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Your Daily Guide to Outfest 2018: July 14

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“The Gospel of Eureka,” photo courtesy Outfest.

Outfest is a great experience for LA film fans, but it can be a little intimidating.  With so many films and events to choose from, it can be difficult to even know where to start.  That’s why the Los Angeles Blade is here to break it all down for you, on a daily basis.

For the duration of the festival, we’ll be posting a daily roundup here with a brief look at the selections of the day.  Whether you’re a hard-core movie buff who plans to see as many screenings as possible, or a casual moviegoer looking for a date night treat, we’ve got you covered!

Just take a look at the offerings of the day and then head on over to www.outfest.org for ticket information.

 

SATURDAY, JUNE 14:

The venues for today are:

DGA 1 and DGA 2, at Director’s Guild of America, 7920 Sunset Blvd., L.A., 90046

Harmony Gold Theatre, 7655 W. Sunset Blvd., L.A., 90046

REDCAT: Roy and Edna Disney/CalArts Theatre at Walt Disney Concert Hall, 631 W. 2nd St., Downtown L.A., 90012

 

THE SCREENINGS:

“Heritage,” featured in “Boys’ Shorts,” photo courtesy of Outfest.

Boys’ Shorts (DGA 1, 11am):  There’s no denying the heart and soul in this year’s stunning showcase of boys’ shorts — across genre, borders, and walks of life, from Puerto Rico to Israel. Between breaking out of your shell and back into the dating pool to coming out after social media stardom, falling in love with a very famous corpse to stalking your father’s lover, these unforgettable films capture the laughter, melancholy, and hope that bind us together.  Curated by Andrew Ahn. Sam (Dir: Stephanie Camacho Casillas, 11 min.), Share (Dir: Barna Szász & Ellie Wen, 13 min.), Sam Did It (Dir: Dominic Burgess, 11 min.), Heritage (Dir: Yuval Aharoni, 25 min.), The Things You Think I’m Thinking (Dir: Sherren Lee, 15 min.), We Forgot To Break Up (Dir: Chandler Levack, 16 min.).

“Call Her Ganda,” photo courtesy of Outfest.

Call Her Ganda (Harmony Gold, 11:30am):  In this documentary, a journalist, a lawyer working pro bono, and the mother of the victim unite to stand up to U.S. imperialism and demand justice in the name of Jennifer Laude, a 26-year-old trans woman murdered by a U.S. Marine in the Philippines. In the face of the gruesome facts of the case and transphobic reactions worldwide, these three women do not waiver, knowing that what is at stake is Filipino sovereignty and an end to gender-based violence.  Directed by P.J. Raval, an award‐winning filmmaker and cinematographer whose work explores the overlooked subcultures and identities within the already marginalized LGBTQ+ community, this is a visually daring and profoundly humanistic geopolitical exposé.

Scotty and the Secret History of Hollywood (DGA 1, 1:45pm):  n Hollywood’s Golden Age, studio publicists presented movie stars as paragons of heterosexual domesticity, but behind the curtain, some beloved actors and actresses had very different proclivities. Many of these celebrity sexcapades first came to light in Scotty Bowers’ controversial book Full Service. This fascinating documentary balances juicy gossip (bolstered by expert witnesses like Gore Vidal and Liz Smith) with a compassionate look at Bowers’ life. Meet the man who pierces the veil and shines a light on the private sexual dalliances of some of cinema’s biggest stars.  Directed by Matt Tyrnauer, the journalist and filmmaker also behind Outfest’s opening night gala feature, “Studio 54,” this one is likely to be a sell-out.  Preceded by Everything Must Go, My Love (Dir: Jocelyn Roy, 10 min.).

“Cuernavaca,” photo courtesy of Outfest.

Cuernavaca (DGA 2, 2pm):  A Mexican narrative feature by director Alejandro Andrade Pease.  After his mother dies unexpectedly, Andy moves into the palatial residence of his strict, no-nonsense grandmother (played by frequent Almodóvar collaborator Carmen Maura) in the Mexican suburb of Cuernavaca. He finds comfort and refuge in Charly, the estate’s young gardener, who introduces him to an exciting world of danger, risk, and temptation. In this epic coming-of-age story, Andy will navigate the pain and joy that comes with grief, growing up, and finding your identity.  Preceded By Two Fish (Dir: Antoine Dupont-Guerra, 11 min.).

The Gospel of Eureka (Harmony Gold, 2pm):  In this documentary, fierce drag queens and evangelical Christians put on the performances of their lives in the secluded southern town of Eureka Springs, Arkansas. Poised between stereotypes and the fight for civil rights, filmmakers Michael Palmieri and Donal Mosher weave an eye-opening, optimistic portrayal of the deep American tensions between religion and the LGBTQ identity. A crowd-pleasing cinematic meditation on intense dedication and faith, the film shows that the symbiosis of the two worlds is closer than you ever imagined.  Preceded by Mama Dragons: A Great Big Story (Dir: Andria May-Corsini & Adam Wolffbrand, 13 min.).

“The Man-Woman Case,” photo courtesy of Outfest.

The Man-Woman Case & Other Animated Tales (REDCAT, 2pm):  Beautifully illustrating the complexity of the queer experience in both its exhilarations and travails, this compilation of sometimes absurd, sometimes moving, but always intimate stories is a feast for the eyes and the soul. The fluidity and ethereal nature of animation are used to explore parent-son relationships, bask in a bawdy feminist fairy tale, reminisce on young summer love, and follow the noir epic of Eugene Falleni, the true story of a 1920s trans man running from the law.  Manivald (Dir: Chintis Lundgren, 12 min.), Venus – Filly, The Little Lesbian Fairy (Vênus – Filó, A Fadinha Lésbica) (Dir: Sávio Leite, 6 min.), Contact (Dir: Léa Bancelin, 6 min.), The Fish Curry (Maacher Jhol), (Dir: Abhishek Verma, 12 min.), Flash Flood (Dir. Alli MacKay, 6 min.), The Man-Woman Case (Dir: Anaïs Caura, 45 min.).

“Daddy Issues,” photo courtesy of Outfest.

Daddy Issues (DGA 1, 4:30pm):  The US premiere of a film by director Amara Cash, this is an intoxicating invitation into the lives of two young women, one a fearless charmer, the other a talented but shy artist. When the pair meets, their lips and their lives collide, and the chemistry is electric. Combining their skills to design a clothing line, the girls spend every waking moment together, until the unthinkable happens. This candy-colored glimpse into first love is not only gorgeously shot, but it’s also driven by slick editing and an empowering soundtrack, immersing the viewer — or voyeur — into a world laced with potent sexuality.  Preceded by Mendhi (Dir: Sudeshna Sen, 2017, 4 min.).

