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Runway model Teddy Quinlivan comes out as transgender

she tells CNN she transitioned at age 16

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Teddy Quinlivan, gay news, Washington Blade

COACH s/s 2018

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Teddy Quinlivan has been steadily conquering the fashion industry, appearing in Vogue and InStyle, and modeling for iconic names like Coach, Oscar de la Renta and Marc Jacobs. Now, Quinlivan has come out as transgender in an interview with CNN.

The 23-year-old revealed she transitioned at age 16. She chose not to disclose her identity to model agencies and brands because she was able to pass as cis-gender. However, she felt it was time to open up to the world.

“I’ve decided to reveal my trans identity because of the political climate in the world right now — particularly in the United States,” Quinlivan told CNN. “We made an amazing progression under the Obama administration, and since the new administration took office there’s been a kind of backlash.”

“There’s been violence against transgender people — particularly transgender women of color — since before I even knew what transgender was. I just felt a great sense of urgency. I’m very fortunate to be in (a) position (that) I never really thought I would be. It’s really important to take advantage of a time like this,” she adds.

Quinlivan doesn’t mind being associated with the word transgender if it helps brings awareness but says, “I look forward to the day when it doesn’t matter.”

She hopes visibility will help the transgender community become more accepted in society.

“I think one of the ways we can help people in the trans community is to give them a platform,” Quinlivan says. “And I think the fashion industry plays a very crucial role in that. The fashion industry dictates what’s in fashion, what’s cool, what’s acceptable. It’s not just about who’s walking fashion shows … it’s about who’s on every newsstand in the country. The transgender community needs more visibility. And with more visibility will come more acceptance.”

The model has already received support from designer Marc Jacobs for opening up.

“I respect, admire and support Teddy’s decision to come out as transgender. Now more than ever it is vital that we pledge our allegiance to the LGBT community and use our voices to encourage and inspire acceptance, equality, understanding and love,” Jacobs wrote in an email to CNN.

She joins the likes of other visible transgender models such as Hari Nef, Andreja Pejić and Casil McArthur.

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Anne Heche dead; Actor removed from life support after organs harvested

“Hopefully, my mom is free from pain and beginning to explore what I like to imagine as her eternal freedom”

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Screenshot/YouTube Inside Edition

LOS ANGELES – Actress Anne Heche died after she was removed from life support on Sunday, nearly 2 weeks after her Mini-Cooper crashed through a two-story house in L.A.’s Mar Vista neighborhood. Investigators with the Los Angeles Police Department believe she was intoxicated at the time.

She sustained a severe anoxic brain injury along with severe burns and was being treated at the Grossman Burn Center at West Hills Hospital, near Chatsworth in the San Fernando Valley.

The 53-year-old actress who was a star of films like Donnie Brasco, the political satire Wag the Dog and the 1998 remake of Psycho, had been declared legally dead under California law on Friday, however, her family kept her alive long enough to be an organ donor.

In a statement Friday, the LAPD announced that: “As of today, there will be no further investigative efforts made in this case. Any information or records that have been requested prior to this turn of events will still be collected as they arrive as a matter of formalities and included in the overall case. When a person suspected of a crime expires, we do not present for filing consideration.” LAPD detectives had previously made public that investigators into the crash found narcotics in a blood sample taken from Heche.

The actress’s family released a statement on Friday:

“Today we lost a bright light, a kind and most joyful soul, a loving mother, and a loyal friend. Anne will be deeply missed but she lives on through her beautiful sons, her iconic body of work, and her passionate advocacy. Her bravery for always standing in her truth, spreading her message of love and acceptance, will continue to have a lasting impact,” the statement added.

Heche was married to camera operator Coleman Laffoon from 2001 to 2009. The two had a son, Homer, together. She had another son, named Atlas, during a relationship with actor James Tupper, her co-star on the TV series “Men In Trees.”

Laffoon left a moving tribute on an Instagram reel in which he also gave an update on how their 20-year-old son Homer Laffoon is coping with the loss of his mother.

