Arts & Entertainment
Elisabeth Hasselbeck prayed after hearing Rosie O’Donnell had a crush on her
The comedian says there were ‘underlying lesbian tones’
Elisabeth Hasselbeck says she “immediately started praying” after hearing that Rosie O’Donnell had a crush on her when they were co-hosts on “The View.”
In O’Donnell’s new memoir “Ladies Who Punch: The Explosive Inside Story of āThe View,'” O’Donnell revealed she once had a “little bit of a crush” on Hasselbeck but that it wasn’t sexual.
āNot that I wanted to kiss her. I wanted to support, raise, elevate her, like she was the freshman star shortstop and I was the captain of the team,” O’Donnell writes.'” “I was going to Scottie Pippen her. If I was Jordan, I was going to give her and the ball and let her shoot. But it was in no way sexualized.ā
Hasselbeck appeared on “Fox & Friends” on Tuesday and called O’Donnell’s comments “disturbing.”
“I’ll be very honest. I read it and I immediately started praying. Because I’m like, how am I going to handle this in my old self would be another split screen moment, but now I really feel like by God’s grace I just started praying — and I pray now the Holy Spirit gives me the words to articulate this — but I think it can be addressed with both truth and grace,” Hasselbeck says.
She continued: “I think what she said was reckless, untrue and, not only insulting, disturbing when it comes to how she felt about somebody in the workplace. If you replace what Rosie said and you take her name out and you put in ‘Reuben’ or ‘Robert’ then we would be in a situation where you would see the objectification of a woman in the workplace. That’s disturbing because where we may be really against that when it comes from a man to a woman, you don’t get a pass because you’re a lesbian objectifying a woman in the workplace. You just don’t.”
O’Donnell also noted in her book that there were “underlying lesbian tones on both [of their] parts” and hinted it was because Hasselbeck is a former softball player.
“There are not many, in my life, girls with such athletic talent on sports teams that are traditionally male that arenāt at least a little bit gay,ā O’Donnell wrote.
Hasselbeck felt O’Donnell was stereotyping women who play sports.
“I think her casting a stereotype on female athletes and what she said ā¦ that all female athletes are a little bit gay ā¦ I would say this directly to her, and I would say, ‘That’s an unfair stereotype and it seems selfish in a way and I think that it’s untrue,'” Hasselbeck says.
Ultimately, Hasselbeck says she forgives O’Donnell despite her “disturbing” and “offensive” remarks.
“I can handle that with the grace of God because I need grace and I need forgiveness,” Hasselbeck says. “So Rosie, I think it was disturbing to read those things and it was offensive to me, but I forgive her. I totally forgive you, Rosie. I really hope that we can be at peace and that we can both hold our beliefs in one hand and hold each other’s hand in the other and still have a relationship that’s at peace.”
O’Donnell responded on Twitter that she’s “sorry” Hasselbeck “got scared.”
hey eh – my crush on u was not sexual – sorry u got scared – ā¤ļøsurely u recall b4 it all went wrong – i never objectified u – i did find u fantastic – broadway shows – my pool -we were friends once ā¤ļø god love ya kid – i always did #hasselbeck #raminSUX
ā ROSIE (@Rosie) March 26, 2019
Hasselbeck and O’Donnell’s infamously butted heads on “The View”during an argument about the Iraq War in 2007.
Arts & Entertainment
Queer actors celebrate Golden Globe nominations
Koch, Gadd, Domingo among yearās standout performances
Awards season arrived earlier this week with the announcement of the 2025 Golden Globes, which takes place on Jan. 5, airing on CBS and streaming on Paramount +. Several LGBTQ actors are over the moon to be nominated.
Trans queer actress Karla SofĆa GascĆ³n was nominated for Best Female Actor in a Musical or Comedy, for the musical āEmilia PĆ©rez,ā making her the first out trans woman to be nominated for Lead Actress in a film category.
The riveting film, which tells the tale of a cartel leader who transitions to a trans woman, has received numerous Globes noms, for Best Motion Picture (musical or comedy), acting (for Selena Gomez and Zoe SaldaƱa), Jacques Audiard for Best Director (Motion Picture), Best Screenplay (Motion Picture), Best Original Score, and two nominations for Best Original Song.
āThis has been an overwhelming morning,ā acknowledged GascĆ³n in a Netflix statement. āTears filled my eyes when I heard the news. I want to thank all the members of the Golden Globes for this nomination. It’s incredible to be recognized alongside my costars. Iām so grateful to Jacques for the gift of Emilia. We couldnāt have created the world of āEMILIA PĆREZā without the amazing artistic technical team on the film. Thank you to Netflix and to all of you who support me and live with my successes as if they were yours. This nomination gives me hope for humanity.ā
Bisexual actor Richard Gadd has been nominated for best television male actor in a limited series, anthology series or television motion picture for his hit Netflix series, āBaby Reindeer.ā
In a prepared Netflix statement he said: āI am beyond thrilled that āBaby Reindeerā has been nominated for 3 Golden Globes. Almost every year, I have watched the event, hoping that one day I might be there in the audience, sitting amongst the industry’s finest, getting roasted on an international scale. So it is a dream come true. Thanks to the Hollywood Foreign Press for all they have done in championing the show.ā
Gadd offered his āsincere gratitudeā to Netflix for ātaking a chanceā on greenlighting the series, as well as Clerkenwell Films for their āenormous effortsā in producing it.
āAnd all the amazing cast and crew who worked tirelessly to bring the best version of the series to screen, a special shout out to my incredible team who I have the joy and privilege of working with every single day too. Whatever happens on the 5th of January, I cannot think of a better way to start the year. Javier Bardem, Iām coming for a photograph!ā
Gadd is up against gay stars Cooper Koch for āMonsters: The Lyle and Erik Menendez Storyā and Andrew Scott for āRipley.ā
Noted Scott: āIt was a true honor to bring Patricia Highsmithās iconic literary character to life in this new way, to spar with the glorious Dakota Fanning and to work with a cast and crew of truly extraordinary talent. Thank you to the Golden Globes; I never dreamed murdering people on the Amalfi coast for a year would be recognized in this way. Grazie Mille.ā
Also in the category are Colin Farrell (āThe Penguin,ā) Kevin Kline (āDisclaimerā), and Ewan McGregor (āA Gentleman in Moscow.ā)
Gay castmate Jessica Gunning is also nominated for best supporting female actor-television.
