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Holiday must-sees, for the very merry Mary

And a naughty New Year



John O’Hurley (center) stars as Captain Hook with the company of “Peter Pan & Tinker Bell: A Pirates’ Christmas.” (Photo courtesy of Lythgoe Family Panto)

That period between Thanksgiving and Greek Orthodox Christmas used to be so simple: Shunned by our families and bereft of legally sanctioned mates, we’d drown our sorrows in booze and boys, in bars and back alleys. Steamy Santa role-play scenes with strangers, and 4 a.m. pinot grigio-infused booty calls to estranged exes, were gift-wrapped presents we gave to ourselves. Good times.

Fast forward to the present, and what a world we live in: Straight people nail “RuPaul’s Drag Race” trivia questions, and mom calls your husband by his name, as the whole clan sips cocoa, while watching “Call Me by Your Name.”

It’s enough to make you run to a place where the lights are dim and everybody keeps it gay, the old school way. Hence, our little holiday roundup. We even snuck in a family-friendly show, for LGBTQs with kids of their own. That’s a thing now, right?

Seriously, though, good for us. Onward and upward. But first, a bit of transgressive fun.

Jackie Beat’s “Illuminati or Nice?”

NYC’s loss was LA’s gain, when devilishly clever drag queen Jackie Beat made the City of Angels her home. But last week saw Beat return to those deep Gotham roots, for the premiere of her 21st annual holiday show.

Strutting the stage of the Laurie Beechman Theatre in a defiantly unseasonable black ensemble, the foul-mouthed legend did not disappoint, delivering a non-stop barrage of obscene observations her capacity crowd gobbled up like cookies left for Claus.

The self-identified “secular soldier,” who “has obliterated just about every holiday song ever written,” drew on her deep well of cutting classics—including a cocaine-laced corruption of “Let It Snow” (whose refrain advised weary holiday shoppers and hosts to, “Do some blow, do some blow, do some blow.”), and the rape-accusation-cum-consensual-sex confessional, “Santa’s Baby,” which charts the consequences of a Christmas Eve rendezvous, after the Jolly Old Elf himself unloads a sack of goodies inside our positively glowing Jackie.

Of bringing “Illuminati or Nice?” to her home turf, Beat told the Blade, “I’m very excited to be returning home to Los Angeles after touring Australia and New Zealand with Dita Von Teese’s ‘Glamonatrix.’ I’ve never had to do my holiday show after Christmas, but—just like I say about the Trump impeachment—better late than never!”

Beat’s new material includes a parody of Lizzo’s “Juice,” reconfigured as “Jews,” to celebrate “how I convert to Judaism this time of year, to take advantage of everything Hanukkah has to offer!” Elsewhere in the show, the Aqua classic “Barbie Girl” becomes an anthem for insatiable carnivores, as Beat’s “I Love Barbecue” offers “an alternative to a traditional Christmas menu. And ‘White Christmas’ is now ‘White Privilege.’ Keeping it light and PC as usual, LOL!”

Fun fact, and not just for the front row: While keeping one’s head down is productive protocol for a certain type of lusty pursuit, doing so to avoid eye contact pretty much guarantees you’ll become a target of ridicule. No song is safe at a Jackie Beat show—so why should you be?

“Illuminati or Nice?” is performed Fri., Dec. 27 and Sat., Dec. 28 at 8 PM & 10PM and Sun., Dec. 29 at 7 PM & 9 PM, at the Cavern Club Celebrity Theatre (1920 Hyperion Ave). For tickets ($27.50; $29.87 with service fee), visit

BenDeLaCreme and Jinkx Monsoon’s “All I Want for Christmas is Attention”

Emboldened by the success of their virgin stab at a collaborative holiday extravaganza (2018’s “To Jesus, Thanks for Everything!”), those quirky, contrasting queens BenDeLaCreme (sugar) and Jinkx Monsoon (spice) are back, confronting this pressure-filled period of the year with, their publicity material assures us, “a little song, a lot of eggnog, and theaters full of people looking at them… Yup—all they want for Christmas is attention!”

And they’ll get that attention the old-fashioned way: By earning it. Memorization and rehearsal, concepts that elude many a queen who thinks she can just wing it, are standard-issue skills for this duo.

“It’s definitely more structured than the average drag or cabaret experience usually is,” says Jinkx.
In the mode of “To Jesus,” this new show, says DeLa, is “a mostly scripted, two-person play, with dancers and puppets and everything in between.”

But there’s ample room for spontaneity.