“Conversations With Gay Elders,” photo courtesy of Outfest.

Conversations With Gay Elders (DGA 2, 4:30pm):  In this illuminating and heartfelt new documentary, the director of We Were Here and The Cockettes sits down with Kerby Lauderdale, who looks back on life before and after Stonewall, from marriage to a woman (he’s the father of Pink Martini lead singer Thomas Lauderdale) to queer activism. Part of a series of documentaries in which David Weissman, 62, will interview a diverse cross-section of elder members of the LGBTQ community.  Preceded by Gavin Grimm VS. (Dir: Nadia Hallgren, 19 min.).

“TransMilitary,” photo courtesy of Outfest.

TransMilitary (Harmony Gold, 4:30pm):  At the risk of being discharged and losing their livelihoods, trans service members come out to top brass at the Pentagon to challenge the transgender military ban. From 2015 to the present day, this documentary by directors Gabriel Silverman and Fiona Dawson follows four trans service members—Senior Airman Logan Ireland, Corporal Laila Villanueva, Captain Jennifer Peace, and First Lieutenant El Cook—as they fight to defend their equal right to serve their country. A 2018 SXSW Audience Award winner.  Preceded by Pre-Drink (Dir: Marc-Antoine Lemire, 23 min.).

The Wild Boys (Les Garçons Sauvages) (REDCAT, 4:30pm):  Director Bertrand Mandico’s genre- and gender-bending surrealist work zigzags through a perverse, hyper-stylized world of transgressions. In this nightmarish adventure, well-bred teenage boys, played by women, commit a heinous crime and are sent to sea with the barbaric Captain. Landing on a magical island with bizarre animals and lascivious plants, the teens metamorphize. Outrageous vulgarity blends with refinement as machismo’s cruelty and the glory of sexual freedom are exposed in this phantasmagorical visual feast and erotic fantasia.

“We The Animals,” photo courtesy of Outfest.

We The Animals (DGA 1, 6:45pm):  Lovely and lyrical, this film received well-earned comparisons to “Moonlight” when it premiered at the Sundance Film Festival. Acclaimed documentary filmmaker Jeremiah Zagar makes his narrative debut with this adaptation of the novel by Justin Torres about three boys navigating their parents’ volatile relationship and the aftermath of their breakup. Two of the sons clearly follow in the footsteps of their macho, anger-prone father (Raúl Castillo, “Looking”), while the sensitive youngest, Jonah (Evan Rosado), remains close to their mother (“Sheila Vand,” “Women Who Kill”).  Exquisitely photographed by Zak Mulligan, the film captures both the beauty and terror of childhood, guiding us through the wonders of the world and the pain and confusion of marital dysfunction.  Subtle and haunting, bursting with empathy and energy, this achingly crafted coming-of-age tale heralds a new chapter for a brilliant and essential storytelling talent.

“Kiki and the Mxfits,” part of “Queeroes,” photo courtesy of Outfest.

Queeroes (Harmony Gold, 7:30pm):  Discover the Queeroes short film series, part of an innovative new mentorship from 5050by2020 (an initiative of Time’s Up) and them (a queer non-binary digital platform of Conde Nast) that elevates queer, trans, and POC storytelling. Curated by Emmy-award winner Jill Soloway, participating mentors include Emmy-award winning writer Lena Waithe (“The Chi”) and playwright and TV writer Tanya Saracho (“Vida”). The films include a re-imagining of the classic Broadway movie musical with a Black butch lesbian dancer in the starring role, a sassy post-gender Hollywood landscape set in the near future, and a rowdy high school comedy through a genderfluid Latinx lens.  Followed by an extended discussion with the cast and crew of each film.  Central & Broadway (Dir: Chelsea Woods, 8 min.), Mother Comes To Venus (Dir: Zackary Drucker, 8 min.), Kiki & The Mxfits (Dir: Natalia Leite, 8 min.).

“Only Trumpets,” part of the Platinum Shorts Showcase, photo courtesy of Outfest.

Platinum Shorts Showcase (REDCAT, 7:30pm): Desire, danger, obsession, loneliness, love lost, found, and twisted are all part of the tales told in this year’s showcase. The Sermon (Dir: Dean Pukett, 2018, UK, 12 min.), Hibernaculum (Dir: Tyler Lumm, 2018, USA, 7 min.), Only Trumpets (Dir: Tristan Scott, 2018, USA, 10 min.), How To Make A Ghost (Dir: Gabriela Escovar, 2018, USA, 2 min.), Landline (Dir: Matt Houghton, 2018, UK, 12 min.), Grooming Men Under The Falstaff Sign (Dir: Jory Lee Cordy, 2018, USA, 3 min.), Wait (Dir: Sarah Prinz, 2018, USA, 7 min.), Exhumation (Dir: Daniel McIntyre, 2018, Canada, 8 min.), No Leash (Dir: SSION, 2017, USA, 12 min.), Dressed For Pleasure (Je Fais Où Tu Me Dis)  (Dir: Marie de Maricourt, 2018, USA, 17 min.), Tea Bag (Dir: Jacquie Ray, 2018, USA, 3 min.), Crashing Waves (Dir: Emma Gilbertson, 2018, UK, 4 min.), Drag Me In Place (Dir: Michael Zarowny (Mood Killer), 2018, USA, 3 min.).

“Mr. Gay Syria,” photo courtesy of Outfest.

Mr. Gay Syria (DGA 2, 9pm): Hussein is a Syrian refugee who lives in Istanbul and works as a hairstylist. At gay support group “Tea and Talk,” Hussein and his friends discuss the issues they face in their homeland. Hoping to bring their cause international media visibility, they decide to participate in the Mr. Gay Syria competition. Writer-director Ayse Toprak’s riveting documentary shines a compassionate light on the ordeals encountered by these brave men as they face possible persecution and physical violence on a day-to-day basis.  Preceded by Margo & May (Dir: Meredith Koch, 5 min.).

Hard Paint (Tinta Bruta) (DGA 1, 9:30pm):  Online, Pedro smears neon paint across his body for pay-per-view voyeurs hungry for his webcam erotica. IRL, he rarely sees the sun or speaks to another soul in Porto Alegre. After catching word of a rival ripping off his rainbow-colored act, he ventures from the shadows to settle their score — but finds an unlikely new friend in the process. This Berlinale Teddy Award winner conjures a dark, sensual atmosphere of alienation and discovery, and marks the return of young Brazilian filmmaking duo Filipe Matzembacher and Marcio Reolon back to Outfest for the third time after their previous feature “Seaside” and miniseries “O Ninho (The Nest).”

“Are We Good Parents?,” part of “All About Your Mother,” photo courtesy of Outfest.