āWowza. Words canāt really do justice to how thrilled I am to be nominated for a Golden Globe for Best Supporting Actress alongside some of my idols as well no less! I think I might need someone to pinch me to check Iām not dreaming. Thank you so much to the Hollywood Foreign Press Association for this incredible honour, to the amazing cast and crew of Baby Reindeer, to Netflix and Clerkenwell Films, to my friends and family for all their support along the way. And a huge thanks of course to Richard, without whom none of this would even be possible. This genuinely is such an incredible honour and I canāt wait to be in LA in Januaryā¦ what a way to kick off 2025! Thank you.ā
āWickedāsā Cynthia Erivo was equally elated: āNow that my feet are hovering off the ground, I cannot even come close to properly expressing what this moment means to me. Not just because of this individual nomination but because I get to watch as this project and my āWICKEDā family is celebrated too. Being a part of this project has been a dream come true, and playing Elphaba, a woman who speaks to everyone who has ever felt like they donāt belong and lets them know they have the power to defy gravity, has been the honor of a lifetime.ā
Erivoās best performance by a female actor in a musical or comedy nomination is the fourth for her ā she earned her first nominations for best drama actress and best original song for the 2020 film āHarriet.ā The British actress and singer also received a nom in 2022, for best actress in a limited series nomination, portraying Aretha Franklin in Nat Geoās āGenius.ā
She also sent heartfelt wishes to director Jon Chu and producer Marc Platt. āThank you for entrusting me with her. Donna Langley, Peter Cramer and the entire Universal team, thank you for all of your love, care, collaboration and hard work. Jon, you and your wonderful dedication to this work, your love of cinema and storytelling and care for each one of us on your set is why weāre all experiencing this now, thank you.ā
āWickedā has several nominations, including Best Motion Picture (Musical or Comedy), Cinematic and Box Office Achievement and Ariana Grande-Butera for Best Supporting Female Actor.
Addressing Grande-Butera, Erivo said: āMy little sister, baby girl I love you. Iām so proud of you. Youāre so deserving of this moment and Iām glad I get to share the seconds and the moments and the days and the years with you. This journey has been so unbelievably special, and I believe it is the company we have kept together that has made it as special as it has been and will continue to be. May there be many many more journeys to take both on and off screen, it is an honor to be able to hold your hand.ā
Angelina Jolie is also nominated for best female actor-drama for āMaria,ā the Maria Callas biopic.
āThank you to the Golden Globes for this honor,ā she said in a Netflix statement. āI am humbled to be nominated alongside so many artists I deeply admire. I share this with my director, Pablo Larrain and all who were a part of making MARIA such a rewarding experience. It’s a privilege to have played Maria Callas and to be able to share her legacy with the world.ā
Nonbinary star Emma DāArcy also received a Globe nomination for Best TV Drama Actress for her work in HBOās āHouse of the Dragon.ā
āI feel completely delighted. This season felt very personal to me, and at times it was hard to make, so Iām really moved by this recognition. Making a show like this is the most extraordinary team effort ā Iāll be honoured to represent my colleagues at the Globes in January.ā
DāArcyās co-nominees are Kathy Bates (āMatlockā), Maya Erskine (āMr. and Mrs. Smithā), Keira Knightley (āBlack Dovesā), Keri Russell (āThe Diplomatā), and Anna Sawai (āShÅgunā).
Hannah Einbinder has now been nominated at the Golden Globes for all three seasons of āHacks.ā
āGetting to make āHacksā with the hardest working, most talented and lovely crew, saying words written by Paul Downs, Jen Statsky, and Lucia Aniello, looking into the eyes of Jean Smart and every actor on this show is a once in a lifetime, lightning in a bottle experience. I cherish this show so deeply and to be recognized for my work on it is a sincere honor.ā
Luca Guadagnino is nominated for Best Motion Picture Musical or Comedy for āChallengersā as well as for Best Song.
āI am so proud today to the Globes for the recognition and love for Daniel and Zendaya in both drama and comedy. I am in awe of their talent. To then share best picture and song nods with more people I love ā Amy and Rachel, Trent and Atticus, it is a beautiful and wonderful thing and I am grateful.ā
Other LGBTQ highlights:
āNickel Boysā and āMoana 2ā were nominated for Best Motion Picture and feature queer actors Aunjanue Ellis-Taylor and Auliāi Cravalho.
āThe Wild Robot,ā which features queer actor Stephanie Hsu, is nominated for Best Motion Picture (Animated), Cinematic and Box Office Achievement, Best Original Score and Best Original Song. Grammy-winning country-pop star Maren Morris, who identifies as bisexual, co-wrote and performed āKiss the Sky.ā
Singer Miley Cyrus is nominated for Best Original Song for āBeautiful That Wayā from āThe Last Showgirl.ā
Both Jodie Foster and Kali Reis are nominated for āTrue Detective: Night Country.ā
Colman Domingo is nominated for Best Performance by an Actor in a Motion Picture, Drama, for āSing Sing.ā
Movies
Daniel Craig shines in raw and romantic āQueerā
In an awards season largely devoid of LGBTQ content, one movie asserts itself as the exception by its very title.
Much-anticipated after its Venice Film Festival premiere, and buoyed by the buzz around star Daniel Craigās performance and its well-publicized sex scenes, Luca Guadagninoās āQueerā has begun rolling into theaters. Naturally, queer cinema buffs are eager to see a move from the same filmmaker who delivered āCall Me By Your Nameā and its leading man is arguably the sexiest of all the James Bonds ā but if youāre expecting a feel-good story about LGBTQ Pride, this adaptation of a novella by famously countercultural āBeat eraā writer William S. Burroughs is definitely not it.
Its setting in 1950s Mexico City is enough to let you know that any queerness it presents for us is likely to be furtive, conducted in secrecy and shrouded in a sense of forbidden desire. Against this backdrop, brilliant-but-dissolute American William Lee (Craig) trolls the streets and clubs looking for sex, love, and connection among the other expatriates who gather nightly in the bars that cater to them. When a much-younger ex-Navy man named Eugene (Drew Starkey) catches his eye and seems responsive to his bold-but-clumsy flirtations, he becomes enamored ā despite his own insecurities and his uncertainty over whether his new crush is even queer to begin with ā and persists in his effort to get close to this much-younger fellow American.
Thereās definitely a spark; the two move quickly from being mere drinking companions when an after-bar nightcap at his place turns into a naked overnight stay, and they become de facto lovers, though Eugene continues to maintain an emotional distance. Eventually, Lee proposes a trip together to find a rogue botanist (Leslie Manville) in South America and experiment with ayahuasca; the young man agrees, and the two set off to share an experience that may push the boundaries of their relationship ā and their consciousness ā further than either of them are prepared to go.