“I loved her and I miss her, and I’m always going to,” he said adding: “Homer is okay. He’s grieving, of course, and it’s rough. It’s really rough, as probably anybody can imagine. But he’s surrounded by family and he’s strong, and he’s gonna be okay.”

“Rest In Peace, Mom, I love you, Homer,” the actor’s 20-year-old son, Homer, said in a statement after Heche was declared legally dead on Friday.“ My brother Atlas and I lost our Mom,” read the statement. “After six days of almost unbelievable emotional swings, I am left with a deep, wordless sadness. Hopefully, my mom is free from pain and beginning to explore what I like to imagine as her eternal freedom. Over those six days, thousands of friends, family, and fans made their hearts known to me. I am grateful for their love, as I am for the support of my Dad, Coley, and my stepmom Alexi who continue to be my rock during this time. Rest In Peace Mom, I love you, Homer.”

James Tupper a Canadian actor who starred alongside Heche in the ABC television series Men in Trees, had a 13-year-old son, Atlas, with her. “Love you forever,” Tupper, 57, wrote on his Instagram post’s caption with a broken heart emoji, which shared an image of the actress from Men in Trees.

Between 1997 and 2000, Heche was also in a relationship with Out talk show host Ellen DeGeneres. “This is a sad day,” DeGeneres posted on Twitter. “I’m sending Anne’s children, family and friends all of my love.” The year after her break-up with the comedian, in September 200, Heche recounted in her memoir “Call Me Crazy,” about her lifelong struggles with mental health and a childhood of abuse.

KTLA’s entertainment reporter Sam Rubin noted that over the past two decades, Heche’s career pivoted several times. In 2017, she hosted a weekly radio show on SiriusXM with Jason Ellis called “Love and Heche.”

In 2020, Heche made her way into the podcast world. She launched “Better Together” which she cohosted alongside Heather Duffy Boylston. The show was described as a way to celebrate friendship. 

She also worked in smaller films, on Broadway, and on TV shows. She recently had recurring roles on the network series “Chicago P.D.,” “All Rise,” and was a contestant on Season 29 “Dancing With the Stars.”

People Magazine reported that several of Heche’s acting projects are expected to be released posthumously.

These include Girl in Room 13, expected to be released on Lifetime in September 2022, What Remains, scheduled to be released in 2023, and HBO Max TV series The Idol, created by Abel Tesfaye (The Weeknd) and Euphoria creator Sam Levinson.

In her Insta post from earlier this year Heche stands between her sons Atlas, 13 and Homer, 20.

From KTLA:

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Television

For Gaiman fans, ‘Sandman’ is a ‘Dream’ come true

Netflix series offers fantasy space where all feel welcome

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Tom Sturridge makes a dreamy Morpheus in ‘The Sandman.’ (Photo courtesy of Netflix)

For the millions of fans who have embraced Neil Gaiman’s “The Sandman” and its darkly beautiful, queer-inclusive mystical universe since it debuted in comic book form more than three decades ago, the arrival of a new Netflix series based on it is a very, very big deal – even if, for the uninitiated, it might be hard to understand why. After all, the streaming giant has already unleashed such a vast array of LGBTQ-friendly fantasy movies and shows that one more, welcome though it may be, hardly seems like anything new.

As any of the above-mentioned fans will quickly tell you, however, “Sandman” is not just any fantasy series. Initiated by DC Comics as a revival of an older comic book of the same name, it was handed over to Gaiman – then still a budding writer of comics with a few promising titles under his belt – with the stipulation that he keep the name but change everything else. The comic series he came up with went on to enjoy a 75-issue original run from 1989 to 1993, an era when an expanded literary appreciation for such works gave rise to the term “graphic novel”, and it joined “Maus” and “Watchmen” among the first few comics to be included on the New York Times Best Seller List. Arguably more important, it also generated a huge and diverse fan following, and its incorporation of multiple queer characters and storylines has inspired subsequent generations of comic book creators to envision new and inclusive fantasy worlds of their own.