All About My Mother (Harmony Gold, 9:30pm):  From “Mommie Dearest” to mom of the year, there will always be myriad ways to define motherhood in the movies. And whether you are one, have one, or know one, we all have our own unique experiences around how these ladies fit into our lives. Between mama bears a bit too woke for their own good to those sleeping on their children’s talents, new mothers facing discrimination or those struggling to understand their queer children, these films capture maternity in motion. Curated by Albert Payano.  Are We Good Parents? (Dir: Bola Ogun, 9 min.), Rani (Dir: Hammad Rizvi, 14 min.), Dario (Dir: Manuel Kinzer, Jorge A. Trujillo Gil, 15 min.), Between Us Two (Dir: Tan Wei Keong, 5 min.), Uninvited (Dir: Seung Yeob Lee, 20 min.), Khol (Open) (Dir: Faroukh Virani, 12 min.), For Nonna Anna (Dir: Luis De Filippis, 14 min.).

 

PANELS:

Make Them Hear You: The Truth About Content By & For LGBTQ+ Women (DGA 2, 12pm): LGBTQ+ women have been at the forefront of many movements throughout history. However, in Hollywood queer women remain the least represented community in front of and behind the camera. This discussion will explore the past, present, and future of LGBTQ+ women in entertainment, bringing together trailblazers who are leading the charge for a more inclusive and multi- dimensional landscape. Presented by AT&T Hello Lab— a collection of inclusive original entertainment created by, for and with Millennial and Gen Z audiences. Panelists: Christine Vachon, Sara Shaw, Ashly Perez, Sidra Smith, Brooke Chaffin (moderator). Preceded by Tooth and Nail (Dir: Sara Shaw, 20 min.).

Bi In The Biz (DGA 2, 7pm):  While the L, G and T communities have made great strides toward visibility in the culture, the B’s still remain relatively hidden, even in the entertainment industry. This panel will feature out bisexual actors and entertainment industry professionals discussing the specific challenges and opportunities for film, TV and online performers who identify as such. Break out of the bi closet as we explore the politics and the pragmatism of actors living out in the open.

 

PARTIES:

Platinum Alchemy Party (Navel, 1611 S. Hope St., Los Angeles, CA 90015):  This year’s Alchemy brings magic to the dance floor with 5 non-stop hours of live music and DJ sets. Come see Outfest’s wild side during our flamboyant and fantastical night of turning poptastic weirdness into gold!  Performers: Bae Bae (Dj Set), Bebe Huxley, Dorian Electra, London Jade, Lulo (Dj Set), Luna Lovebad, Miss Pvssy, Mood Killer, Narcisisster, Nebulae Cult, Saturn Rising, The Uhuruverse, Weston Allen. 

Direct entrance to the venue is located through a large black gate on Venice Blvd. Follow the posted signs to the gate and enter through the first door on the left just past the gate.  If you’re arriving via Lyft/Uber (which we highly recommend) using 418 Venice Blvd. as your destination and this will drop you off right in front of the black gate.  If you’re arriving via Metro, the closest station is the Pico Station on the Blue & Expo Lines.  Self Parking is available in the parking lot located directly underneath Interstate 10 (do not park in the lot attached to the building–you may be towed!). It’s cash only, payable to the parking attendant or to the parking payment box, if the attendant is not present.  Street parking (or Lyft/Uber/Public Transport!) recommended.

 

 

 

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Arts & Entertainment

Norman Lear’s “Clean Slate” struggles to find its footing

“Clean Slate” has a lot of heart, but ultimately misses the mark.

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Clean Slate TV promo pic by Amazon Studios

How does one even attempt to give an honest review of a new TV show executive-produced by the late Norman Lear – a pioneer in entertainment – also starring Laverne Cox, a trailblazer for trans representation? Given the current political climate towards the queer community, approaching Clean Slate should be done with kid gloves. Still, the show struggles to find its footing and generally misfires.

The show, now streaming on Prime, was originally pitched to Lear by comedian and co-star of Clean Slate, George Wallace as a Sanford & Sons reboot. Lear told him to go back to the drawing board and come back with something new. Ultimately, Wallace, together with Laverne Cox and Dan Ewen, created a show that is a throwback to the family sitcom era and to Lear’s earlier shows like All in the Family and The Jeffersons.

What’s missing here is a live audience and a stage.

The writing doesn’t seem to get that. One-liners fall flat, and preachy character orations clunk away with their heavy-handedness. Some of the actors are able to make something of a dated and unimaginative script, and some do not. Some of the jokes and situations are very stale, we’ve heard and seen them before. Though new to the scene, this show does not seem fresh, which is odd for a Lear project. We wish Clean Slate was as fast-paced and fun as the show’s trailer.

Always one to push the envelope, Lear’s projects have addressed class, racism, abortion, women’s rights and queer issues, many times way before mainstream audiences were prepared to discuss them. In Clean Slate, trans and gay issues are in the spotlight.

Laverne Cox’s Desiree returns to her small hometown in Alabama and surprises her father, Wallace’s Henry Slate, after being gone for 17 years. Not only does she surprise her father by coming back, but she also surprises him by showing uo as his daughter and not the son he knew.

Having lost her money running an art gallery in New York, she moves back in with her father to figure out her next steps. The show centers on the bond she creates with her father and the friendships she builds in small-town living, including the family that works for Henry’s car wash, her best friend Louis who is dealing with being in the closet, Louis’ mother, and the local church community.

Ultimately, she also connects with the local queer contingent. The usual themes and situations you would expect unfold. Henry must also now get used to using different pronouns with his daughter and having to put money into a pronoun jar each time he makes a mistake. He helps Desiree deal with her relationship to church and spirituality, when the local pastor shuns her new identity and she falls in love with the town’s hot guy.

Even with these storylines, the proceedings seem unimaginative and dated. At times, it seems like the show is an after-school special and not a progressive comedy. Henry and almost all of the small town embrace Desiree’s new identity with vigor and understanding which – although optimistic and hopeful – seems improbable in small town living in the South. The whole affair just comes across as saccharin in its sweetness.

Wallace as Henry Slate is charming and a great choice to help lead this story. He handles many of the cheezy lines with sincerity that makes it almost work. He is a gentle giant as a character, and quickly becomes lovable, even with his many missteps of grappling with the queer community. He loves his child unconditionally and would do anything for her, which is very believable from the get-go. D.K. Uzoukwu as the closeted Louis plays his role with sincerity and is a very welcome fresh face to big-time TV.

He plays the balance of presentational comedy and character honesty very well. Jay Wilkison as Mack – the town’s bad boy turned loving single father – really handles the material deftly and adds some much-needed craft to make the script and situations seem plausible. He’s also not hard on the eyes. Stealing practically every scene she is in is TV veteran Telma Hopkins, most known for her role in Family Matters, as Louis’ mom. She understands the nuance of sitcoms, single-camera closeups, and just the right amount of presentational acting to make it work. She is a delight to watch. We just want to hang out with her and gossip on the porch.  