Itās not a particularly āstory-orientedā film; the plot flows, almost like a stream of consciousness, through the repetitive patterns of daily existence, moving between concrete reality, jarring memory, and hallucinatory exaltation to approximate an inner narrative rather than propel an outer one. This reflects the similar fluctuation in Burroughsās writing, but also takes the audience into the subjective experience of Lee ā a fictionalized version of the author himself ā and allows us to see the threads of consistent meaning that turn the hedonistic blur into a visceral reminder of the intensity with which life often takes place, especially when longing, desire, and loneliness are involved. Ultimately, the adaptation by screenwriter Justin Kuritzkes treats the material almost as a āmeta-biopicā of Burroughs himself, a bittersweet and characteristically raw collection of impressionistic memories given narrative structure by the conceit of fiction.
In keeping with that choice, Craig delivers a masterful performance that succeeds in channeling the late authorās uniquely unfiltered personality while never feeling like an attempt at mimicry. The former 007 reminds us of the insightful talent that made him a star even before his run as the iconic super agent, discarding the familiar suave charisma for a nervous awkwardness that underscores Leeās eternal sense of being an outsider, but conveying with equal clarity the euphoric heights and humiliating lows of his emotional and intellectual landscape. Already the winner of the National Board of Reviewās Best Actor prize, itās a star turn that anchors the film and helps it achieve the homage to Burroughs ā an under appreciated pioneer and alternative icon for the queer community, though he reportedly once disowned what was then called the āGay Rights Movementā by saying “I have never been gay a day in my life and Iām sure as hell not a part of any movement” ā that it rightly intends to pay.
As the object of his affections, costar Starkey brings more than just his compelling yet somehow unconventional good looks to the mix. He makes Eugene at once an enigma and a familiar archetype of sensitive-yet-callow youth, a pleasure-seeker able to embrace and delight in the joys of the moment with full authenticity. He has a palpable chemistry with Craig, only enhanced by those much-touted sex scenes (which manage to leave little to the imagination without showing anything explicit) and makes us feel both the deep bond that forms between them and the pang of inevitable loss that comes along with it.
Other strong performances come from Jason Schwartzman (almost unrecognizable in body padding and makeup) as a queer compatriot and confidant of Leeās, and Manville (also almost unrecognizable under her characterās visual design) as the doctor-turned-shaman who serves as gatekeeper on his quest for psychedelic enlightenment; the always-winning Drew Droege also scores in a memorable supporting turn.
As for the direction, Guadagnino is at his best, guiding the actors through the story with insight and specificity while making sure his film gives them the best visual showcase to deliver it. Beautifully shot in a lush color palette on sumptuously designed sets, and composed with the visual eloquence of a painterly sensibility from start to finish, āQueerā very much evokes the big screen Technicolor aesthetic of the 1950s era in which it takes place, an effect thatās both reinforced by its romanticized international settings and jarringly contrasted by an anachronistic soundtrack that includes not only a distinctly contemporary-sounding score by Trent Reznor and Atticus Ross but numerous songs by artists like Nirvana, Prince, and New Order.
Yet excellent as it is, itās a film that might disappoint some viewers. Though its name and its primary characters are queer, the āqueernessā of the story has ultimately nothing to do with sexuality; for Burroughs, it was perhaps the way he saw through the madness of the world that set him apart from others, that kept him feeling alone in a crowd unless it was made up of the fellow āfreaksā who were among his close circle. While āQueerā certainly offers plenty of celebratory, sex-positive scenes of intimacy, conveying a truth that the author knew first-hand, it also goes to the dark side, portraying Burroughsās Gonzo lifestyle ā including explicit scenes of drug use and seemingly endless appetite for alcohol ā in all its matter-of-fact squalor. Some commentators have already pointed out the storyās echo of an old narrative trope, a āDeath in Veniceā style story of an aging gay man lured to despair by an obsession with a beautiful youth. If youāre after positive queer representation ā or at least the generally expected kind ā youāre not going to find that here, either.
Still, while such things may disturb our assumptions about what queer life – or any type of life, for that matter ā is āsupposedā to look like, they nevertheless represent a true lived experience, and truth is sometimes just as important as presentation. And āQueerā gives us plenty of beautiful moments, too, offsetting the ugly ones and often even turning them into something beautiful, too. Thatās why, while it may not be the kind of inspirational call to arms many of us feel we need right now, it still earns our recommendation as one of the standout films of the year.
Events
Queer Latin Dance LA celebrates decade of inclusive lessons
How this small dance class turned into a decade-long organization
Queer Latin Dance L.A. hosted their Holiday Social on Saturday, celebrating their 10-year anniversary. Beginner and experienced dancers were welcomed to the night-long party that went from 8 p.m. to 1 a.m. The evening featured music by D.J. K Bunny and special performances.
Arlene Santos, one of the cofounders of Queer Latin Dance L.A., said the group started when a friend who had visited Santosā own studio invited her to teach at a meetup in North Hollywood. Through word of mouth, about 80 people showed up to the first meetup of what they called a āsame-sex dance class.ā Chairs and tables had to be shuffled around to make space for dancing in the small, smoky dive bar.
Santos told CALĆ News that people had driven to North Hollywood all the way from Diamond Bar and Orange County. When she suggested salsa studios closer to those travelers, they told her they didnāt feel welcome in other dance spaces. One of the reasons was that gender was more strictly enforced; attending men didnāt want to dance with other men and women werenāt welcome to try and lead. Same-sex dancing couples received uncomfortable stares from others and teachers used unnecessarily gendered language to refer to class members.
āThat’s something that I was guilty of 20 years ago when I was teaching,ā Santos said. āIād say, āokay, take the ladies and rotate.ā And now it’s something I would never even dream of saying because it doesn’t even make sense to me anymore. It’s not about ladies and gentlemen, [dancing] is about leaders and followers.ā
The queer-specific dance scene has grown over the past 10 years, according to Santos, who said Queer Latin Dance L.A. cross-promotes with other groups and sends students with different schedules to places that are a better fit. The company has grown in their own ways as well. Now, a few former students have become instructors who lead the groupās very own competitive dance team.
Santos said sheās hopeful about the years to come.
āI just want the scene to keep growing and for these spaces to be around so that anyone can come and dance and feel like they’re in a safe space,ā she said.
Saturday night featured a salsa class at 8 p.m., bachata lesson at 8:40 p.m., and dance performances at 10 p.m. more information can be found on their site
Books
Mother wages fight for trans daughter in new book
āBeautiful Womanā seethes with resentment, rattles bars of injustice
āOne Day I’ll Grow Up and Be a Beautiful Womanā
By Abi Maxwell
c.2024, Knopf
$28/307 pages
“How many times have I told you that…?”
How many times have you heard that? Probably so often that, well, you stopped listening. From your mother, when you were very small. From your teachers in school. From your supervisor, significant other, or best friend. As in the new memoir “One Day I’ll Grow Up and Be a Beautiful Woman” by Abi Maxwell, it came from a daughter.
