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‘Dexter’ star Michael C. Hall says he’s ‘not all the way heterosexual’

The actor thinks his lack of emotional intimacy with men is due to his father

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Michael C. Hall (Photo via Wikimedia Commons)

“Dexter” star Michael C. Hall got candid about his sexuality in a new interview with the Daily Beast. 

“I think there’s a spectrum. I am on it. I’m heterosexual. But if there was a percentage, I would say I was not all the way heterosexual,” Hall, 47, says.

Hall has portrayed a few LGBT characters during his career including Broadway roles as the emcee in “Cabaret” and Hedwig in “Hedwig and the Angry Itch.” He also played David on the TV series “Six Feet Under.”

“I think playing the emcee required me to fling a bunch of doors wide open because that character I imagined as pansexual,” Hall continued. “Yeah, like I made out with Michael Stuhlbarg every night doing that show. I think I have always leaned into any fluidity in terms of my sexuality.”

Hall, who is married to his third wife Morgan Macgregor, says he has “never had an intimate relationship with a man.” However, he believes it’s because of the death of his father who passed away when he just 11 years old.

“I think, maybe because of an absent father, there has definitely been a craving for an emotional intimacy with a man,” Hall says. “I don’t mean to suggest that an emotional relationship between a father and son is any way homoerotic. I mean an emotional intimacy or connection that at least in the milieu I grew up in was considered fey. I had an appetite to have emotional connections with men beyond beer, sports, and fist-pumping that were considered ‘gay.’ ”

Hall married MacGregor in 2016. Previously, he was also married to his “Dexter” co-star Jennifer Carpenter from 2008-2011 and actress Amy Spanger from 2002-2007.

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Events

Unveiling “Trans Hirstory in 99 Objects” at the Hammer Museum

Mark your calendars for Wednesday, March 20, 2024, at 7:30 PM, as the Hammer Museum hosts a groundbreaking event

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Museum of Trans Hirstory & Art/Los Angeles Blade graphic

LOS ANGELES – Mark your calendars for Wednesday, March 20, 2024, at 7:30 PM, as the Hammer Museum hosts a groundbreaking event centered around the launch of “Trans Hirstory in 99 Objects.”

This project, curated by artist Chris E. Vargas as part of the Museum of Trans Hirstory & Art (MOTHA), redefines conventional narratives by exploring trans art, activism, and resistance across more than four centuries.

Joining Vargas are a dynamic group of contributors and artists who have played integral roles in shaping the narrative of trans history.

Zackary Drucker is an American multimedia artist, director, and producer who has dedicated her work to telling stories that expand our cultural understanding of difference. Her credits include directing the Hulu Original documentary Queenmaker: The Making of an It Girl; and co-directing the Sundance award-winning HBO original documentary film The Stroll and the HBO documentary series The Lady and the Dale. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others.

Edgar Fabián Frías works in installation, photography, video art, sound, sculpture, printed textiles, GIFs, performance, social practice, and community organizing, among other forms. Their art addresses historical legacies and acts of resistance, resiliency, and radical imagination within the context of Indigenous Futurism, spirituality, play, pedagogy, animism, and queer aesthetics.

Raquel Gutiérrez is an award-winning critic, essayist, poet, and educator based in Southern Arizona. Gutiérrez’s first book Brown Neon (Coffee House Press) was named one of the best books of 2022 by The New Yorker and listed in the Best Art Books of 2022 by Hyperallergic.

Amos Mac is an out trans artist, writer, and co-founder of Original Plumbingmagazine. Amos has written and produced for television on shows including Gossip GirlClean Slate, and Gaycation and co-wrote No Ordinary Man, a documentary about the complicated jazz man and trans icon Billy Tipton.

Uri McMillan is a writer based in Los Angeles. He has published essays in Women & Performance: a journal of feminist theoryGLQ: A Journal of Lesbian and Gay StudiesASAP/Journal, and museum/gallery-based publications for the Studio Museum in Harlem, Aperture Foundation, MCA Chicago, and the Brooklyn Museum.

Chris E. Vargas is a video maker & interdisciplinary artist, an artist, the founder of the Museum of Trans Hirstory and Art, and co-editor of Trans Hirstory in 99 Objects. His work deploys humor and performance to explore the complex ways that queer and trans people negotiate spaces for themselves within historical and institutional memory and popular culture. He is a recipient of a 2016 Creative Capital award and a 2020 John S. Guggenheim fellowship.

Together, these visionary artists and thinkers will celebrate, discuss, and perform trans and non-binary magic, exploring themes of celebrity, activism, and trans-masculine histories. Through their collective efforts, they aim to challenge existing narratives, inspire dialogue, and foster a greater appreciation for the diverse experiences within the trans community.

Admission to the event is free, with seats assigned on a first-come, first-served basis. Hammer Museum members enjoy priority ticketing and preferred seating. Valet parking is available on Lindbrook Drive, while self-parking is available under the museum.

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Online/Digital Streaming Media

Pornhub blocks Texans accessing site over age verification law

The Fifth Circuit Court of appeals partially vacated the original injunction ruling that the age verification requirements are constitutional

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Los Angeles Blade graphic

MONTREAL, Canada – Aylo (formerly MindGeek) the largest global adult online entertainment conglomerate, owned by Canadian private equity firm Ethical Capital Partners, has restricted access to its platforms including its flagship Pornhub in Texas after a court battle forces the state’s age verification law to take effect.

Texas Republican Attorney General Ken Paxton had appealed a U.S. District Court decision that enjoined him from enforcing HB 1181. Paxton and others argued that purveyors of obscene materials online needed to institute reasonable age-verification measures to safeguard children from pornography. 

A week ago the U.S. Court of Appeals for the Fifth Circuit partially vacated the original injunction, ruling that the age verification requirements are constitutional. 

“Applying rational-basis review, the age-verification requirement is rationally related to the government’s legitimate interest in preventing minors’ access to pornography,” the 3 judge-panel of the Fifth Circuit Court explained. “Therefore, the age-verification requirement does not violate the First Amendment.”

While the court vacated the injunction against the age-verification requirement of the statute, it upheld the lower court’s injunction against a separate section of the law that would require pornography websites to display a health warning on their landing page and all advertisements. 

Texas users are greeted with this notice.

The Houston Chronicle reported people who go to the site are now greeted with a long message from the company railing against the legal change as “ineffective, haphazard, and dangerous.” The company calls for age verification by the makers of devices that let people on the internet, instead of individual websites.