We know Laverne Cox is a talented actor. She made history as the first trans actor to be nominated for a Primetime Emmy for her role in Orange Is the New Black. Oddly and we feel guilty by even writing it, but she misses the mark the most in Clean Slate.

She doesn’t seem to understand the material and comedic moments are overdone. Her emotional moments just don’t ring true. She seems to be overacting which, along with a weak script, doesn’t anchor the show properly. But, she is a consummate actor. What was it? The direction? The writing? Her performance just doesn’t cut it.

Here’s the thing.

All that being said, the show does have a lot of heart. But it seems lost, trying to find its footing, as to what it wants to be. A sitcom? A dra-medy? It does not succeed in any of those genres, but as a queer person watching the show, it is touching just because of its existence.

A comedy show led by trans and queer storylines is so much needed right now and just knowing this show is part of the Lear legacy, makes it that much more important.

Should we blindly support queer content just because it is out there? No.

Should we support the efforts and mission of a show? Yes.

And we also love the fact that this is a show the whole family can watch and discuss, which holds a lot of weight. There is a lot to explore if the show gets a season 2 and we do hope it is renewed so it has a chance to find its footing with stronger direction and writing.

Clean Slate season 1 is now streaming on Amazon Prime.

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Books

From genteel British wealth to trans biker

Memoir ‘Frighten the Horses’ a long but essential read

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(Book cover image courtesy of Roxane Books/Grove Atlantic)

‘Frighten the Horses: A Memoir’
By Oliver Radclyffe
c.2024, Roxane Books/Grove Atlantic
$28/352 pages

Finding your own way.

It’s a rite of passage for every young person, a necessity on the path to adulthood. You might have had help with it. You might have listened to your heart alone on the quest to find your own way. And sometimes, as in the new memoir, “Frighten the Horses” by Oliver Radclyffe, you may have to find yourself first.

If you had observed Oliver Radclyffe in a random diner a few years ago, you’d have seen a blonde, bubbly, but harried mother with four active children under age seven and a distracted husband. You probably wouldn’t have seen trouble, but it was there.

“Nicky,” as Radclyffe was known then, was simmering with something that was just coming to the forefront.

As a young child, Nicky’d been raised in comfort in a family steeped in genteel British wealth, attended a private all-girl’s school, and never wanted for anything. She left all that behind as a young adult, and embraced the biker lifestyle and everything it entailed. The problem now wasn’t that she missed her old ways; it was that she hated life as a wife and mother. Her dreams were filled with fantasies of “exactly who I was: a man on a motorbike, in love with a woman.”

But being a man? No, that wasn’t quite right.

It took every bit of courage she had to say she was gay, that she thought constantly about women, that she hated sex with men. When she told her husband, he was hurt but mostly unbothered, insisting that she tell absolutely no one. They could remain married and just go forward. Nothing had to change.

But everything had already changed for Nicky.

Once she decided finally to come out, she learned that friends had already suspected. Family was supportive. It would be OK. But as Nicky began to experiment with a newfound freedom to be with women, one thing became clear: having sex with a woman was better when she imagined doing it as a man.

In his opening chapter, author Oliver Radclyffe shares an anecdote about the confusion the father of Radclyffe’s son’s friend had when picking up the friend. Readers may feel the same sentiment.

Fortunately, “Frighten the Horses” gets better — and it gets worse. Radclyffe’s story is riveting, told with a voice that’s distinct, sometimes poker-faced, but compelling; you’ll find yourself agreeing with every bit of his outrage and befuddlement with coming out in a way that feels right. When everything falls into place, it’s a relief for both author and reader.

And yet, it’s hard to get to this point because this memoir is just too long. It lags where you’ll wish it didn’t. It feels like being burrito-wrapped in a heavy-weighted blanket: You don’t necessarily want out, but you might get tired of being in it.

Still, it remains that this peek at transitioning, however painful, is essential reading for anyone who needs to understand how someone figures things out. If that’s you, then consider “Frighten the Horses” and find it.

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Celebrity News

LATEST: Is Karla Sofía Gascón’s apology too little, too late?

Netflix has removed Gascón from their Oscars campaign

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Karla Sofía Gascón speaks to Juan Carlos Arciniegas on CNN en español. Screengrab CNN en español/Youtube

The latest in the scandal involving Emilia Peréz’s trans star and Best Actress nominee Karla Sofía Gascón is Netflix deciding to part ways with her even after her public apology and statement regarding not withdrawing from the nomination. 

“I have been labeled a racist and I need to be clear that I am not. I feel like I’ve been judged, sentenced, crucified and stoned without a fair trial and without an option to defend myself,” said Gascón in an interview with CNN en español. 

According to Variety and The Hollywood Reporter, Netflix has cut Gascón out of the campaign for the Oscars. This move comes even after Gascón issued an apology through a statement on her social media and in an interview with CNN en español. On Thursday she was set to be seated with co-star Selena Gomez, Zoe Saldaña and the film’s writer-director, Jacques Audiard for the AFI Awards luncheon – a gathering at the Four Seasons in Beverly Hills. On Friday, she was set to attend the Critics Choice Awards. On Saturday, she was set to serve as presenter at the Producers Guild Awards – which happen to be going on at the same time as The Directors Guild Awards. According to THR, she will not be attending the events. 

The Spaniard actress found herself at the center of controversy surrounding the Netflix original being nominated for 13 Oscars after freelance culture writer Sarah Hagi uncovered the actress’s stream of consciousness on display on X, formerly Twitter. Hagi found tweets from as far back as 2020, revealing Gascón’s views on Muslims, George Floyd, China and vaccines.

In her hour-long interview with CNN en español, she defended her position on the issue stating that she feels that she was unfairly targeted, while not being given the opportunity to defend the position she stood behind while writing those tweets. 

She goes on to say that she “supports the Black Lives Matter movement obviously” and that the tweets about George Floyd “were taken out of context.” In the interview, she goes on to say she was highlighting the hypocrisy of humanity in that moment in history. According to Gascón, what she noticed during that time was that only after Floyd’s death did people care about him, but prior to his death, they did not help him or care about his struggles. 

“I do not identify with any political party and I have my own opinions about issues that might have been one thing in the past, but have now shifted because I have learned many things about respect, love and with the spiritual practice of Buddhism,” said Gascón. 

In the interview, she also pulls the “I have a friend who’s Black, so I’m not racist,” card by saying she has a very close family friend who is Muslim, in response to the line of questioning about her being Islamophobic and only through very heavy discussions with her, has Gascón truly come to understand the implications of her words against the culture and religion, as well as the  differences between the cultures. 