When she was pregnant, Abi Maxwell took long walks in the New Hampshire woods near her home, rubbing her belly and talking to her unborn baby. She was sure she was going to have a girl but when the sonogram technician said otherwise, that was OK. Maxwell and her husband would have a son.
But almost from birth, their child was angry, fierce, and unhappy. Just getting dressed each morning was a trial. Going outside was often impossible. Autism was a possible diagnosis but more importantly, Maxwell wasn’t listening, and she admits it with some shame.
Her child had been saying, in so many ways, that she was a girl.
Once Maxwell realized it and acted accordingly, her daughter changed almost overnight, from an angry child to a calm one ā though she still, understandably, had outbursts from the bullying behavior of her peers and some adults at school. Nearly every day, Greta (her new name) said she was teased, called by her former name, and told that she was a boy.
Maxwell had fought for special education for Greta, once autism was confirmed. Now she fought for Greta’s rights at school, and sometimes within her own family. The ACLU got involved. State laws were broken. Maxwell reminded anyone who’d listen that the suicide rate for trans kids was frighteningly high. Few in her town seemed to care.
Throughout her life, Maxwell had been in many other states and lived in other cities. New Hampshire used to feel as comforting as a warm blanket but suddenly, she knew they had to get away from it. Her “town that would not protect us.”
When you hold “One Day I’ll Grow Up and Be a Beautiful Woman,” you’ve got more than a memoir in your hands. You’ve also got a white-hot story that seethes with anger and rightful resentment, that wails for a hurt child, and rattles the bars of injustice. And yet, it coos over love of place, but in a confused manner, as if these things don’t belong together.
Author Abi Maxwell is honest with readers, taking full responsibility for not listening to what her preschooler was saying-not-saying, and she lets you see her emotions and her worst points. In the midst of her community-wide fight, she reveals how the discrimination Greta endured affected Maxwell’s marriage and her health ā all of which give a reader the sense that they’re not being sold a tall tale. Read this book, and outrage becomes familiar enough that it’s yours, too. Read “One Day I’ll Grow Up and Be a Beautiful Woman,” and share it. This is a book you’ll tell others about.
The Blade may receive commissions from qualifying purchases made via this post.
Movies
Jolie delivers diva perfection as āMariaā
A fascinating film addressing matters of life and death
In todayās world, itās difficult to imagine that an opera singer could achieve the kind of international fame and popularity enjoyed by modern musical artists like Lady Gaga or Taylor Swift, yet that is exactly what Maria Callas did.
Possessed of a singular, inimitable, and often controversial vocal talent, she rose to the height of her profession and became a world-class artist, performing on international stages and moving within a circle that included the wealthiest, most influential and powerful people of her era. Her private life, which included a long-running affair with mega-rich Greek shipping magnate Aristotle Onassis and a reputation for temperament that matched or exceeded expectation for a diva of her stature, was the stuff of gossip columns, and her stature as an artist was such that any scandals that might have arisen there had little impact on her reputation for the millions of fans who adored her.
Even now, nearly 50 years after her untimely death (she was only 53) in 1977, her name is still spoken with reverence among those who belong to the still-potent ācult of personalityā that made her an object of near-worship, and even if youāre not an opera fan, a listen to any of the magnificent recordings she left as her legacy is enough to help you understand why. Not only did the woman have a gift for singing, she had a way of inhabiting the music she sang so completely that it seemed to belong solely to her, as if it came fully formed into the world through her own being, no matter how many other great vocalists had sung it before.
Yet the Callas we meet in Pablo Larrainās āMaria,ā a speculative biographical fantasia about the final week in the divaās tumultuous life that premiered in competition for the prestigious āGolden Lionā award at the 2024 Venice film festival and drops on Netflix Dec. 13 following a limited theatrical release, is but a comparative shadow of that once-renowned formidable persona. Her health failing, her voice diminished, and her mind drifting between morose contemplation of her decline and drug-addled delusions of returning to her former glory, she holds a reclusive and tenuous dominion over her Paris apartment, engaged in a power struggle with her overprotective house servants and stubbornly ignoring doctorās orders by pushing herself to regain the transcendent voice that had brought her success, fame, and a personal power that had helped her endure the traumas of a childhood in the Axis-occupied Greece of World War II.
Thatās just on the surface, however. As rendered by Angelina Jolie in a career-topping performance, the Callas of āMariaā feels fully worthy of the still-imperious demeanor she wields against the world. Far from surrendering to the tragic downward spiral into which she has become entangled, she shines from within with a courageous ā which is not the same thing as āfearlessā ā sense of self that infuses her seemingly desperate efforts to reclaim her former glory (for herself, at least, if not for public approval) and makes her story a tale of self-actualization rather than the tragic ādance with deathā it might appear to be through a surface perspective.
After all, in Larrainās vision (and the exquisitely nuanced screenplay by Steven Knight), Callas is seeking not to recapture her fame and fortune ā those are hers for life, already ā but to reclaim her voice. As plainly shown by the life told in bold strokes via the flashbacks interwoven throughout the film, music has been the means for Callas to overcome the oppression of men and assert personal power over her own life. From the fascist soldiers to whom she was āpimped outā in her youth by her mother to the coarse-but-doting plutocrats that have attempted to āpossessā her in adulthood, she has maintained agency over them all through the gift of her vocal talent. Now, with full knowledge and acceptance that the final chapter of her life is being written, she has chosen to hold the pen firmly in her hand, asserting ownership over her own life by composing the end of its narrative for herself. Itās an unconventional path that she chooses, but how many truly great spirits ever settle for being conventional?
Whether or not she was ultimately victorious in this goal ā either in her real life or in Larrainās imagined rendering of it ā might be something viewers have to decide for themselves. Itās hardly the point, however; what āMariaā conveys, more than any definitive truth about its legendary subject, is a suggestion that what matters is the fight, not the winning of it, and that perhaps the āwinā is in the fight itself. Beyond that, it finds a metaphor in the divaās willing descent into hallucinatory fantasy for engaging in a direct relationship with that part of our own nature that feels divine ā one which manifests itself in our lives through many forms, be it a character in a centuries-old opera, an imagined collaboration with the long-dead composer who created it, or a fresh-faced TV interviewer (who may or not be real) with a knack for asking the questions you donāt want to answer.
The element that has sparked the most buzz about Larrainās film, of course, is the work of its star. Jolie, who trained to sing opera for seven months in preparation for the role (though she lip-syncs to recordings of the real Callas in flashbacks of the divaās career highlights, it is her own voice we hear when she sings in the āpresent-dayā scenes), doubtless brings some of her own experience to the table as a successful woman whose artistic triumphs always seem less important in the public eye than her personal relationships with men.
