and thinking. Here is some more:

The straight people seen in the movie, such as a heterosexual swingers group infiltrated by Brüno, have just as many issues about their orientation and desires as anyone else. Homophobia, schmomophobia. America has a giant case of sex phobia.

We're all afraid of sex. Any kind of sex -- gay, straight, bi, May-December, Michael Jackson, whatever. Forty years of gay rights have not moved actual hot sex forward. In fact, the more political being gay gets, the more afraid everyone gets of sex.

So much for liberation. Now we just cringe in movies, waiting to watch straight people laugh and scream and affirm their complete fear of carnality.

Nothing quite matches the feeling of being the gay person in a movie theater full of straight people when the gay jokes come around. It can put a guy right back on the recess playground, where the bullies are smart and funny and the sissy (also smart, also funny, but only to the girls) is just trying to get through the day unscathed.

Not all gay men feel this as acutely, but plenty have sat blithely in otherwise enjoyable movies and watched as audiences howl with disgust when the gay sex joke presents itself.

In this regard Brüno is unlike anything the American multiplex has ever seen, with its raunchy acrobatic sex acts between the Brüno character and his fey Filipino lover. Brüno will make all the well-meaning homophobia seen in this decade's movies seem like blips on the gaydar, and that's saying something.

Here's what happens when you are gay and stuck in your multiplex stadium seat. You laugh while measuring the laughs around you, like a human applause-o-meter. You watch everything with the extra awareness of how others are watching it, too.

Some of us recall the audience squeals that met the kiss between Christopher Reeve and Michael Caine in Deathtrap in 1982. Or the horror that met the big reveal in The Crying Game in 1992. (Piercing screams: It's a man!!) Those screams were almost matched when the effeminate art-student crawled into bed with an unsuspecting Vince Vaughn in The Wedding Crashers in 2005 and tried to seduce him.

There's a whole lot of ironic understanding going on here, if it is indeed going on. And the understanding is this: We're all supposed to know that the filmmakers and movie stars are totally comfortable around gay people, that this is all in good fun here, and this is why they still make fun of homosexuality as a flaw, reaching its zenith with Seth Rogen and Paul Rudd's classic ''You know how I know you're gay?'' exchange in the 2005 movie The 40-Year-Old Virgin.

The only thing worse than being talked about is not being talked about. (Or being mocked in movies.) Meanwhile, in Fort Worth, there is an investigation launched into a police raid of a gay bar at which patrons claimed cops acted violently and the cops claim they were groped in sexually suggestive ways. It all sounds like a Brüno sketch sans Brüno, only with the sad fact of being real.

The credits roll, and you walk out of the theater, blinking, wondering what just happened, wondering at the very least how come all the straight actors and straight filmmakers have the market cornered on gay jokes.

What is Brüno going to teach us, other than sex is basically a total gross-out? You return to the world that exists outside of movie theaters, still a second-class American in a number of measurable ways.

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