Despite that success, it’s taken 33 years for it to finally be adapted for the screen. Beginning in the late ‘90s, attempts were made to develop “The Sandman” for film, but though a few scripts initially managed to win Gaiman’s approval, creative differences inevitably led to a dead end, and the Hollywood rumor mill began to buzz that the story was ultimately “unfilmable” – until 2019, when Netflix and Warner Brothers (parent company to DC Comics) officially reached a deal to bring it to the screen as a series, with Gaiman fully on board and a creative team in place that was determined to faithfully adapt the much-loved original for a contemporary audience.

The show that came from that decision, which premiered on Netflix Aug. 5, makes it clear that the long wait was more than worth it.

“The Sandman” of the title refers to the story’s leading figure – Dream (known also as Morpheus, among other names), one of seven elemental siblings whose mystical realms overlay and intertwine with the human world. As ruler of the dream world, he holds hidden power over all mankind – until a human sorcerer manages to trap him and imprison him on Earth for more than 100 years. Finally freed, he returns to his kingdom to find it in disarray, and he sets out to restore order and undo the damage done – a quest that will require him to enlist the aid of numerous (and sometimes less-than-willing) allies, both human and immortal, to save the cosmos from a chaotic force that has been unleashed in his absence.

Like any good myth cycle, it’s both an epic story and an episodic one, making it a much better fit for the long-form storytelling capacity of series television than for any of the one-off film adaptations that it almost became. In his sweeping, unapologetically allegorical saga of the ever-dueling forces within our human psyche, Gaiman uses broad strokes in composing his plot, recycling and reinventing timeless motifs and themes while relying on our comfortable acceptance of the familiar tropes of myth and magic to get us all on board; the narrative is a massive structure, but it’s not hard to follow the basics. Where “Sandman” becomes complex – and exceptional – is in the details Gaiman gave himself room to explore along the way, the human moments caught in between the monumental cosmic drama. 

It’s these parts of the story that have made his graphic novel iconic, more even than its gothic melancholy or its layered personification of primal forces into complex human archetypes; it’s there, too that he was able to explore a broad and diverse range of human experience, including many queer characters in a time when comic book literature was far from a queer-friendly space. It’s these things that made Gaiman’s comic a touchstone for a wide spectrum of fans – and they would have been the first things that would have been jettisoned had any of the potential “Sandman” films seen the light of day. Because Gaiman has held out for so long to make sure it could be done right, series television has finally given him the chance, as co-creator and co-executive producer (alongside David S. Goyer and Allan Heinberg), to make it happen.

The big-budget Netflix production values certainly help, too, allowing the striking visual aesthetic of the comic – in which even the horrific can be exquisitely beautiful – to come thrillingly alive. The show’s many baroque and gruesome deaths bear testament to that, as does a fourth episode sequence when Morpheus’s quest requires him to descend into a Hell that evokes the macabre beauty of Dore’s illustrations for Dante’s “Inferno,” the very landscape itself made up of the writhing and tormented souls of the damned. The artfulness of this show’s scenic design lingers in the memory, appropriately enough, like images from a dream.

Still, it’s all just scenery without the players, and “Sandman” assembles a top-drawer cast capable of bringing Gaiman’s characters to life with the level of depth they deserve. Tom Sturridge makes for a compelling leading figure, capturing the titular character’s complex mix of coldness and compassion without ever losing our loyalty; he’s supported by an equally talented ensemble of players, including heavyweight UK stalwarts like Charles Dance, Joely Richardson, David Thewlis, and Stephen Fry among a host of less familiar faces, and there’s not a weak performance to be found among any of them.

As to whether the show’s writing does justice to the original, different fans will surely have different opinions. The story has been remolded to fit the modern world, and many elements of the comic have been reconfigured in the process. This is particularly true in terms of representation; though queer characters were always a part of the “Sandman” universe, the comic debuted 34 years ago, and much has changed since then. In bringing the story to the screen, the author and the rest of the creative team have brought things up to date, bringing more nuance to its queer representation even as it expands it wider, and reimagining many of its characters to reflect a more diverse and inclusive vision of the world. Inevitably, these choices may upset some die-hard fans – there’s already been the inevitable toxic outcry against the show’s gender-swapping of characters and the decision to cast actors of color in roles originally depicted as white.

Still, for those who loved the original for providing a fantasy space where ALL could feel welcome – exactly the way Neil Gaiman intended it to be – it’s hard to find a reason to complain.