If so, it works beyond expectation, resulting in an old-school Hollywood star turn that dazzles us with its commitment to finding a human truth behind the veneer of glamour and moves us with the raw, unfiltered emotion she masterfully underplays throughout. Oscar talk is cheap, this early in āAwards Season,ā but look for this performance to be a hot contender for a nod, and perhaps even a win.
Yet even if sheās the main attraction, āMariaā boasts plenty of excellence all around, from a superb supporting cast to the luminous cinematography of Edward Lachman, which bathes the movieās sumptuous interiors in a palette of stained-glass colors to conjure the bittersweet nostalgia for a beautiful world as it slips away into oblivion. Knightās intelligent script, crafted with the literary eloquence of a play, explores multiple facets of the divaās life, while using it as a springboard into a meditation on loss, letting go, and embracing our own mortality even as we strive to touch the immortal. Finally, though, itās Larrainās direction that ties it all together, crafting a visually gorgeous, palpably intimate film that nevertheless delves deeply into some of the grandest aspects of our existence.
For opera lovers, of course, itās a must-see. For the rest of us, itās still a fascinating and deeply affecting film, addressing matters of life and death as vast as the ones that drove the timeless musical masterworks in which Callas made her name.
Bars & Parties
Young Miko look-alike contest draws in hundreds of peopleĀ
Influencers Eden and Jay Trevino hosted the contest during their monthly Preciosita residency party for queer women loving women
Look-alike contests are trending, so it was no shock that Preciositaāa monthly residency party from the creators of Preciosa Nightādecided to host their own the day before Thanksgiving, otherwise known as āBlackout Wednesday.ā
Preciosita Night, a more intimate version of Preciosa Night thatās hosted monthly at The Virgil in Los Angeles, happens in between bigger Preciosa events to keep the party going, while planning for the next event. For the latest Preciosita night, Eden and Jay decided to host the first look-alike contest.
To showcase the epitome that is Preciosa Night, they decided to go with one of the most established lesbian reggaeton artists of this generation: Young Miko.
With 7.8 million followers on Instagram, 22.9 million monthly listeners through Spotify and one of the most popular albums in 2024 āattā, Young Miko has become one of the most well-known female reggaeton rappers in the LGBTQ+ community, so it was no surprise that a Young Miko Look-alike Contest would draw in such a large crowd.
During the contest, six contestants stepped up to showcase their best moves and fashion resembling the reggaeton star. In the end, it was a unanimous vote amongst the crowd who the winner was.
Young Miko Look-Alike winner Daelyn Daniloff blows a kiss onstage during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024 (Photo Credit Adelyna Tirado)
Daelyn Daniloff, 27, was the last contestant to get up on stage, making the crowd go wild with applause. She won the grand prize of $20, a trophy and a vibrator.
āPeople come up to me all the time telling me I look like Young Miko. On the street, at work, even in my DMās,ā exclaimed the winner. āSo when my friend Kendal saw this contest, she was like āOkay, weāre turning you into Young Miko and going!āā
Eden and Jay shared the guest count jumped from what was close to a sold out event, to the max capacity at the venue, which is 300 people.
Considering how successful Preciositaās first look-alike contest was, Eden and Jay have decided to continue the trend for the next and final Preciosa event of the year on New Yearās Eve. This time around, Preciosa will host a Karol G look-alike contest with a cash prize of $500.
Guests getting hyped for the Young Miko Look-Alike Contest during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024 (Photo Credit Adelyna Tirado)
Preciosa Night, created by healthy relationship influencers Eden and Jay Trevino, is a grass-roots movement dedicated toward combining culture, community, perreo, and queerness as nightlife events for Latinx, women loving women. Their events typically feature drag performances, queer Latinx DJs, photo opportunities and most importantly, they strive for a drama-free environment and embrace unity at every single event.
āWe preach that representation matters all the time at Preciosa Night,ā said Jay. āEven though Young Miko is fairly new to the reggaeton scene, she is one of the few artists whoās out and proud and we thought it would be a great way to merge both worlds and have fun with it. Being queer and Latina, we donāt often get the representation we deserve.ā
The event will take place at the Teragram Room in Downtown Los Angeles. Tickets are available now at www.preciosanight.com.
Eden Trevino (left) and Jay Trevino (right) pose for a portrait during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024. Eden and Jay are the creators of Preciosa and Preciosita Night. (Photo Credit Adelyna Tirado)
Gallery
Arts & Entertainment
GMCLA to perform concert filled with holiday magic and sugar
The Gay Men’s Chorus of Los Angeles heads to the Saban Theatre on 14th and 15th December
When it comes to all-sing-and-dance musical productions, the Gay Men’s Chorus of Los Angeles never fails to pull out all the stops. The festive shows make the Top Twenty LA Holiday Events List annually and 2024 looks to be no exception.
The SugarPlum Fairies Holiday Concert is set to feature āsome of the most magical music ever written, filled with sugar plums, rich chocolate, and pure fantasy.ā
Audiences can expect the 200-strong chorus to perform 25 songs ranging from iconic Christmas classics to a modern twist on the festive ballet. The Nutcrackerās Dance of the Sugar Plum Fairies and Willy Wonka and the Chocolate Factory’s Pure Imagination are among the musical repertoire, while Dolly Partonās Hard Candy Christmas and Siaās Candy Cane Lane represent the new holiday cohort.
“You’re going to hear some Christina Aguilera, you’re going to hear some old school [songs] from the 60s about candy, and you’re also going to hear some traditional music,” said choreographer, Ray Leeper. “Wonka is really hot right now, so you’re going to hear some of the the old Wonka and from the new movie.”
This yearās Christmas show promises to be a particularly special one, with the group celebrating its 45th anniversary of service and community.
āEverything we do is because of the incredible support we get from our singing members, who have been giving their time, energy, commitment, and activism for over 45 years,ā GMCLA Executive Director, Lou Spisto explained.
The chorus continues to garner acclaim for artistic excellence while remaining deeply rooted in its service. For those who donāt know, GMCLA was founded in 1979 in the midst of the countryās gay rights movement.
Members spread a message of love and acceptance, with programs like SugarPlum focusing just as much on social justice as they do show tunes.
āThe Gay Menās Chorus of Los Angeles is well known for great music, great artistry, and great concerts that we do in these major venues around townābut itās far more than that,ā Spisto added.āEach year, we do around 43 events in high schools, community centers, and hospitals to be with our communities and support themā¦ those who look like us and those who donāt. Iām so proud to say weāve grown these projects over the last six years.ā
Its award-winning school program Alive Music Project has served over 90,000 young people since its inception. AMP also offers an opportunity to enrich each schoolās music education program, with Choral students invited to perform with GMCLA at the presentations.