Emilia Peréz was already facing an upward battle to gain popularity, as it was a French production about México. Audiences criticized the film for various reasons and yet, it was still nominated for Best Picture, Critics Choice Award for Best Picture, Academy Award for Best Directing, and many others. 

Gascón deleted her X account shortly after the tweets were discovered and is now facing the cold shoulder from Netflix. Variety and THR, reported that the streaming giant is no longer directly communicating with Gascón – only through representatives. 

Whether or not this is a witch hunt for a trans actress at the height of her career, Gascón now has first-hand experience in dealing with what it means to misuse a platform by sharing her views on issues she said herself, she did not understand. 

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Movies

Animated Oscar contender ‘Snail’ a bittersweet delight

Showcasing the power of kindness to help us endure difficult times

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A scene from 'Memoir of a Snail.' (Image courtesy of IFC Entertainment)

Even in a time when it has been well established that an animated film is not necessarily meant for children, you might expect one with the title “Memoir of a Snail” to be something soft, sweet, and whimsical enough to be suitable for even the youngest of toddlers – but you can’t judge a film by its title, any more than you can a book by its cover.

One of 2024’s most well-received films, animated or otherwise, this deceptively adorable feature from Australian animator Adam Elliott certainly fits part of the above description (the “whimsical” part), but it could only be considered a children’s movie by someone who still thinks “cartoons” are for kids. Elliott – whose 2003 film “Harvie Krumpet” won the Oscar for Best Animated Short – is a filmmaker who uses animation (or more specifically, stop-motion “claymation”) to tell semi-autobiographical stories, often about characters based on his own family and friends, and while his visual style might be cute enough to engage your toddler, the content of his narratives is unmistakably tailored for adults.

In this case, that narrative is centered on – and told in flashback by – one Grace Prudel (voiced as an adult by “Succession” star Sarah Snook, and as a child by Charlotte Belsey and Agnes Davison), a girl who grows up in 1970s Melbourne with a twin brother named Gilbert (Mason Litsos/Kodi Smit-McPhee) under the care of their father, a former French animator (Dominique Pinon) with a fondness for roller coasters. When he dies and leaves them without support, the deeply bonded Grace and Gilbert are taken into the foster system and sent to live with families on opposite sides of the country. Grace, whose “swinger” foster parents often leave her on her own, struggles with isolation and loneliness, while Gilbert suffers under the tyrannical rule of a fundamentalist religious couple who exploit all their children as free labor.

Eventually, Grace crosses paths with Pinky (Jacki Weaver), an elderly free spirit who takes on the role of mentor and helps her endure a number of hardships, including a disastrous wedding engagement and her continued separation from Gilbert; depressed, overweight, and increasingly seeking refuge with her collections of snails, romance novels, and guinea pigs – all of which serve as both consolation and distraction from her seemingly impossible dream of following in her father’s footsteps to make animated films – it is her bond with Pinky that may finally provide her with the lifeline to keep her hope alive.

Striking a delicate balance between sentiment and savvy, Elliott’s film – his first feature effort since 2009’s “Mary and Max” – bridges the gap expertly with just enough satirical exaggeration to avoid being maudlin, yet keeps its eye on the redemptive prize (despite the occasional Dickensian twist) by treating Grace with the kind of empathy that can only be achieved by putting the audience completely into her shoes. Without spoilers, we watch as she goes through multiple quirky-yet-relatable setbacks, reinforcing the connection with our own inner misfit by conjuring familiar (and potentially unifying) feelings of inadequacy and leading us, inevitably, to forgive ourselves for our perceived shortcomings.

Visually, “Memoir of a Snail” evokes memories of many other stop-motion efforts, contrasting the inherent “cuteness” of its style with the less-comforting content of its storyline. Resembling a tried-and-true “Wallace and Gromit” film (such as fellow Oscar-nominee “Vengeance Most Foul”) but decidedly more focused on the inner lives of its characters, it blends and contrasts a familiar and traditional form with an emotional honesty that disarms our cynicism. Mixed with its comforting whimsy is an acknowledgement of life’s dark corners, a frank awareness that, sometimes, loss and sorrow happen and there’s nothing to be done but to go through them – there are no fantastical inventions to ease Grace’s path, no tongue-in-cheek capers that can set things right and restore her world to some kind of happy status quo; like the rest of us, she must work through the darkness not to get back to the way things were, but to arrive at a place where new things are possible – where the grief and sorrow that are inevitably woven into our life can be weathered and overcome, even if they can’t be avoided.

As to that grief and sorrow, “Memoir of a Snail” touches on the universal; Grace’s struggles with loss and loneliness, the disappointments, humiliations, and outright betrayals she confronts, all hit close to home – the loss of loved ones, the loneliness of not fitting in, the trauma of being bullied and abused – and there are no easy answers to getting through them. 

Yet melancholy as its tone may often feel, Elliott’s movie defies its own gravity with a wicked sense of humor and a sharp knack for commentary on the quirks and foibles of human behavior. Despite the grimness into which it sometimes must descend – which includes the depiction of shock treatment used for “conversion therapy” by Gilbert’s homophobic foster family – it manages to maintain a light-hearted attitude, buoyed by a keen (and often ironic) sense of humor and an embrace of the inescapable absurdities of life, and emerge not only with acceptance but with hope – with a little help, that is, from our friends.

It’s this message that infuses “Memoir” with such a sense of humanity; it is through the special bonds she finds that Grace endures – and not only the ones she shares with her beloved snails. The heart of the movie beats through her friendship with Pinky, a fellow “misfit” with the wisdom and kindness to renew her faith in life, and it’s that warmth and humanity that takes a tale of hardship and emotional suffering and turns it into one of the year’s most delightful movies.

Visually lovely, with an array of memorable voice performances and a delicious balance of humor ranging from silly to the macabre, “Memoir of a Snail” may not have the Disney appeal – nor the subject matter – to make it a good choice for children, but it has the candor and willingness to explore the darker places in our lives, the “sacred wounds” that give our lives meaning, and the power of love to keep us in the light.

Nominated for the Best Animated Feature Oscar, Elliott’s film is now streaming via multiple VOD platforms – and as much, if not more, worth your attention as any of the live action films competing in the other categories. After all, a movie about the power of kindness to help us endure difficult times is something most of us could probably use, right about now.

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An invite-only LGBTQ+ app surged in popularity after Trump’s executive orders

Famm Connect provides a safe haven for job seekers and community support amid LGBTQ+ attacks

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Co-founders of Famm Connect and married couple Marianna Di Regolo and Cat Perez (Courtesy photo).

President Donald Trump’s latest executive order, restricting transgender individuals from serving openly in the military, has sparked a surge in activity on Famm Connect, a new professional networking app designed for the LGBTQ+ community.