Age verification legislation was enacted in several states in 2023 in addition to Texas, including North Carolina, Montana, Arkansas, Louisiana, Mississippi, Utah, and Virginia.

The new laws require users to provide digital confirmation via a certified approved third party vendor like London-based digital identity company Yoti. The other possibility would be a state approved digital ID such as the California DMV’s Wallet app, which contains a mobile driver’s license.

Users accessing Pornhub from within Louisiana are presented with a different webpage that directs them to verify their age with the state’s digital ID system, known as LA Wallet. The law passed in 2022 subjects adult websites to damage lawsuits and state civil penalties as high as $5,000 a day if they fail to verify that users are at least 18 years old by requiring the use of digitized, state-issued driver’s licenses or other methods.

The Associated Press reported this past October that an adult entertainment group’s lawsuit against a Louisiana law requiring sexually explicit websites to verify the ages of their viewers was dismissed by U.S. District Judge Susie Morgan in New Orleans.

Texas users are greeted with this notice.

Potential or existing Pornhub users in North Carolina and Montana are directed to a video that features adult film star Cherie DeVille, who recites a message also written under the video.

“As you may know, your elected officials in your state are requiring us to verify your age before allowing you access to our website. While safety and compliance are at the forefront of our mission, giving your ID card every time you want to visit an adult platform is not the most effective solution for protecting our users and in fact, will put children and your privacy at risk.”

“Mandating age verification without proper enforcement gives platforms the opportunity to choose whether or not to comply,” the statement continues. “As we’ve seen in other states, this just drives traffic to sites with far fewer safety measures in place.”

“Until a real solution is offered, we have made the difficult decision to completely disable access to our website in [the aforementioned locales]” the message ends with.

The company previously blocked Utah on May 7, 2023. CNN reported at the time:

Affected users are shown a message expressing opposition to SB287, the Utah law signed by Gov. Spencer Cox in March that creates liability for porn sites that make their content available to people below the age of 18.

“As you may know, your elected officials in Utah are requiring us to verify your age before allowing you access to our website,” the message said. “While safety and compliance are at the forefront of our mission, giving your ID card every time you want to visit an adult platform is not the most effective solution for protecting our users, and in fact, will put children and your privacy at risk.”

Courthouse News reported that after Virginia’s bill was passed in June, Virginia Senator L. Louise Lucas, a Democrat, criticized the state for not creating a system for age verification, and instead leaving it up to websites to manage the process, citing security risks.  

“We passed a bill during this session to protect children from online porn. However the executive branch had an obligation to create a system for age verification,” Lucas said on X, formerly Twitter. “We will continue our work to keep pornography out of the hands of minors…but we will also work to ensure that this Governor’s error does not put the privacy of Virginians at further risk.”

Beyond the U.S. in the European Union, Pornhub and two more of the world’s biggest porn websites face new requirements in the European Union that include verifying the ages of users, under the EU’s Digital Services Act.

According to a December 20 report from the Associated Press, Pornhub, XVideos and Stripchat have now been classed as “very large online platforms” subject to more stringent controls under the Digital Services Act because they each have 45 million average monthly users, according to the European Commission, the EU’s executive branch.

They are the first porn sites to be targeted by the sweeping Digital Services Act, which imposes tough obligations to keep users safe from illegal content and dodgy products, the Associated Press reported last month.

In addition to the adult entertainment websites, any violations are punishable by fines of up to 6% of global revenue or even a ban on operating in the EU. Some 19 online platforms and search engines have already been identified for stricter scrutiny under the DSA, including TikTok, Amazon, Facebook, Instagram, Google and more.

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GLAAD Media Awards

Oprah Winfrey to receive GLAAD Lifetime Achievement Award

Winfrey prepares to accept this prestigious GLAAD award on March 14, 2024, for her unwavering commitment to LGBTQ equality

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Oprah Winfrey on CBS News program Person to Person with Norah O’Donnell last Fall. O’Donnell spoke with Winfrey about life lessons, the road to happiness and the new book Winfrey co-authored. (Screenshot/YouTube CBS News)

BEVERLY HILLS, Calif. – To the pantheon of LGBTQ allies honored by the Gay and Lesbian Alliance Against Defamation (GLAAD) with the Lifetime Achievement Award, luminaries such as Barbra Streisand, Cher, and Liza Minnelli enter Oprah Winfrey.

The global media icon, philanthropist, and longtime advocate for LGBTQ rights will be honored with the prestigious Lifetime Achievement Award at the 35th Annual GLAAD Media Awards in Los Angeles on March 14, 2024. The Award honors Winfrey’s unwavering commitment to promoting equality, acceptance, and understanding for the LGBTQ community throughout her remarkable career, cementing her place among the most influential and dedicated allies in the fight for Equality.

Born in rural Mississippi and raised in Milwaukee and Nashville, Winfrey’s journey to becoming a media mogul and cultural influencer began when she was just a teenager. At the age of 19, she landed her first job in media as a young intern at WLAC-TV (now WTVF-TV), the CBS affiliate in Nashville. Her natural talent and charisma quickly earned her a position as the first African American female news anchor at the station, setting the stage for a groundbreaking career that would span decades.

In 1984, Winfrey relocated to Chicago to host WLS-TV’s morning talk show, “AM Chicago.” Little did she know that this move would be the catalyst for her meteoric rise to fame. The show, later renamed “The Oprah Winfrey Show,” became a cultural phenomenon, attracting millions of viewers across the United States and in more than 100 countries worldwide. Winfrey’s unique blend of empathy, wisdom, and storytelling resonated with audiences, making her one of the most beloved and influential figures in media history.

A pivotal moment in Winfrey’s career came in 1986 when she negotiated a groundbreaking contract with King World Productions, the company founded by legendary boxing promoter Don King. The contract gave Winfrey full ownership of “The Oprah Winfrey Show” and allowed her to produce the show through her own production company, Harpo Productions. This unprecedented deal demonstrated Winfrey’s business acumen and laid the foundation for her future success, paving the way for her to become one of the wealthiest and most powerful women in the world.

Throughout her career, Winfrey has consistently used her platform to shine a light on important social issues, including LGBTQ rights, racial equality, and women’s empowerment. Her compassionate and empathetic approach to storytelling has helped to break down barriers, challenge stereotypes, and promote understanding and acceptance of marginalized communities.