Their Arts for Healing & Justice program provides introductory music classes for incarcerated youth in Los Angeles Countyās juvenile correctional system. They join an interdisciplinary collaboration of outstanding organizations, providing exceptional arts programming to build resiliency and wellness, eliminate recidivism, and transform the juvenile justice system.
Concerts such as SugarPlum are helping to raise funds for this vital work on an annual basis. When the chorus isnāt working on ticketed events like their Christmas concert, their yearly free events help to expand community access even further. Past venues include the Hollywood Bowl, Walt Disney Concert Hall, and Pasadena Civic Auditorium.
As for the immediate future, GMCLAās hope is triumphing over hate. The result of this yearās presidential election is likely to affect Californiaās LGBTQ+ community in some way, but Spisto is only seeing upsides, not downsides.
One such upside? Using SugarPlum as the perfect opportunity to celebrate Los Angelesā vibrant queer community for the loud and proud individuals they are.
āItās an interesting time in our world today. GMCLA has been speaking loudly, singing loudly, and standing up for this community and others for decades, and weāre going to continue to do that,ā said Spisto.
SugarPlum Fairies will be at the Saban Theatre, Beverly Hills on December 14 at 8pm and December 15 at 3:30pm. Buy tickets now at https://www.gmcla.org/sugarplumfairies. Prices range from $45-$125. If you want to support the Chorusā ongoing educational work, you can make a donation at GMCLA.org/holidaygiving. Eligible donations of $120 or moreāor new monthly donations of $10 or moreāwill receive an official GMCLA Holiday Sweatshirt as a thank-you gift. Donations must be made by December 31st to be eligible.
Arts & Entertainment
Comedian Adam Sank knows heās just as damaged as his ‘Bad Dates’
In his āone-man show about many menā Adam Sank comes to terms with a lifetime spent searching for āthe oneā
At 54 and single, comedian Adam Sank is as much a veteran of the gay dating scene and of the stage, so when he was challenged to put together his new show, he did what came natural: he mined his lifetime of hookups and dates gone wrong, for an hour of laughs.
Now heās bringing that award-winning show, Bad Dates: A One-Man Show About Many Men, to Southern California for a pair of dates in Los Angeles and San Diego Dec 6-7.
āThe show opens with me saying, āI’m 53 years old and single,ā and fortunately, I haven’t had to change the script in the last year and a half that I’ve been performing this,ā Sank said with a wry smile over a Zoom call from his New York apartment.
If that sounds like a hint of bitterness about the single life coming through, Sank is quick to dismiss it.
āI think there’s this notion in our culture, it’s sort of ingrained in us that if you’re not married, if you don’t find your person, you’re somehow lesser. You’re somehow leading a less full life,ā Sank said. āIt’s taken me a long time to be able to say I truly believe that’s bullshit.ā
āFinding your person does not equal happiness and being single does not equal sadness,ā he continued.
Sank has been rising through the comedy trenches for twenty years. He says he got a late start in stand-up at age 32, after getting burned out working as a television news producer. Over the years, heās competed on Last Comic Standing and appeared as a commentator on shows like I Love the 2000s and Best Week Ever.
Bad Dates marks something of a departure, with a stronger focus on long-form narrative as Sank goes deeper into what a life spent single means. And itās a departure thatās won him many plaudits from critics such as two Broadway World Cabaret Awards for the showās original run at the Stonewall Inn in New York last summer.
āThereās a cost to spending your entire adult life searching for the one, the perfect love story, when we expend so much energy and time and resources into that one thing we neglect everything else,ā he said.
But Bad Dates at least proves thereās one benefit to trudging through the dating trenches across decades: the stories. And boy, does Sank have stories. Twinks, injuries, being invited to orgies, not being invited to orgiesāSankās dating life has proven a goldmine of hilarious material.
āWe like hearing about any misfortune because we identify with so much of it and it makes us feel less alone. You know, I think a lot of people out thereāespecially people who are not necessarily young and singleārelate to this show because they’re like, āOh my God, I’m not the only one who has been through these situations,āā he said.
Which isnāt to say Sank doesnāt have those romantic notions. Heās just maybe become a bit more realistic about the pursuit of partnership.
āWhen I was younger, I don’t think I was ready. I think I had so much work I needed to do on myself, and I had this very false idea about what a relationship should look like and what it would do for me. I basically bought into the whole rom-com idea that you would meet your person and you would live happily ever after. And that’s just not true for anyone. Even if you have the world’s greatest relationship, you have to constantly be doing work on yourself and on your relationship to keep it going,ā he said.
If Sank reveals any regret, itās that he didnāt figure all that out sooner.
āI really need a guy in my age range who’s single and they’re almost always really damagedāwhich is why they’re still single at my age,ā he said. āI’m sure I’m just as damaged as they are, but the point is, it’s a lot harder.ā
Adam Sankās solo show Bad Dates goes on at The Broadwater Main Stage, 1078 Lillian Way, Los Angeles, on Friday, December 6 at 9pm, and at the Diversionary Theatre, 4545 Park Boulevard #101, San Diego, on Saturday, December 7 at 7:30pm. Tickets here.
Travel
Why Portugalās Golden Visa is the Ultimate Plan B for LGBTQ+ Americans Post-Election
The re-election of Donald Trump as President of the United States has left many Americans uncertain about their future. And none more so than those in the LGBTQ+ community. In a country that so many had considered a home and safe refuge for life, the next few years are now filled instead with a feeling of āwhat happens next?ā.
For many, it has brought into sharp relief the simple question of whether Europe now offers a brighter path for their long-term future. Google searches for āMove to Europeā jumped by 226% in the week after the election, and have remained high since.
But for those with careers, families and other ties in the United States, for whom a complete relocation isnāt an option, Golden Visa programs are proving to be a popular choice.
āWeāve had a huge surge in enquiries since the election resultā says Nathan Hadlock, Managing Director of Pela Terra – a Golden Visa investment fund in Portugal. āIād say about 25% of those enquiries have come from the LGBTQ+ community.ā
āWeāre speaking to people every day who suddenly feel like the security of a second passport and knowing they have the optionality second home in Europe, is invaluableā
What is a Golden Visa?
Common around the world (even the US has one!), Golden Visas typically provide a preferential pathway to a countryās passport in exchange for investment into the country.
Most people who wish to gain a second passport would need to relocate to any given country, live there for 5-10 years consecutively and eventually become eligible for citizenship.
Golden Visa programs tend to short-circuit this in exchange for investment, allowing you to qualify for citizenship in Europe while continuing to live in the US.