“We’ve found a balance between strict script work and pockets of improv,” notes Jinkx. “It’s scripted enough that there’s quality control and you’ll get what you pay for, but improvised enough that each show is unique and honest to that specific night.”

As for themes, Jinkx says they’ve been mulling it over since last year’s show, and settled on “what I think will be the through-line of our holiday shows forever. Essentially, the holidays are a hard time of year for everyone.”

And so, they note, this entry in what Jinkx just implied will be an annual ritual resolves to answer that thorny, age-old question: How do you balance having holiday cheer with knowing it’s also a tough time for some folks?

“The disconnection from Christmas is what connects us,” says DeLa. “We set out to list everything that’s wrong with the holiday season, and then explain why it’s still ok to love all of it… The show is about those two strong feelings about the holidays clashing, and trying to find a way to have the other understand and co-exist in those feelings.”

“We’re making Christmas great again,” says Jinkx, with DeLa merrily noting, “We’re excited to share our trauma with you.”

Coming together to “muddle through somehow,” as a certain Garland once sang, may be the greatest gift of all.

“All I Want for Christmas is Attention” is performed Sun., Dec. 29, 8 PM, at the Montalbán Theatre (1615 N. Vine St., Hollywood). For tickets ($25-$70, with VIP/Meet & Greet option available), visit

“Peter Pan and TinkerBell: A Pirates’ Christmas”

This “singing, swashbuckling adventure performed in the high-flying style of a British holiday Panto” sees Tinker Bell, Wendy, and Peter Pan on a quest to foil the dastardly pirate plot to kidnap Pan, thus giving Captain Hook the only gift he really wants.

Family-friendly humor, more than a dollop of dance, and songs by “everyone from Taylor Swift to The Bee Gees” enliven the proceedings. John O’Hurley (of “Seinfeld” fame) as Hook and Clarice Ordaz (of “So You Think You Can Dance”) as Tiger Lily are among the cast.

“This show offers fun for the entire family,” says Becky Lythgoe, of the play’s presenting entity, Lythgoe Family Panto. “From dancing in the aisles to singing along, there’s something for everyone! The casts are inclusive and represent the diversity in our community, with local kids in addition to the adult ensemble.”

Cool gay uncles and LGBTQ+ parents will also appreciate Captain Hook’s cover of The Village People’s “In the Navy” (because he’s, you know, captain of a ship).

Through Dec. 29. Friday, Dec. 27 at 3 PM & 7 PM, Sat. & Sun., Dec. 28 and 29, at 12 PM & 4 PM. At the Laguna Playhouse (606 Laguna Canyon Rd. in Laguna Beach). For tickets ($41-$76), visit or call 949-497-2787.

Company XIV’s “Nutcracker Rouge”

Those who find themselves in New York City and yearning for a theatrical experience both mind-blowing and eye-popping will find it through Jan. 26, deep in the heart of Bushwick, Brooklyn.

That’s where Austin McCormick’s scantily clad Company XIV is ensconced, and ready to stun your senses with the sexiest “Nutcracker” this side of Sodom. Described as “a unique blend of circus, Baroque dance, ballet, opera, live music and lavish design,” Company XIV is tightly packed with nimble aerialists, chill-inducing vocalists, and gravity-defying dancers (whose lithe male members werq their sky-high heels with a ferocity that puts past, present, and future “RuPaul’s Drag Race” girls on notice).

Their annual beefy run of “Nutcracker Rouge” may well be Company XIV’s crowning achievement. Unabashedly hedonistic, the erotic energy transfers well to the audience, and qualifies as foreplay—so as you leave the theatre with that special someone, possibly buzzed by the imaginatively mixed libations they serve at the bar, you’ll have ample inspiration to get cracking on that nut of your own.

Through Jan. 26, 2020. Performances are Thurs.-Sun., plus select additional evenings, with a special New Year’s Eve show at 10 PM. At Théâtre XIV (383 Troutman St., Bushwick, Brooklyn). Tickets are $105-$195, and champagne VIP Couches for two people are $375-$565. Purchase at or by calling 1-866-811-4111. The show contains nudity, partially and at times nearly complete, so 21 and over only.

“The Inheritance” on Broadway

Also in NYC’s must-see category is the current Broadway production of Matthew Lopez’s award-winning, 2018 West End hit. The two-part play has been likened to “Angels in America,” for its emotional heft and narrative sprawl—a fair comparison, if only for those surface area similarities.