In 1997, Winfrey featured Ellen DeGeneres on her talk show, providing a platform for the comedian to publicly come out as gay. This groundbreaking episode helped to normalize LGBTQ visibility in mainstream media and paved the way for greater acceptance and understanding of the community.

Winfrey’s dedication to LGBTQ equality is further evident in her portrayal of strong, complex characters like Sofia in the acclaimed 1985 film “The Color Purple,” which featured one of the first same-sex kisses in a mainstream Hollywood production.

In addition to her work in television and film, Winfrey has built a vast media empire that includes the creation of the Oprah Winfrey Network (OWN), a partnership with Discovery Communications, and the publication of O, The Oprah Magazine. Her business savvy and entrepreneurial spirit have made her one of the most successful and influential figures in the entertainment industry, with a net worth estimated at $2.6 billion as of 2023.

But Winfrey’s impact extends far beyond her financial success. She has also been a tireless advocate for education and philanthropy, donating millions of dollars to charitable causes and establishing the Oprah Winfrey Leadership Academy for Girls in South Africa, which provides education and support for underprivileged girls. Winfrey’s commitment to giving back to the communities that have supported her throughout her journey is a testament to her character and her belief in the power of education to transform lives.

In her personal life, Winfrey is known for her love of reading, her commitment to personal growth and self-improvement, and her close friendships with celebrities like Gayle King and Tyler Perry. Despite years of speculation and rumors surrounding the nature of her relationship with King, Winfrey has always maintained a dignified silence, emphasizing the importance of love, acceptance, and the right to privacy. Her unwavering support for the LGBTQ community, both in her professional and personal life, has made her a role model and a beacon of hope for millions of people around the world.

Winfrey’s fierce determination to fight discrimination and promote equality has been a constant throughout her career. In 1987, she confronted racism head-on by taking her show to the predominantly white community of Forsyth County, Georgia. During a heated town hall meeting, one audience member expressed his fear of racial integration, stating, “I’m afraid of [Black people] coming to Forsyth County.” Winfrey responded with her signature grace and wisdom, saying, “I hear your fear. When I look at your face, I see the fear. But how are you going to get past it if you don’t allow yourself the opportunity to get to know other people?” This powerful exchange demonstrated Winfrey’s unique ability to facilitate difficult conversations and promote understanding across racial divides.

From her willingness to confront white segregationists in Georgia to her ongoing efforts to elevate diverse voices and stories through her work in television, film, and theater, Winfrey has always been a champion for social justice. Her legacy as a trailblazer and an advocate for the marginalized will continue to inspire generations to come.

In the words of GLAAD President and CEO Sarah Kate Ellis, “Oprah Winfrey has been a beacon of hope and inspiration for the LGBTQ community for decades. Her groundbreaking work in media has not only entertained and informed millions of people around the world, but it has also helped to change hearts and minds and promote greater understanding and acceptance for our community.”

Maya Angelou, one of Winfrey’s most important influences, put it best;  “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” As Winfrey accepts the Lifetime Achievement Award, her legacy of compassion, empathy, and unwavering commitment to equality serves as a powerful reminder of the enduring impact of a life well-lived.

The GLAAD Media Awards, which have been held annually since 1990, recognize and honor media for their fair, accurate, and inclusive representations of the LGBTQ community. As As Winfrey prepares to accept this prestigious award on March 14, 2024, her extraordinary journey and unwavering commitment to LGBTQ equality serve as a powerful reminder of the impact that one person can have on the world.

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Notables

Iconic LGBTQ & AIDS activist David Mixner dies at 77

Mixner was a formidable presence in both Democratic progressive political circles and within his beloved LGBTQ+ community

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David Mixner addresses the crowd at the National Equality March (NEM) Rally at the US Capitol West Lawn in Washington DC on Sunday afternoon, 11 October 2009 by Elvert Barnes Photography

NEW YORK – One of the most influential LGBTQ and HIV/AIDS activists and political strategists in the LGBTQ movement has died. David Benjamin Mixner, 77, was a longtime formidable presence in both Democratic progressive political circles and within his beloved LGBTQ community.

In a Facebook post on his personal page late Monday a simple statement read: “It is with a heavy heart that I share the news of David’s passing today.” News of Mixner’s death quickly spread as friends, longtime political acquaintances, and people whose lives he had impacted commenced to populate his page and others with reflections on his impact.

Neil Giuliano, the first directly elected openly gay mayor of a large city in the U.S. as mayor of Tempe, Ariz., who then went on to serve as president of GLAAD and later headed the San Francisco AIDS Foundation, was a longtime friend of Mixner. He wrote:

“We said goodbye in NYC on Feb 19, knowing time was short. Today my dear friend, confidant, and father figure for the last 28 years (though only 11 years my senior) has passed on from his earthly presence with us. He will absolutely “rest in power, for the cause of peace”.

Neil Giuliano & David Mixner in Provincetown, Massachusetts, August 2021.
(Photo via Giuliano/Facebook)

David Mixner contributed to my 1994 campaign for mayor even before we met. When I asked a local gay activist why this monumental LGBT figure was interested in donating to the closeted candidate in AZ, because I hadn’t done anything for gay rights, I was told “he knows you will.”

And boy, I don’t know how, but he knew me better than I knew myself; back then, and to this day.

[…] The two and half hours we shared on Feb 19th will forever remain among the most profound and powerful of my life, we covered it all. While preparing for death, David, one final time, taught and inspired me forward in life. ❤️❤️❤️

Biographical write-ups on Mixner, including the archives of the LGBTQ history publication Outwords, show he was born and raised in the small town of Elmer, N.J.

While in high school he first became involved in social justice causes by supporting the civil rights movement and joining local protest rallies in support of racial justice.

After graduating from high school, he went to Mississippi to join civil rights protests organized by Dr. Martin Luther King Jr. and other southern civil rights activists. In 1964, he enrolled as a student at Arizona State University, where he became involved in local union organizing before leaving Arizona to enroll in the University of Maryland, according to Outwords.

In 1968, he went to Chicago to join anti-Vietnam War protesters outside the Democratic National Convention, and according to his own account, was beaten by police that led to a leg injury that required his use of a cane for many years.

“He fought to end the War in Vietnam, and eventually landed in Los Angeles, where he helped to form Municipal Elections Committee of Los Angeles (MECLA), the nation’s first gay and lesbian political action committee,” Outwords reported. “Soon after, David helped defeat California’s potentially disastrous Proposition 6, which would have made it illegal for homosexuals to teach in public schools, by getting then-Governor Ronald Reagan to come out publicly against the measure,” which voters defeated by a wide margin.