The Secretary of Defense, Pete Hegseth, has a 30-day deadline for submitting a plan to execute the order. Until then, many have been turning to the invite-only platform, created in Dec. 2024, to find support, resources and career connections in the face of increasing change.

Its California-based co-founders and married couple, Marianna Di Regolo and Cat Perez, said their app has grown more than 70% within the last weeks. Di Regolo noted that the app provides a safe digital space for members fleeing those opposing their community.

“Famm Connect is our response to Trump and really anyone else who creates barriers for or discriminates against LGBTQ+ folks. So with Trump signing executive orders against our community and major organizations cutting DE&I programs and platforms like Meta removing protections for LGBTQ folks, spaces like Fam Connect are more important than ever,” Di Regolo told the Los Angeles Blade.  

The LGBTQ+ community, according to Di Regolo, feels unprotected on other professional apps where hateful comments aren’t filtered, so her app serves as a haven for those looking for new jobs.

“Just in general, as a lot of us have seen, quite a few LGBTQ+ folks don’t feel safe on a lot of the other platforms, and they might be growing in their career or looking for a job or just looking to connect with other folks professionally,” she said, adding: “They’re on our platform letting folks know, ‘Hey, I’m looking for X, Y, and Z job,’… and they feel safer and more comfortable doing it in a secure space.”

As attacks on LGBTQ+ rights intensify—from political figures rolling back protections, advocates are doubling down on support for their communities, according to a spokesperson at GLAAD, a non-profit committed to LGBTQ+ advocacy and cultural change.

“Now more than ever, LGBTQ+ people are stepping up to take care of and support each other and our families. No matter what rhetoric is spewed [by] government officials or anti-LGBTQ+ extremists, our community and allies will persevere. Building community, finding and giving support, and making connections in spaces where we all can feel safe will be a critical part of surviving and thriving, no matter what we are up against.”

Trump said in his latest executive order against Trans troops that “For the sake of our Nation and the patriotic Americans who volunteer to serve it, military service must be reserved for those mentally and physically fit for duty.” This message didn’t resonate with Perez, who said Trump’s executive order is fear-mongering, among other things.

“It’s absolutely ridiculous. There’s no basis [on] which that decision was made. It is absolutely transphobia and a fear tactic that they are using and a general strategic tactic that Trump and his administration are using to distract the American people from real issues that they should be focused on for this country,” she said.

Perez also argues that his stance not only dehumanizes trans people but also ignores the reality that: “Trans people are humans. They’re human beings. “They’re absolutely capable of serving in the military, and they have, and it’s just disgusting that that is the message that he is putting out there.”

JaRel Clay, the vice president of the Board of Directors at SpeakOut, a non-profit that aims to create safe spaces across LGBTQ+ communities of color, says Famm Connect is a critical employment resource for “the trans community in the midst of attacks coming from the Trump administration.”

“We know that there is power in community, and especially for this community facing heightened risks, both in their areas and federally. An app like Famm Connect is more than a tool. It’s a lifeline,” Clay added.

Clay asserts that Trump’s rhetoric regarding the lack of mental fitness of trans-serving troops is “woefully uninformed.”

“How do you suggest that their military readiness and public service are at a disadvantage simply because they are trans? It’s, again, just woefully uninformed and ignorant,” Clay said. “It’s un-American. It is the fabric of our being that we address and assess the readiness of any individual who wants to serve our country based on the merit of how they perform.”  

Perez said that she sees the LGBTQ+ community coming together and showing up for one another on the app since other platforms have censored terms like “lesbian” or other words about their community.

The Human Rights Campaign claims that Meta’s new social media policies “endanger LGBTQ+ communities.” Perez says censoring their communities is incredibly problematic, so they are building up Famm Connect. 

“I think for folks who are struggling right now in the community, within their careers, I think seeking out the queer community and seeking out safe and intentional spaces and really making those connections is going to be the thing that helps get you through these turbulent times,” she noted.

Contributing writer, Eden Harris is a D.C. native with a passion for uplifting marginalized voices on a global, national and local level. She has experience covering the White House, Capitol Hill, the Supreme Court and federal agencies. She covers mainly all things Africa and is committed to doing so with the highest standards that drive true equity for the continent and its U.S. diaspora.

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Events

LGBTQ+ community will gather to celebrate life of beloved publisher

Join us for a celebration in honor of Troy Masters, founder and publisher of Los Angeles Blade

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On Monday, Feb. 10 from 7pm to 9pm, friends and colleagues of Troy Masters will gather at The Abbey in West Hollywood to celebrate his life and legacy as founder of the Los Angeles Blade. 

Masters was a resident of WeHo and he was a deeply respected and well-known person for his work in the LGBTQ+ community and coverage of queer issues in Los Angeles and New York City. In the years he was a journalist, he built a network of people that truly stood behind the work he felt passionately about. 

The celebration will feature guest speakers who worked closely with Masters s Los Angeles County Supervisor Lindsay Horvath, senior contributing writer for the LA Blade Karen Ocamb, CEO of the Trans Latin@ Coalition Bamby Salcedo and co-owner of the Washington Blade Kevin Naff. 

Master’s work and legacy go as far back as the late 1980s where he got his first taste of activism working as an ad representative for the gay and lesbian activism publication, Outweek. 

According to the obituary written by his close colleague Ocamb, the publication only lasted 18 months before founder, record producer and ACT UP supporter Bill Chafin passed away due to AIDS. The magazine was the first glossy gay and lesbian magazine published in New York City featuring news, culture, and events during a time where the AIDS Second Wave was peaking and Masters felt like he had to step in to speak up for the issues that were not only affecting his community, but also contributing to a higher death toll during the epidemic. 

He successfully launched the bi-weekly newspaper Lesbian and Gay New York, which ran from 1994 to 2002 and then re-launched it as Gay City News. After many other career moves and a move across the country to Los Angeles in 2015, he found himself at a work place that included voices who were openly supportive of Trump and his policies. 

This gave him the kick he needed and he gathered the tools to establish what is now the Los Angeles Blade, SoCal’s LGBTQ+ News Source. In short, Masters was a caring advocate for his communities and his tireless work brought together many LGBTQ+ community members. 

Now is the time to celebrate not only his life-worth of accomplishments, but to honor and more importantly, carry on his legacy. 

The Abbey will be providing small bites and the Trans Corus of L.A will honor Masters with a performance.

Please join us on Monday, Feb. 10 from 7pm to 9pm to honor Troy Masters. RSVP at the Eventbrite link here.