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Movies

New doc illuminates Patricia Highsmith’s life and work

‘Intercourse with men is like steel wool to the face’

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Patricia Highsmith was a complicated queer figure. (Image courtesy of Liveright)

If you’ve been transfixed by the amusement park scene in Alfred Hitchcock’s “Strangers on a Train,” rooted for the sociopath Tom Ripley in the 1999 film “The Talented Mr. Ripley” or been moved to tears by the love of Therese and Carol in Todd Haynes’s movie of “Carol,” Patricia Highsmith is etched in your DNA.

Highsmith, who lived from 1921 to 1995 wrote more than 50 books (novels and short story collections). Nearly all of her books were made into movies. 

Recently, “Loving Highsmith,” a fab documentary about Patricia Highsmith has been released. The film, written and directed by Eva Vitija, opens Sept. 2 at the Film Forum in New York and Sept. 9 at Landmark’s Nuart Theatre in Los Angeles. “Loving Highsmith” premiered at the Sydney Film Festival and bowed at the Frameline Film Festival in June.

Highsmith, like Tom Ripley and many of her other fictional characters, led a double life. She was a lesbian. But, because of the homophobia of her era, Highsmith had to be closeted about what she called “the ever present subject” of her “homosexuality.”

Except in the 5,000 pages of her diaries and notebooks. (1,000 pages of her diaries and notebooks were published in 2021 in “Patricia Highsmith: Her Diaries and Notebooks: 1941-1995.”)

Even if Highsmith weren’t acclaimed for her mastery of suspense, she would be a queer hero.

In 1952, her novel “The Price of Salt” was published under the pseudonym “Claire Morgan.” (It was reissued in 1990 under the title “Carol” and with Highsmith’s real name.)

Then, fiction featuring queer characters had to end unhappily: they died or went to jail. “The Price of Salt,” a rare exception, became a lesbian cult classic. Its protagonists end up together – alive and not in prison.

“Loving Highsmith” deftly uses writings from her diaries and notebooks as well as interviews with her family and lovers to illuminate not only Highsmith’s life and work but queer culture in the 1950s.

The film skillfully interweaves archival clips from interviews with Highsmith and famous film adaptations of her work with stories from her relatives and lovers. Gwendoline Christie (“Game of Thrones”) reads excerpts from Highsmith’s work.

Too often watching documentaries of talented, deceased icons is deadly. You feel like you’re entombed in lifeless talking heads and stagnant images.

You don’t have to worry about “Loving Highsmith.” Its talk and images make Highsmith’s story come alive. 

As the film makes clear, Highsmith was quite “loving.” She had many lovers – in New York, England, France and Germany. Despite trying to cure herself with analysis, Highsmith sexually liked women. “Sexual intercourse [with men] is to me like steel wool to the face,” she says.

Highsmith’s mother, by the accounts of Highsmith herself, her family and her lovers, was a horror show. She told Highsmith that she was sorry she hadn’t aborted her. When Highsmith was 14, her mother berated her for “making noises” like a “les.”

New York had many gay bars in the 1950s, we learn from “Loving Highsmith.” But homophobia was so rampant that you wouldn’t get off at a subway stop near a bar out of fear that a straight friend, family member, or co-worker would see you going into a queer bar.

There is one problem with “Loving Highsmith.” It soft pedals Highsmith’s anti-Semitism and racism. It mentions Highsmith’s prejudices only once: saying Highsmith in her old age reverted to the bigotry of her grandparents.

Highsmith’s bigotry grew more virulent in her old age. But, though she had Jewish friends, Highsmith was anti-Semitic throughout her life.

This doesn’t diminish Highsmith’s literary achievement or iconic role in queer history. Anti-Semitism and racism were likely common in Texas where Highsmith was born and lived before moving to New York when she was six. “Loving Highsmith” is a thoughtful, informative  documentary. It would have been more insightful if more attention had been paid to Highsmith’s prejudices.

Even with this caveat, “Loving Highsmith” is a must-see documentary. It will send you racing to read the nearest Highsmith book at hand.

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