The Washington Blade reported on Mixner’s support for Bill Clinton’s election as president in 1992 in his role as a friend of Clinton during the days when the two planned protests against the Vietnam War. Mixner, who raised money for the Clinton campaign and helped line up support for the then Arkansas governor from LGBTQ organizations throughout the country, was named by the Clinton campaign to serve on the campaign’s leadership committee.

But soon after Clinton’s election, Mixner spoke out against the new president’s decision to break his promise to issue an executive order to lift the ban on gays, lesbians, and bisexuals from serving in the U.S. military. Many LGBTQ activists, while disappointed, said Clinton was forced to support the controversial compromise of ‘Don’t Ask, Don’t Tell’ after military leaders, including the popular Army Gen. Collin Powell, came out against lifting the ban, with both Democratic and Republican members of Congress also speaking out against a full lifting of the ban.

Mixner drew national attention when he helped organize a protest against ‘Don’t Ask, Don’t Tell’ outside the White House in which he was among those arrested after denouncing his onetime friend Clinton for backing the policy. News of Mixner’s public break with the president resulted in the downfall of his once thriving political consulting firm.

“David’s political consulting career was over, and by the end of the Clinton presidency, he was pawning his watches to pay rent,” Outwords reported.

But Outwords and other publications and LGBTQ advocates have said Mixner re-invented himself many times, as a champion LGBTQ rights advocate, an author, performer, and organizer of the 2009 Equality March on Washington for LGBTQ rights that drew more than 200,000 participants from across the country. 

His 2017 play, entitled 1969, was staged at a popular theater in New York City and received positive reviews. His one-man play in 2018 called ‘Who Fell into The Outhouse’ also received positive reviews and raised $175,000 for homeless LGBTQ youth, Outwords reported.

Mixner has also been praised for his longtime role as an AIDS activist who for many years helped raise funds for organizations supporting people with HIV/AIDS. In 1987, he joined one of the first HIV/AIDS protests outside the White House during the Reagan administration and was among more than 60 of the protesters arrested.

Among his many LGBTQ rights endeavors, Mixner is also credited with co-founding in 1991 the Gay and Lesbian Victory Fund, now called the LGBTQ+ Victory Fund, which became the nation’s first organization to devote all of its efforts to help elect LGBTQ people to public office.

“With support for candidates underway, his vision of a government and democracy representative of its people expanded beyond elections, and moved to ensure we were represented in political parties and presidential administrations as well,” said Victory Fund President and CEO Annise Parker in a statement responding to Mixner’s passing.

“Today, we lost David Mixner, a founding father of LGBTQ+ Victory Fund and our movement for equality,” Parker said. “David was a courageous, resilient, and unyielding force for social change at a time when our community faced widespread discrimination and an HIV/AIDS crisis ignored by the political class in Washington, D.C.,” Parker’s statement says.

“David gave his time, energy and money to building a new political reality in America – having the foresight and dedication to see it through in the most difficult times,” Parker states. “David embodied the spirit of activism and resistance in everything he did – and always with humor and a smile. He has changed not just America, but the world.” 

Jeremy Bernard, a prominent Democratic fundraiser and gay rights advocate who served for eight years on the Democratic National Committee and served in the Obama-Biden administration as the White House social secretary wrote in his tribute to his friend with a photo on March 4:

“My dear friend has always been there for me and so many others! Love ya David!”

“1992 …. David Mixner and me in San Francisco 34 years ago.”
(Jeremy Bernard/Facebook)

In September of 2023, Mixner traveled from his home in New York City to Rehoboth Beach, Del., to attend an event in which he was honored for lending his name to an LGBTQ student scholarship created by CAMP Rehoboth, the LGBTQ community services center.

CAMP Rehoboth officials said they wanted to honor Mixner’s legacy with the David Mixner LGBTQ+ Student Scholarship, an endowed fund that supports students as interns at CAMP Rehoboth, where they do important work for the LGBTQ community.

“David changed the world forever and equality would not be where it is today without his leadership, passion, and immense heart and humor,” said GLAAD President and CEO Sarah Kate Ellis. “David was a beloved mentor to me and so many other LGBTQ leaders, always pushing for more for our community. He dedicated his life to our community and now we must strive to live up to his legacy.”

On Tuesday, the Ali Forney Center, a New York City-based organization that provides services and support for homeless LGBTQ youth, announced it has created the David Mixner Memorial Fund “to honor the life and legacy of this legendary fighter.”

Javi Morgado, a member of the Ali Forney Center board and a longtime friend of Mixner, said in a statement that Mixner raised more than $1 million for the organization since its founding in 2002. 

“David’s final wish was that donations be made in his honor to this fund to support and protect LGBTQ+ youth from the harms of homelessness,” Morgado said. “I can think of no better way to honor the impact of our friend David than through activism and philanthropy,” he said, adding that donations can be made at aliforneycenter.org.

A funeral service will be held at 10 a.m. on March 25 at Church of St. Paul the Apostle, 405 W. 59th St., New York.

Addition reporting from Lou Chibbaro Jr. 

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Sports

Banned trans golfer Hailey Davidson: ‘Hate & bigotry will never win’

The NXXT Women’s Pro Golf Tour announced a policy banning any competitor who is not “a biological female at birth”

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Out transgender pro golfer Hailey Davidson being interviewed by Good Morning Britain. (Screenshot/YouTube Good Morning Britain)

KISSIMMEE, Fla. — Out transgender pro golfer Hailey Davidson is pushing back against a policy change announced Friday by the Florida-based mini-tour, NXXT. From now on, competitors must be “a biological female at birth” in order to participate. 

“Effective immediately, I have been removed (banned) from the next 3 NXXT tournaments that I had already signed up for and been approved to play,” said Davidson in a post on Instagram. “They changed their policy mid season, after signing me up already and being 2nd in the Player of the Year race.” 

The three-time winner from Scotland has played nine times on the tour this season.

According to a statement by the tour’s CEO, Stuart McKinnon, the change underscores the organization’s commitment to “maintaining the integrity of women’s professional golf and ensuring fair competition.” NXXT Golf issued that statement on International Women’s Day.