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Arts & Entertainment

Here’s everything queer that happened at the 67th Grammy Awards

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Screen grabs Entertainment Weekly/Youtube

The 67th Grammy Awards featured debut performances by LGBTQ+ megastars Chappell Roan, Sabrina Carpenter and Doechii – all of whom also won awards at Sunday’s awards ceremony, making the gay sons and thot daughters of the queer and trans world rejoice. 

Though Roan was the only queer artist to take home one of the ‘Big Four’ awards – Best New Artist – Doechii, Carpenter, Charlie XCX, Billie Eilish, and Lady Gaga were also all nominated for one or more of the ‘Big Four.’

Carpenter, Roan and Doechii also shocked audiences with their debut performances, showing us what it really means to be out and loud. 


Doechii

The self-proclaimed swamp princess from Florida took home a well-deserved win for Best Rap Album (“Alligator Bites Never Heal”). 

She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award – Lauryn Hill and Cardi B since the category was introduced in 1989. 

“I know there are so many Black women out there that are watching me right now and I want to tell you: You can do it. Anything is possible,” said Doechii during her acceptance speech.  

Chappell Roan

Roan won the Best New Artist award, prompting her to whip out her notebook and deliver a speech about her struggles as an up-and-coming artist with no healthcare. 

She served looks on the red carpet while delivering Jean Paul Gaultier vintage realness and thanking the trans girlies who made her who she is today. 

“Trans people have always existed and they will forever exist. They will never, no matter what happens, take trans joy away and [they] have to be protected more than anything because I would not be here without trans girls,” said Roan on the red carpet. 

She also served during her debut Grammys performance, turning Crypto.com Arena into the Pink Pony Club while dedicating the performance to Los Angeles – the city that embraced her when she wanted to break into the industry. She used her acceptance speech as her opportunity to shine a light on her journey toward becoming the icon she is today – and to no one’s surprise, it didn’t come easy to her. 

Roan opened up about her struggles with healthcare and being dropped as an artist in L.A., leaving her without health coverage and scrambling for solutions. Seems like the healthcare system has radicalized yet another one. 

St. Vincent 

St. Vincent revealed that she has a wife and daughter during her acceptance speeches, thanking them after winning three Grammys for Best Alternative Music Album (“All Born Screaming”), Best Alternative Music Performance (“Flea”) and Best Rock Song (“Broken Man”). 

During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded “Most people were [unaware]. It’s young, so we’ve kept it under wraps.” The reporter then continued his line of questioning, meanwhile intrusive thoughts quickly got ahold of Clark, prompting her to interrupt the reporter to clarify that she meant the child is young, not the person in the relationship she’s in. 

Girl, you’re good.

Sabrina Carpenter 

Though Carpenter didn’t win any of the ‘Big Four’ categories, she did win Best Pop Vocal Album for (“Short n’ Sweet”) and Best Pop Solo Performance for (“Espresso”).

According to E!, Carpenter’s acceptance speech was apparently censored, cutting her off after she said: “Thank you, holy sh*t, bye!”

The pop star was nominated for Record of the Year (“Espresso”), Song of the Year (“Please, Please, Please”), Best New Artist, Best Pop Vocal Album (“Short n’ Sweet”), Album of the Year (“Short n’ Sweet”), Best Remixed Recording (“Espresso – Mark Ronson x FNZ Working Late Remix”), Best Engineered Album, Non-Classical (“Short n’ Sweet”) – all within her first year as a record-releasing musician. 

Charli XCX

Charlie XCX truly brought the brat energy to the Grammys with her performance of (“Van Dutch”), also taking home the wins for Best Dance/Pop Recording for (“Van Dutch”) and Best Dance/Electronic Album for (“Brat”). 

Lady Gaga 

Best Pop Duo/Group Performance went to Lady Gaga and Bruno Mars for (“Die With A Smile”). Gaga used her acceptance speech to advocate for trans people stating that we all need love and to be uplifted.

“Trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,” said Gaga.

No, thank you mother. 

Last, but not least

It is also worth noting that our tried and true ally, Alicia Keys used her moment on the Grammys stage to advocate for the restoration of DEI initiatives. 

“This is not the time to shut down the diversity of voices,”said Keys. “We’ve seen on this stage talented, hard-working people from different backgrounds, with different points of view, and it changes the game. DEI is not a threat, it’s a gift — and the more voices, the more powerful the sound.”

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Books

‘Radiant’ an illuminating biography of Keith Haring

Author captures artist’s complexities in sympathetic new book

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(Book cover image via Amazon)

‘Radiant: The Life and Line of Keith Haring’
By Brad Gooch
c.2024, Harper
$20/502 pages

“Radiant” is an illuminating biography of the talented artist Keith Haring, who made his indelible mark during the 1980s before dying young of AIDS. Brad Gooch, biographer of poets Frank O’Hara and Rumi, follows Haring from his childhood in Kutztown, Pa., to his early days in New York City painting artistic graffiti, to his worldwide fame and friendships with Andy Warhol and Jean-Michel Basquiat.

The eldest of three children and the only boy, Haring learned to draw early on from his father. Art quickly became a lasting obsession, which he pursued fiercely. Growing up in a small, conservative town, he was drawn to countercultural movements like hippies and religious “Jesus freaks,” although he mostly found the imagery and symbols appealing.

He studied commercial art in Pittsburgh but later dropped out, spending several years working and learning at the Pittsburgh Arts and Crafts Center, before moving to New York City in 1978. Studying painting at the School for Visual Arts, he also learned about video and performance art, making interesting projects. He also began drawing images on subways and blank advertisement backboards. One of his most distinctive was the Radiant Baby, a crawling baby shooting rays of light. 

Gooch begins the biography with his own encounter with this public art, which felt colorful and “extremely urgent.” It had to be done guerilla-style, before the authorities could catch him, and they were frequently painted over. He was arrested a few times.

Ironically, a few years later Haring would be paid huge sums and flown around the world to create large-scale art on public property. People were amazed at how quickly he worked, even in terrible conditions. Sometimes at these events, while a crowd was gathered, he would draw and give away the artwork. Knowing that his art in galleries sold for incredible amounts, he enjoyed occasionally frustrating the art world’s commercial desires.

His Pop Shops also revealed Haring’s competing impulses. Opened in 1986, first in New York and later in Tokyo, they put his art on all sorts of merchandise, including T-shirts and posters. On the one hand, they allowed ordinary people to buy his work at reasonable prices. However, they also earned him more money and increased his public image.

He made art for everyone. His best-known pieces, featuring babies and dogs, are colorful and family friendly. Some even consider it “lightweight.” He eagerly created murals and artwork for elementary schools and neighborhoods. But he also made art with social and political commentary and sexual explicitness. “Michael Stewart – USA for Africa” depicts a graffiti artist’s strangulation by New York City Transit Police officers. He painted “Once Upon a Time…” for the men’s bathroom of New York City’s Lesbian & Gay Community Center.