Portugal is the number one rated program globally, and only requires you to visit for 7 days a year for 5 years. After that, you can apply for a passport – at which point you have the right to live, work & retire in any European country for the rest of your life.
How Does The Investment Side Work?
Citizenship is something that every country sees as sovereign, and the investment required to access it reflects this.
In Portugalās program, the minimum investment is ā¬500,000, or $530,000. Thatās the bad news.
The good news is that it is an investment. Choose wisely and youāll not only get your money back along with your passport, youāll also be able to earn some good returns in the meantime.
āPeople often mistake the word investment for costā said Nathan Hadlock. āItās only when we get them on the phone and explain that weāre targeting to give them a 7% return annually, as cash into their bank account, that they start to get itā.
āOf course $530,000 is a lot of money for a passport. But if youāre earning $265,000 over 7 years and then getting the money back along with your citizenshipā¦ it starts to look like a pretty good deal.
Why Portugalās Golden Visa Is Rated Number One
Regularly rated as the worldās top citizenship by investment program, there are three key characteristics which make Portugalās Golden Visa so popular amongst American investors:
- Minimal Residency Requirements: Spend just seven days a year in Portugal, allowing individuals to maintain ties to the U.S. while building their future in Europe
- Path to Citizenship: After five years, investors can apply for a Portuguese passport, granting them access to the European Unionās 27 member states
- Flexibility for Families: The program is inclusive, extending benefits to same-sex partners and dependents
Portugal: A Haven for LGBTQ+ Expats
Portugal has established itself as one of the most progressive countries in Europe for LGBTQ+ rights. From the legalization of same-sex marriage in 2010 to comprehensive anti-discrimination laws and legal gender recognition for transgender individuals, the country provides a supportive framework for LGBTQ+ residents and visitors alike.
Rated the 4th safest country in the world, the naturally welcoming culture includes a vibrant LGBTQ+ scene in both Lishon and Porto, the two largest cities. From inclusive neighborhoods like PrĆncipe Real to annual Pride events that draw global crowds, inclusiveness is celebrated everywhere. The nationās warm hospitality and cultural richness create an ideal environment for LGBTQ+ individuals seeking a sense of belonging and security.
Golden Visas For Good
Until 2023, 95% of Golden Visa investment was funnelled into Real Estate investments. This short-sighted policy created house price inflation, leaving local teachers reportedly living in tents because they couldnāt afford rents in Lisbon.
Thankfully the real estate option was shut down last year, and a few funds have pioneered a new āGolden Visas For Goodā model in their wake. āWhen I arrived in Portugal from the US in 2018, I couldnāt believe all this foreign capital wasnāt being directed towards the common goodā said Hadlock. āIt felt like a wasted opportunity, but Iām proud to say weāre at the forefront of trying to change thatā.
Pela Terra is one of the funds leading the charge. Investorās capital is used to buy olive and almond farms in the Alentego region of Portugal. The team then focuses on improving soil health on the land, allowing it to capture more carbon from the atmosphere and hold more water. Crucially, they also believe itāll produce more nutritious food, meaning strong returns for investors.
āWe target a 7-9% annual return. It isnāt beating the S&P 500 most years, but weāre making investments into an incredibly durable asset class and prioritizing, above all else, the full preservation and return of your investment in Year 7. So beating inflation isnāt bad.ā
Conclusion
Portugalās Golden Visa program is more than an investment; itās a lifeline for LGBTQ+ Americans seeking a safer, freer future. By choosing partners like Pela Terra, investors can align their financial goals with their values, securing both their residency and a sustainable legacy.
If youāre considering your options, thereās no better time to act. Learn more about Pela Terra and take the first step toward securing your European future today.
Movies
Unconventional 2024 holiday films mostly not for families
Erotica thrillers, āNosferatu,ā and the explicit āQueerā among entries
As soon as Thanksgiving is behind us, itās time to look forward to another crop of holiday movies, and this year offers some excellent ones ā though most of them seem to have very little to do with the season itself. Unfortunately, after the last year or so, when the number of queer-themed and queer-inclusive holiday films seemed to be increasing, this yearās selection is notably short on queer representation. Of course, with a couple of exceptions, theyāre also notably short on seasonal cheer, too. Nevertheless, there are several promising gems headed to theaters over the next month, all of which should be of interest to any movie fan, queer or not, and the Blade is ready to break them down for you.
WICKED (Now in theaters) Our first preview also serves as a mini-review, since it jumped the holiday queue for an early release, but thatās OK, because it turns out we needed it more than we knew. The first installment of director John M. Chuās much-anticipated two-part adaptation of the Broadway phenomenon, in turn based on the eponymous book by queer author Gregory Maguireās book of the same name, stars Cynthia Erivo and Ariana Grande as the two iconic witches of Frank Baumās classic āWizard of Ozā (Elphaba, the formerly anonymous āWicked Witch of the Westā as named by Maguire in his novel, and Glinda, the āGood Witch of the North,ā respectively), and, without hyperbole, truly surpasses all expectation. Expanding the stage versionās Disney-ish whimsy (reinforced by its catchy song score from āPocahontasā composer Stephen Schwartz) by incorporating elements from Maguireās novel to bring additional gravitas (and timely relevance) to the family-friendly fun while showcasing the amazing, no-expense-spared artistry of the filmās visual design. Played out on elaborate real-life sets by a uniformly superb cast ā which also features out gay āBridgertonā heartthrob Jonathan Bailey, Oscar-winner Michelle Yeoh, veteran screen eccentric Jeff Goldblum, āGame of Thronesā star Peter Dinklage, and queer āSNLā stalwart Bowen Yang, among many other talented performers ā it is that rare stage-to-screen transition that not only captures the appeal of the show that inspired it, but enhances its magic by embracing a purely cinematic expression in doing so. Add the sweet irony that can be found in the post-election success of a musical fantasy about a marginalized woman being persecuted for daring to speak truth to an authoritarian power (who also happens to be an incompetent charlatan), and you have a film that is easily the movie of the year and then some. Something tells us that Baum would be proud of what his clever little satire of American āexceptionalismā has come to inspire more than a century later. If you havenāt seen it already, what are you waiting for? Get on your broom and head straight to the next available showing at your local multiplex.
GLADIATOR II (Now in theaters) Also crashing into the arena ahead of the holidays is Ridley Scottās sequel to his Oscar-winning original āGladiatorā from 2000, which won Oscars for Best Picture and Best Actor (Russell Crowe) among multiple other honors. The queer appeal here lies mostly in the hunkiness of its stars ā allies and queer-fan-favorite heartthrobs Paul Mescal and Pedro Pascal, who join Denzel Washington as the big-name-triumvirate that drives the film ā but that doesnāt mean thereās not plenty of big-budget sword-and-sandal excitement to entertain anybody with an appetite for such things; and letās face it, as cheesy as they are, who doesnāt love a movie about barely dressed muscle men swinging swords at each other in the midst of Roman depravity? Revered queer British thespian Derek Jacobi reprises his role from the original film, among a cast that also includes Joseph Quinn, Fred Hechinger, Lior Raz, and Connie Nielsen.