“As we navigate through the evolving landscape of sports, it is crucial to uphold the competitive integrity that is the cornerstone of women’s sports,” said McKinnon in the statement. “Our revised policy is a reflection of our unwavering commitment to celebrating and protecting the achievements and opportunities of female athletes. Protected categories are a fundamental aspect of sports at all levels, and it is essential for our Tour to uphold these categories for biological females, ensuring a level playing field.”

Davidson said the policy change in her social media post was discrimination, adding that the decision denigrates cisgender female athletes as well as trans athletes. 

“You know what really bugs me is that people think I win just by showing up,” she wrote. “This is such a slap in the face to ALL female athletes being told that any male can transition and beat them regardless of the life of hard work those women put in.

“You think you’re attacking me, but you’re actually attacking and putting down ALL other female athletes.”

She concluded with a vow: “You can scream at me, threaten me, throw insults at me, and even ban me BUT I will ALWAYS get back up and keep fighting to the very end. Hate and bigotry will never win.”

Davidson also posted a message for the women she had planned to compete against: “I hope those NXXT players who are now in the top 5 are still able to earn those Epson Tour exemptions they were promised and continue to be reminded of in the previous couple of tournaments.” 

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Movies

No problem with ‘Problemista’

Julio Torres’s debut film hints at greater achievements to come

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Julio Torres and Tilda Swinton in ‘Problemista.’ (Photo courtesy of A24)

Confronted with the title of queer SNL alumnus Julio Torres’s debut feature film, the first question that comes to mind for many people might be, “What’s a ‘Problemista’?”

For the millions of retail workers, reception staffers, and hospitality clerks, however,  or anyone else whose job it is to interface with the public, the label – coined by Torres to describe the particular kind of driven personality embodied in his movie by headliner Tilda Swinton – may be, if not familiar, at least evocative enough to convey its meaning. 

We’ve all encountered them, actually; entitled, self-righteous, demanding, aggressively impatient, and unwilling to accept anything less than complete capitulation for an answer, they are the people every cashier dreads to see (and every customer loathes to be behind) in line. They seem to thrive on drama, and they don’t care how much it inconveniences or disturbs anyone in their radius. In fact, they seem at times to relish doing so, as if they were striking a blow against social injustice by bullying a grocery clerk into honoring an expired coupon. In short, they might be described as a sort of contemporary urban warrior whose response to a problem is to become a problem until they get the solution they want. But by legions of waiters and customer service reps, they are typically just described as “the customer from hell.”

The central character in Torres’s stylish, smart, and surrealistically infused contemporary New York fairy tale – Alejandro (played by Torres himself) – is not such a person, at least not when we meet him. His creative imagination nurtured by his artist mother (Catalina Saavedra) in El Salvador, he’s now a young immigrant on a work visa in the U.S., getting by in his daily life by making as few waves as possible while dreaming of being a toy designer for Hasbro. But when a minor flub gets him fired from the cryogenic company where he works, he inadvertently finds himself drawn into the never-peaceful orbit of the titular “problemista” herself: Elizabeth (Swinton), an outcast art-world maven and wife of a terminally ill eccentric painter (Wu Tang Clan founder RZA) that has frozen himself in hope of being revived when a cure is available to save his life. 

Tasked with tending to her not-quite-late husband’s legacy and estate, she is harried from her efforts to enforce her husband’s wishes via a campaign of unreasonable requests and non-negotiable demands, and sorely in need of someone to help manage the burden — and with his future in America now hanging by a thread, Alejandro takes on the challenge, hoping this terrifying woman whose path he has crossed can keep him from deportation until he can land the career opportunity he’s been waiting for.

It’s at once a familiar and an oddball conceit, a tale of toxic mentorship with shades of “The Devil Wears Prada” that weaves a strangely heartwarming sense of unexpected but perfectly matched kinship into the mix and takes us past tropes and cliché to discover a perspective that illuminates the extremes instead of reinforcing the bland status quo of our lives. While most audiences may not have experience within the elite cultural circle in which Swinton’s Elizabeth asserts her presence, the core essence of her persona is instantly recognizable to us all. And although Torres’s screenplay gets a lot of mileage – and indeed, the movie gets a lot of its appeal, thanks to Swinton’s masterful performance – out of parodying that “high-maintenance” image, it also takes us slyly past our easy judgments to reveal all the easily relatable human qualities behind the stereotype. By the time it’s over, we might still see her as a “monster,” but perhaps no more so than any of the rest of us. We might even, like Alejandro, start to see her seemingly insufferable approach to life as something a little less clueless and a lot more justifiable than we want to assume – and recognize that, even if it makes people cringe when they see her, it might sometimes be the only way to get by in a world bent on maintaining a veneer of calm banality. It might even be the only appropriate response to – and best rebellion against – the indifference of a system whose first priority is always the preservation of a placid status quo.

That, of course, is the joy of “Problemista,” a movie that successfully gets a load of intelligent laughs from the eccentricities of both its unorthodox lead characters – a non-specifically but unmistakably queer protagonist and a ferociously uncompromising “difficult woman” – yet somehow manages to turn them both into aspirational figures. It successfully pokes a savvy kind of fun at the rarified cultural niche in which it takes place – as well as at the not-so-subtly delusional constructs which govern the lives of anyone who fits within its boundaries – without diminishing or degrading its characters or making their individual pursuits feel foolish; it accomplishes this because, even in its unabashedly satirical milieu, it places the greatest emphasis on the humanity of its characters. Alejandro and Elizabeth, in almost any other film, would be supporting players – comic relief, perhaps – in a story about people whose lives were more comfortably mainstream; here, they take center stage, allowing us to laugh at their eccentricities but never letting us lose sight of the real human impulses behind them.

For that, we can thank the deeply committed performances of Swinton, an actress of legendary caliber whose background in underground and counter-cultural theater and film brings a considerable layer of stature to Torres’ freshman effort, and Torres himself, who comes across as a fully confident and seasoned performer capable of holding his own onscreen with someone of his co-star’s stature. RZA’s amusing but somehow sweet performance in flashbacks as Elizabeth’s husband also has a humanizing effect, and acclaimed Chilean actress Saavedra casts a luminous glow in her limited screen time that nevertheless seems like a keystone element of the film’s delicate balance of magical realism and absurdist comedy.

To be fair, defining “Problemista” within a label is a problematic undertaking from the start; neither comedy nor drama, fantasy nor surrealist ephemera, it combines all these elements to approach something more profound, perhaps, or at least more useful for audiences looking for a new perspective on the sometimes-soul-crushing sea of obstacles that seems to govern our daily lives. At any rate, far more important than any of these esoteric themes, it confronts – gently, if with considerable cynicism – the existential rattlesnake of navigating the immigration system of the US, straddling multiple agendas and managing to succeed with all of them.