Haring worked nearly right up to his death in 1990. The Keith Haring Foundation keeps his work in the public eye, while also funding nonprofits working with disadvantaged youth and AIDS education. Gooch captures Haring’s complexities; he befriended graffiti artists of color and dated working-class men, but was sometimes ignorant about how his wealth and fame affected these relationships. Well written and sympathetic, the book can sometimes overwhelm in detail about life in the 80’s and Haring’s celebrity friends.

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While Meta and X roll back LGBTQ+ protections, Freddie holds space

Meet the tech power couple and their app named Freddie

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Ever dreamed of an exclusive digital space where you can find the community you are actually on the search for? Freddie: Your Queer Space, a dyke-centered phone application, was created just for that. 

In an effort to create a digital space that would only welcome members of the queer, sapphically-inclined and trans communities, queer couple Carmen Hernandez and Sarah Panzer, put their collective skills to work and launched Freddie. This app comes at a time when it feels unsafe to exist in many other realms of the internet and social media apps like X and Meta, which have both scaled back protections for LGBTQ+ people and rolled back their diversity, equity and inclusion initiatives. 

“The main goal for Freddie has always been to be that kind of third space that is unlike everything else we are experiencing right now on the internet,” said Hernandez in an interview with L.A. Blade. “There’s this fear that a lot of companies are using data security tools on social media platforms to track information about individuals.” 

Hernandez realized that they had a unique opportunity to create something vastly different than what already exists on the app market. They not only wanted to create this digital space exclusively for the queer community, but also make sure that the information shared on the app was not being sold to data collecting companies. 

According to the Federal Trade Commission, cookies and other data collection tools are meant to collect information from users such as interests, demographics and activity in order to ‘remember you.’ This means that user information is then sold to companies that collect and harvest that data to sell products and services to users through curated and personalized experiences. Research shows that this is a harmful practice because these curated and personalized experiences target users and make them vulnerable to scams and other dangers. 

This app is an oasis in a desiccated digital landscape. 

“We started thinking about how we could make Freddie really secure for the people that are there,” said Hernandez. 

Hernandez and Panzer wear many hats in order to make this app not only function, but also evolve over time to include more helpful features – like personals – which they recently launched in an effort to unite people with common interests, goals and plans. 

The ‘personals’ space is to post about their needs and find other like-minded community members who meet those needs. 

“We’re a small team and we want to make an app that people are going to be able to use really easily, that they want to use and that has all the right features,” said Panzer. “We wanted to make a space where lesbians, trans people and queer people could have a space away from the cis-male gaze to just be horny, look for love, and just be themselves.” 

Upon making a profile on Freddie, users are welcomed to choose up to six options for what they are looking for on the app. There are dozens of options – everything from music and book recs, to the meaning of life, and even options if you happen to be on the search for bottoms, tops and anything in between. 

In comparison to apps that are not for or by the queer community, Freddie also has an extensive list of options for gender and sexual orientation. 

Hernandez founded Freddie back in July of 2023, after they say they became exhausted with sifting through the other LGBTQ+ apps and realizing that there were a lot of issues with the interface and with people from outside of the community taking up space on the apps. 

According to Hernandez, not only were they taking up space, but also being openly homophobic in spaces specifically meant to gather people from QTBIPOC communities.  

“I started noticing that the people who were showing up, were sometimes not queer and then even worse yet, were straight and homophobic,” said Hernandez. “That all really got us thinking.”

This is when Hernandez decided to invest some of their own time, energy and financial resources to bring the concept of Freddie to fruition. Then, with the marketing help from their partner Panzer, they have now launched the newest and latest version of Freddie. 

This isn’t Freddie’s final form, according to the creative couple. 

Freddie will also soon have an even more exclusive membership option that operates like a digital club users can join in an effort to be a part of an even more exclusive space for the QTBIPOC communities. 

“We are going to turn Freddie into a club and that’s going to make it a lot easier for us to monitor who comes in and ensure that everyone who comes into that space is able to engage with the community in a respectful way,” said Hernandez. 

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Books

New book is a fun whodunit set in London drag world

‘Murder in the Dressing Room’ will keep readers guessing

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(Book cover image courtesy Berkeley)

‘Murder in the Dressing Room’
By Holly Stars
c.2025, Berkeley
$19/368 pages

Your alter ego, the other half of your double life, is a superhero.

When you’re quiet, she’s boisterous. Your confidence is flat, hers soars. She’s a better dresser than you; she’s more popular, and maybe even a little smarter. By day, you live a normal existence but by night, your other side roars and in the new mystery, “Murder in the Dressing Room” by Holly Stars, both of you solve crimes.

Lady Lady had been a little off all evening.

As owner of London’s most fabulous, elegant drag club, she was usually in command but her protegee, Misty Devine, could tell that something was wrong.

She discovered how wrong when she found Lady Lady on her dressing room floor, foaming at the mouth, dead, poisoned by a mysterious box of chocolates.

Hours later, Misty de-dragged, morphing from an elegant woman to an ordinary, binary hotel employee named Joe who was heartbroken by the tragedy. Only employees had access to Lady Lady’s dressing room – ergo, someone they knew at the club had to be the killer.

Obviously, the London detectives assigned to the case had a suspect list, but Misty/Joe and their boyfriend Miles knew solving Lady Lady’s murder was really up to them. They knew who the killer wasn’t, but who had reason to kill Misty’s mentor?

Maybe Mandy, the club’s co-owner. The club’s bartender and bouncer were both sketchy. Lady Lady had spats with two employees and a former co-worker, but was that motive enough? When the dress Lady Lady was wearing that night proved to have been valuable stolen goods, Joe’s investigation list grew to include people who might have sneaked backstage when no one was paying attention, and a shady man who was suddenly following them around.

Then Misty learned that she was in Lady Lady’s will, and she figured the inheritance would be minor but she got a huge surprise. Lady Lady’s posthumous gift could make others think that Misty might’ve had reason to kill her.

And just like that, the suspect list gained another entry.

When you first get “Murder in the Dressing Room” in your hands, hang onto it tight. It’s fun, and so fluffy and light that it might float away if you’re not careful.

The story’s a little too long, as well, but there’s enjoyment to be had here, and authenticity enough to hold a reader’s attention. Author Holly Stars is a drag performer in London and somewhat of a murder maven there, which gives her insight into books of this genre and the ability to string readers along nicely with solid characters. If you’re unfamiliar with the world of drag you’ll also learn a thing or two while you’re sleuthing through the story; drag queens and kings will like the dual tale, and the settings that anchor it.

As a mystery, this is fun and different, exciting, but tame enough for any adult reader. If you love whodunits and you want something light, “Murder in the Dressing Room” is a double delight.

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