QUEER (now in theaters) From Italian filmmaker Luca Guadagnino ā the man responsible for āCall Me By Your Nameā and this yearās earlier bi-triangle tennis romance āChallengersā ā comes this eagerly anticipated adaptation of a semi-autobiographical novella by queer ābeat generationā icon William S. Burroughs, set in 1950, in which an American expatriate (Daniel Craig in a reportedly career-topping performance) trolls the local bars looking for connection and becomes enamored with a former soldier (Drew Starkey) who is new in town. Already controversial (in some circles, at least) for its explicitness and its unapologetically raw perspective ā an unsurprising element, considering that Burroughsās legendary status as an author and personality has more to do with his countercultural radicalism than his queerness ā this one is probably the standout must-see title of the season for LGBTQ audiences, or at least those not completely transfixed by āWicked.ā And although Craig (who is no stranger to āplaying gayā) has said in a recent interview that his characterās sexuality is the āleast interesting thingā about him, weāll wager that millions of queer fans will disagree. Also featuring the incomparable Lesley Manville (most recently an MVP in Ryan Murphyās āGrotesquerieā), Jason Schwartzman, Henrique Zaga, and Omar Apollo.
MARIA (in theaters 11/27, Netflix 12/11) For the opera-loving crowd comes this widely touted biopic starring Angelina Jolie as legendary soprano Maria Callas, which covers the divaās final days when she was living in Paris. The third and final film in Chilean filmmaker Pablo LarraĆn’s cinematic trilogy about the lives of important 20th century women (after 2016ās āJackieā and 2021ās āSpencerā), this one competed for the Golden Lion prize at this yearās Venice Film Festival, where it sparked Oscar buzz for Jolieās tour-de-force turn as the operatic icon.
NIGHTBITCH (in theaters 12/6) Queer viewers can dive into their feminist allyship with this horror-ific drama about an artist (Amy Adams) whose role as wife and mother (to a towheaded toddler) triggers a canine-esque transformation, complete with an enhanced sense of smell, unexpected body hair, and extra nipples on her belly. A metaphoric exploration of discovering personal power and transcending cultural expectations defining womanhood around traditional roles of homemaker and mother, it will undoubtedly spark complaints from the anti-āwokeā crowd, which obviously scores points with us, every time.
THE ORDER (in theaters 12/6) Thereās nothing specifically queer about this one, which stars Jude Law as a veteran FBI agent who confronts a zealous white supremacist rebel leader (Nicholas Hoult) in a āwar for Americaās soul,ā but there are obvious points of connection in its fictionalized āwhat-ifā fantasia based on 1980s headlines about the Aryan Nation spinoff group āThe Orderā and its campaign of robberies, bombings and murder. If youāre not a fan of Nazis (because no matter what they happen to call themselves, a Nazi is still a Nazi), this one is probably for you.
Nickel Boys (in theaters 12/13) Allyship is also the draw from this lengthy adaptation of Colson Whiteheadās Pulitzer-winning bestseller, starring Aunjanue Ellis-Taylor as a hotel housekeeper whose grandson (Ethan Herisse) is unjustly incarcerated in a reformatory during the āJim Crowā era. Directed by Peabody Award winner (and Emmy and Oscar nominee) RaMell Ross, this anti-racist drama is based on a true story.
The Room Next Door (in theaters 12/20) If any upcoming movie deserves a spotlight itās this one, the first English-language feature by iconic queer Spanish filmmaker Pedro AlmodĆ³var, in which a pair of former New York magazine colleagues (Tilda Swinton and Julianne Moore) reunite after many years when one of them is faced with a terminal cancer diagnosis and asks the other to help her ādie with dignity.ā With three such transcendent artists uniting to collaborate, our confidence level is elevated enough for us to suggest that this might be the highlight of the season for lovers of pure cinema.
Better Man (in theaters 12/25) If youāve never heard of Robbie Williams (and youāre an American), you can be forgiven, since the phenomenally successful pop singer-songwriter from the UK is a relatively unknown sensation on this side of the Atlantic, but this unorthodox musical biopic from āGreatest Showmanā director Michael Gracey looks to be an introduction youāll never forget. Depicting the well-publicized ups and downs of Williamsā personal life as it traces his rise to fame and beyond, it also depicts him as a chimpanzee ā voiced by Williams himself and portrayed through CG motion capture by Jonno Davies ā because, as the pop star puts it, āIāve always felt less evolvedā than other people. It sounds odd, sure, but its September debut at the Telluride Film Festival was met with enthusiastic critical acclaim, and whether it works for you or not, it surely boasts the most unusual premise of any film this year that weāre aware of.
Babygirl (in theaters 12/25) Another unusual choice for Christmastime is this provocative erotic thriller from writer/director Halina Reijn, starring Nicole Kidman as a CEO who has become sexually bored with her husband (Antonio Banderas) and pursues an affair with a much-younger male intern (the incandescently beautiful Harris Dickinson), which weaves a steamy cautionary tale about the treacherous dynamics of power and sexuality within a professional setting. Another Golden Lion contender at Venice, itās garnered heavy praise both for Reijnās direction and Kidmanās performance; so while it may not be the kind of family-friendly holiday film youāll want to see with mom and dad, itās definitely one worth sneaking out for on a solo excursion while the rest of the family is sleeping off that holiday meal.
Nosferatu (in theaters 12/25) Even less appropriate for the holiday season (well, at least this one) but eagerly awaited nonetheless, this remake of F.W. Murnauās venerable silent classic ā a 1922 German Expressionist masterpiece based on Bram Stokerās āDraculaā that is widely seen as the āgranddaddyā of all vampire films ā from always-buzzy filmmaker Robert Eggers (āThe Witch,ā āThe Lighthouseā) is probably the perfect refresher after a month of cheer, festivities, sweetness, and light. Starring Bill SaarsgĆ„rd as the sinister Count Orlok, with Nicholas Hoult and Lily-Rose Depp as the couple whose lives he infiltrates and Willem Dafoe as the professor who becomes his nemesis, it brings the gothic tale āinto the 21st centuryā (says Eggers) and emphasizes the twisted obsessions and infatuations that tie its characters together. Long-delayed and much-anticipated, this one is already a guaranteed must-see for anyone who loves the genre ā so if you need a seasonal connection, you can always think of it as a holiday gift for horror fans.
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