Torres, whose stint on “SNL” led to a successful stand-up special and a gig as the creator and star of HBO’s critically acclaimed Spanish-language series “Los Espookys,” has managed an impressive debut as a filmmaker; it’s the kind of movie that hints at greater achievements to come, and we are eagerly on board to watch them unfold in years to come. No small feat for a first-time filmmaker, especially considering the number of ambitious sociocritical comedies that have tried and failed to pull off the same delicate balancing act – and even more especially because it’s also a lot of fun.

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Sports

UFC star targets Bud Light in latest obscene anti-LGBTQ rant

UFC President Dana White defends Sean Strickland’s right to publicly say: “They force feed your kids fucking pride flags”

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ean Strickland goes off on reporter questioning his past anti-LGBTQ+ comments: 'Go Fuck Yourself' (Screenshot/YouTube MMA Junkie)

LAS VEGAS — For the second time this year, mixed martial artist and UFC middleweight champion Sean Strickland is attacking the LGBTQ+ community, this time in a social media post aimed at criticizing the UFC’s newest sponsor, Bud Light. 

The last time was January 17 in Toronto, ahead of a championship fight, as the Los Angeles Blade reported. Strickland launched a vulgar tirade in response to a reporter’s question about the fighter’s public homophobic comments.

“The world’s not buying your fucking bullshit you’re fucking peddling,” Strickland told Canadian sports journalist Alexander K. Lee. “The world is not saying, ‘You know what? You’re right. Fucking chicks have dicks.’ The world’s not saying that. The world’s saying, ‘No, there are two genders. I don’t want my kids being taught about who they could fuck in school. I don’t want my kids being taught about their sexual preference.’”

On Monday, Strickland went back to the well and posted a new transphobic and homophobic message on X, the platform that was once Twitter. 

“I’m so sick of these cunts,” Strickland said. “Even budlight. I’m the definition of America… yet I’m the bad guy because I believe in two genders? I am the majority.

“They force feed your kids fucking pride flags. 

“I just wanna fight back a little…”

It wasn’t clear what might have sparked Strickland’s latest rant, or his subsequent retweet of a graphic image, showing a woman with male genitalia reaching for a pack of Bud Light.

UFC announced a sponsorship deal worth more than $100 million to make Bud Light its official beer four months ago, as Mediaite reported. In an interview with Tucker Carlson, UFC President Dana White claimed Bud Light was “way more aligned” with its critics than they think.

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White has so far maintained his stance that his fighters are free to say whatever they want. 

Despite his acknowledgement that he previously embraced neo-Nazi ideology, the 32-year-old fighter has received support from conservatives, including former President Donald Trump. Strickland posed with the GOP frontrunner in Nevada following his primary victory last month.

Although the vast majority of responses to Strickland’s rant were supportive, he also received some criticism. 

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Movies

Lesbian road movie returns with campy ‘Dolls’

A retro-inspired, neon-lit road trip/neo-noir thriller

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Geraldine Viswanathan, Margaret Qualley, and Beanie Feldstein in ‘Drive-Away Dolls.’ (Photo courtesy of Focus Features)

Let’s admit it: by the time Hollywood’s awards season draws to a close, most of us are more than ready for a good mindless “B movie” to cleanse our palettes. After the glut of “serious” and “important” films dominating the public conversation, it’s just incredibly freeing to watch something that feels — at some level, at least — more like entertainment than it does like doing homework.

That’s one of the biggest reasons why the timing of “Drive-Away Dolls,” which hit screens on Feb. 23, feels like a really savvy move, especially since it comes from a major Hollywood studio and boasts a multi-Oscar-winning director – Ethan Coen, who alongside brother Joel is half of one of Hollywood’s most prodigious filmmaking teams – at its helm. A retro-inspired and neon-lit road trip/chick flick/neo-noir thriller featuring lesbian leading characters and leaning hard into the visual palette of the ‘70s-era exploitation drive-in movie fodder it aims to both emulate and reinvent, it lays no claim to lofty purpose or intellectual conceit; instead, it takes its audience on an unabashedly raunchy 1999-set wild ride in which a pair of mismatched adventurers find themselves unwittingly entangled in a caper involving a mysterious briefcase and the eccentric trio of thugs tasked with tracking it down. It tells the kind of story we expect to be able to check our brains at the door for, and just sit back to enjoy the mindless thrills.

In this case, that story centers on two young queer Philadelphia women – free-spirited sexual adventurer Jamie (Margaret Qualley), whose infidelity has tanked her relationship with girlfriend Suki (Beanie Feldstein), and square peg Marian (Geraldine Viswanathan), whose discomfort with the hedonistic social scene of big city lesbian life has her longing for the simpler pleasures of her childhood home in Tallahassee – who embark on a road trip together to Florida in search of new beginnings. It’s clear from the start that they’re at cross purposes; Jamie sees the trip as an opportunity to “loosen up” her uptight friend, while Marian just wants to get back to where she once belonged. Unbeknownst to either, however, a shady cadre of operatives (Colman Domingo, Joey Slotnick, C.J. Wilson) is on their trail, thanks to something hidden in the trunk of their rental car, and their journey is about to take a detour into unexpectedly dangerous territory.

As a premise, it’s not hard to see close parallels to many of the themes one often finds running throughout the Coen Brothers’ films; the quirky trappings of its crime story plot, the granular focus on the behavioral oddities of its characters, the whimsical (if often pointed) irony it deploys for narrative effect – all these and more give Ethan’s first “solo flight” without collaboration from his brother the kind of familiarity for audiences one can only get from four decades of previous exposure. Yet while “Drive-Away Dolls” might bear a lot of the trademark Coen touches, it’s also distinctively its own creature, with a more radical stylistic approach that one might glimpse in more flamboyant outliers to their joint filmography like “The Hudsucker Proxy” or cult-favorite “The Big Lebowski,” but which here brings its heightened sense of absurdity to the forefront in service of a story which is about, as much as it is anything, the role of causality in determining the circumstances and outcomes of our lives. In other words, it’s a movie which drives home (no pun intended) the point that – at least sometimes – our paths are determined by fate, no matter how much control we think we exert.

If you’re thinking that all this analysis doesn’t quite fit for a movie that presents itself as a madcap escapist romp, you’re not wrong; in spite of its ostensible B movie appeal, Coen’s movie – co-written with his wife, Tricia Cook – evokes some pretty weighty reflections, and while that might lend a more elevated layer to the film’s proceedings than we expect, it’s not necessarily a bad thing. We can be entertained and enlightened at the same time, after all.

Perhaps more detrimental to the movie’s effect, unfortunately, is its intricately-conceived plotting. Weaving together seemingly coincidental or irrelevant details into a chain of events that propels the story at every juncture, Coen and Cooke’s screenplay feels more devoted to cleverness than authenticity; outlandish plot twists pile up, under the guise of some esoteric cosmic significance, until they threaten to collapse in on themselves; in the end, for many viewers, it might all seem just a little too forced to be believable.

Fortunately, there are things to counterbalance that sense of overthinking that seems to permeate the script, most vital of which is the movie’s unambivalent embrace of its queer narrative. While it may borrow the familiar lesbians-on-the-run road tropes queer audiences have known for decades, it presents them in a story refreshingly devoid of shame or stigma; the sexuality of its heroines is something to be explored with nuance rather than subjected to the fetishized bias of the so-called “male gaze,” and it succeeds in giving us “tastefully” explicit scenes of same sex love that celebrate the joy of human connection rather than turning it into a voyeuristic spectacle. Even more important, perhaps, “Drive-Away Dolls” omits one particularly toxic cliché of queer stories on film by refuising to make its queer heroines into victims; they’re way too smart for that, and it makes us like them all the more, even if we don’t quite find ourselves absorbed in their story.

For this, full credit must go to Qualley and Viswanathan, who individually build fully relatable and multi-dimensional characters while also finding a sweet and believable chemistry within the awkwardness of finding a romantic love story between two friends – a complex species of relationship that surely deserves a more extensive and nuanced treatment than it gets space for in Coen’s film. As good as they are, though, it’s Feldstein’s relatively small supporting turn that steals the movie, with an unflinching-yet-hilarious tough-as-nails performance as Qualley’s ex that both acknowledges and undercuts the stereotype of the “angry lesbian” while striking an immensely satisfying blow for queer female empowerment. The always-stellar Domingo underplays his way through an effectively civilized supporting performance as the chief “heavy”, and Matt Damon makes a sly cameo as a conservative politician, while daddy-of-the-decade Pedro Pascal shows up for a brief but key role that gives winking service to fans who remember him from his “Game of Thrones” days – though to say more about any of those appearances would constitute a spoiler.

“Drive-Away Dolls” has been met with mixed reviews, and this one is no exception. There’s an unmistakable good intention behind it, and much to be appreciated in its sex-positive outlook and commitment to an unapologetically queer story and characters, but while its stylistic embellishments provide for campy enjoyment, it’s ultimately diffused by its own cleverness. Still, the queer joy that frequently peeks through it is more than enough reason to say that it’s a good choice for a fun date night at the movies.

At the end of the day, what more can you ask?

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Books

A travel memoir with a queer, Black sensibility

Nonbinary author Shayla Lawson is the Joan Didion of our time

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‘How to Live Free in a Dangerous World: A Decolonial Memoir’
By Shayla Lawson
c.2024, Tiny Reparations Books
$29/320 pages

Joan Didion, one of the greatest writers and journalists of the 20th century and 2000s, wrote superbly crafted essays – telling engaging stories about the places she traveled to. Reading her, you sensed Didion reacting personally to her travels, and, as a writer, clocking it. To write in stories for her readers. 

Shayla Lawson, a nonbinary, Black, disabled poet and journalist, is the Joan Didion of our time.

Their new work, “How to Live Free in a Dangerous World: A Decolonial Memoir,” is a provocative, impeccably crafted, hard-to-put down, travel memoir in essays. (Lawson uses they/them pronouns.)

Lawson is author of “This is Major,” which was a finalist for the National Book Critics’ Circle and the LAMBDA Literary Award, and the author of two poetry collections, “A Special Education in Human Being” and “I Think I’m Ready to See Frank Ocean.”  They have written for New York Magazine, Salon, ESPN and Paper, and earned fellowships from the Yaddo and the MacDowell Artist Colony.

Yet, despite this impressive track record, Lawson, who grew up in Kentucky, and has lived and traveled everywhere from the Netherlands to Brazil to Los Angeles to Kyoto, Japan to Mexico to Shanghai, had to wait nine years before a publisher would wrap their head around releasing a travel memoir in essays.

Thankfully, Lawson had the  chutzpah to persist in seeking a home for her memoir. Kudos to Tiny Reparations Books for valuing Lawson’s writing and publishing ‘How to Live Free in a Dangerous World.”

From the get-go of their memoir, Lawson draws us in. We’re with them on the plane. Right away, we’re with Lawson – a writer who’s clocking it  – telling their story – while they’re on the plane. At the same time, we’re reading the story that Lawson’s writing. 

In a few nano-secs, we get that Lawson’s stories have a queer, Black sensibility.

“Our story starts in an airplane,” Lawson writes in the opening of the memoir, “with the sound of long acrylic nails tapping on laptop keys, the sound of black femme poetics…”

“Only connect,” writes queer writer E.M. Forster in his 1910 novel “Howards End.”

Lawson’s daring memoir is a dazzling mosaic of connections between race, class, gender, sexuality, death, queerness, love, disability, grief and beauty.

Lawson met Kees, their ex-husband, a white man from the Netherlands, when he was in Harlem during a layover on a flight to Brazil for a six-month back-packing trip through South America, Lawson recalls. They meet cute over pizza, fall in love, and marry.

In the Netherlands, Lawson has to learn a new language and is stuck living in a beautiful, but boring village. They volunteer at a refugee village, that Lawson discovered had been an “insane asylum.” That village, Lawson thought, wasn’t  beautiful.

Lawson discovers beauty and sexuality when she meets up with a hunky gondolier in Venice.

In post-dictatorship Zimbabwe, they experience what it’s like to hang out with other Black people, where everyone is Black. 

In one of the memoir’s most compelling chapters, Lawson visits artist Frida Kahlo’s house in Mexico City. Kahlo was disabled. She had spina bifida.

At age 39, Lawson was diagnosed with Ehlers-Danlos syndrome. They have chronic pain from the disability.

A doctor (with the bedside manner of Attila the Hun) told Lawson that they would die. “It’s a strong presentation,” Lawson remembers the doc said to her.

Often, disability is left out of storytelling. If included, it’s put in a box – separated, disconnected, from other intersections of the narrative (gender, sexuality, race, class, sexual orientation, etc.).

One out of five Americans is disabled, according to the U.S. Census Bureau, and Lawson writes, post-COVID that 60 percent of Americans have been diagnosed as chronically ill.

Lawson brings ableism out of the shadows.

I’m white, cisgender, queer and legally blind. I’m one of the many for whom Lawson’s experience of ableism will ring true.

They’ve “called me a bitch,” for moving slower, Lawson writes.

The last time Lawson traveled when “I didn’t return in a wheelchair,” was 2019, they write.

But that won’t stop them from traveling, Lawson writes.

“How do I want to live,” Lawson asks, “in such a way that someone will be honored by how I die.”

“How to Live Free in a Dangerous World” is exhilarating, but sometimes discomforting reading. Lawson makes you think. If you’re white and, using all the right pronouns, for instance, you can still be clueless about racism or being entitled.

But Lawson’s memoir isn’t a hectoring sermon. It’s a frisson of freedom, liberation and hope.

“No matter where you are, may you always be certain who you are,” Lawson writes, “And when you are, get everything you deserve.”

Check it out. You won’t be able to get it out of your head.

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Movies

New Bella Abzug documentary is a must-see film

‘This Woman’s Place is in the House’ highlights courageous congresswoman

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‘Bella! This Woman’s Place is in the House’ movie poster.

Watching the documentary on Congresswoman Bella S. Abzug (D-N.Y.), “Bella! This Woman’s Place is in the House,” brought back so many great memories for me. I had to watch it twice to separate my personal feelings about Bella, having worked for her and become her friend, to imagine what others would see who didn’t know her, and her life. 

Both viewings were rewarding. Jeff L. Lieberman, writer and director, has brought Bella to life for everyone. 

Lieberman tells the story of a passionate, courageous, brilliant, woman, one who made a real difference in all women’s lives. But more than that, she made a difference in everyone’s life; men, women, minorities, and the LGBTQ community. Bella was a true force of nature. Using pictures and video from her younger years, Lieberman makes Bella come alive. Pictures of her mom and dad and those with the love of her life, her husband Martin. Interviews with her daughters Eve, and Liz, help tell her personal story. He brought out a side of her not everyone saw, delving into how in her younger years the experiences she had formed her life’s goals. Bella was all about fairness and decency. Bella was a leader and people followed. 

Yes, many called her ‘a tough broad.’ She brooked no nonsense or weakness in herself or others. She was tough on her staff and those around her, but no tougher than she was on herself.  Yes, Bella was loud. She could yell at her staff, other politicians, and even constituents. But she was also the Jewish mother, and many called her Mother Earth. 

The film shows the influence of her Orthodox Jewish family. How when she said Kaddish for her father after he died when she was just 13, she was relegated to the women’s balcony of the shul. It was something she fought against all her life. Bella went to Hunter College and wanted to go to Harvard Law School. At the time Harvard didn’t take women or Jews. So she went to Columbia University Law School. She formed her own firm when she graduated. 

She started wearing hats when she realized that was how she could distinguish herself as a professional, and wore them all her life. They became her trademark. As a young lawyer she went to Mississippi to fight for the life of a Black man who had been sentenced to death for a crime she didn’t believe he committed. She would sleep in a bus station because when people found out she was his lawyer, they wouldn’t rent her a hotel room. She worked so hard she had a miscarriage, but nevertheless kept fighting for him, though eventually he was executed. That experience, and others, portrayed in the film, simply drove her to fight even harder for fairness for all. For civil rights and for the rights of all minorities, including the LGBTQ community. Not everyone in the LGBTQ community knows it was Bella who introduced the first Equality Act bill in 1974. A bill still not passed today. Bella was ahead of her time in so many ways, and Lieberman shows that in this film.  

There is a funny story in the film about House of Representatives Sergeant at Arms Fishbait Miller, telling Bella to take her hat off when she entered the House Chamber. The rumor had it she told him politely to “Go fuck yourself.” Bella denied it. But many years later I sat with him at a dinner party and he confirmed it. Laughing, he said he ended up liking and respecting her. 

Lieberman’s film portrays Bella’s tenacity in Congress, standing up to the powers that be and her fight against the CIA and FBI and her push to impeach Nixon. Bella was a founder of Women’s Strike for Peace and there is a focus on her fight against the Vietnam war, and for a ban on nuclear testing. 

The film follows her campaigns, from the first winning one in 1970, where she came up with the slogan, now the basis for the title of this film, “A woman’s place is in the House, the House of Representatives.” Then her fight to keep her seat in 1972 after she was redistricted. He follows her losing race in 1976 to Patrick Moynihan, in the U.S. Senate primary, by only a whisker. Then her continued losses first in 1977 for mayor of New York City, then for Ed Koch’s old seat on New York’s East Side, and finally, a losing race for Congress in Westchester County. She wanted to get back into Congress but never did. But even when she lost, Lieberman shows us how she never stopped fighting for people and change. She ran the Women’s Conference in Houston in 1977, and went to China for the International Women’s Conference in 1995. That was where Hillary Clinton declared, “Women’s rights are human rights,” even though by that time Bella was in a wheelchair.

Lieberman brings Bella’s life to us in the fullest way with a host of women, and some men, who speak about her, and what she meant to them. They include Barbra Streisand, Gloria Steinem, Hillary Clinton, Shirley MacLaine, Nancy Pelosi, Maxine Waters, Marlo Thomas and Phil Donahue, and Renee Taylor and Joe Bologna, among others. Former staffers, and community activists, who talk about what she meant to them and what she accomplished. He reminds us Bella was named a whip by Tip O’Neil in her third term, because she got things done. Bella got the bill passed that allowed women to get their own credit cards. She is responsible for all those curb cuts on our streets. She broke the highway trust fund allowing states and cities to get funding for mass transit. She was not only loud, and a fighter, but she was tremendously successful. 

“Bella! This Woman’s Place is in the House,” will be at the DCJCC for three nights; March 14, 17,, and 18. Tickets will go fast and they are available online. I would urge every woman, every member of the LGBTQ community, and everyone who cares about peace in the world, to see this film. You will not only learn about a great woman, but seeing it may just give you that push to go out and fight for your own rights. Even more, to emulate Bella, and fight for a better world.

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