Although both works bring HIV/AIDS to the forefront, “The Inheritance” does its heavy lifting by smashing the atoms of those who survived the plague years with contemporary Manhattan gays whose attitudes and ambitions are alternately informed by, and independent of, those who came before them. A not-so-loose adaptation of E. M. Forster’s “Howards End,” the extent to which that calls to mind the 1910 novel or the 1992 Merchant Ivory film is as good a marker of any, to note where one’s generational loyalties lie.

Forster himself walks among the proceedings, as a dream guide, audience stand-in, and “professorial presence who guides a group of young writers through the creation of the work that will become the play we’re watching (subject to revision, as we go along)”—according to this reporter’s review for Los Angeles Blade’s sister publication, which can be read in full via a search for “The Inheritance,” at Plot points and character intel await, for those inclined to find out more. Short version: “The Inheritance” should be seen, and seen in full.

At the Ethel Barrymore Theatre (243 W. 47th St., NYC). Prior to Jan. 3, you can order $59 orchestra seats and $39 front mezzanine seats for all Wed. matinees and Thurs./Fri. performances, through Feb. 27. Offer also applies for all performances through Jan. 5. Purchase at, or by calling 212-239-6200. No special code is required.

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Daisy Edgar-Jones knows why ‘the Crawdads sing’

Actress on process, perfecting a southern accent, and her queer following



Daisy Edgar-Jones as Kya Clark. (Photo courtesy Sony/Columbia)

Daisy Edgar-Jones is an actor whose career is blossoming like her namesake. In recent years, she seems to be everywhere. LGBTQ viewers may recognize Edgar-Jones from her role as Delia Rawson in the recently canceled queer HBO series “Gentleman Jack.” She also played memorable parts in a pair of popular Hulu series, “Normal People” and “Under the Banner of Heaven.” Earlier this year, Edgar-Jones was seen as Noa in the black comedy/horror flick “Fresh” alongside Sebastian Stan. 

With her new movie, “Where the Crawdads Sing” (Sony/Columbia), she officially becomes a lead actress. Based on Delia Owens’ popular book club title of the same name, the movie spans a considerable period of time, part murder mystery, part courtroom drama. She was kind enough to answer a few questions for the Blade.

BLADE: Daisy, had you read Delia Owens’s novel “Where the Crawdads Sing” before signing on to play Kya?

DAISY EDGAR-JONES: I read it during my audition process, as I was auditioning for the part. So, the two went hand in hand.

BLADE: What was it about the character of Kya that appealed to you as an actress?

EDGAR-JONES: There was so much about her that appealed to me. I think the fact that she is a very complicated woman. She’s a mixture of things. She’s gentle and she’s curious. She’s strong and she’s resilient. She felt like a real person. I love real character studies and it felt like a character I haven’t had a chance to delve into. It felt different from anyone I’ve played before. Her resilience was one that I really admired. So, I really wanted to spend some time with her.

BLADE: While Kya is in jail, accused of killing the character Chase, she is visited by a cat in her cell. Are you a cat person or do you prefer dogs?

EDGAR-JONES: I like both! I think I like the fact that dogs unconditionally love you. While a cat’s love can feel a bit conditional. I do think both are very cute. Probably, if I had to choose, it would be dogs.

BLADE: I’m a dog person, so I’m glad you said that.


BLADE: Kya lives on the marsh and spends a lot of time on and in the water. Are you a swimmer or do you prefer to be on dry land?

EDGAR-JONES: I like swimming, I do. I grew up swimming a lot. If I’m ever on holidays, I like it to be by the sea or by a nice pool.

BLADE: Kya is also a gifted artist, and it is the thing that brings her great joy. Do you draw or paint?

EDGAR-JONES: I always doodle. I’m an avid doodler. I do love to draw and paint. I loved it at school. I wouldn’t say I was anywhere near as skilled as Kya. But I do love drawing if I get the chance to do it.

BLADE: Kya was born and raised in North Carolina. What can you tell me about your process when it comes to doing a southern accent or an American accent in general?

EDGAR-JONES: It’s obviously quite different from mine. I’ve been lucky that I’ve spent a lot of time working on various accents for different parts for a few years now, so I feel like I’m developed an ear for, I guess, the difference in tone and vowel sounds [laughs]. When it came to this, it was really important to get it right, of course. Kya has a very lyrical, gentle voice, which I think that North Carolina kind of sound really helped me to access. I worked with a brilliant accent coach who helped me out and I just listened and listened.

BLADE: While I was watching “Where the Crawdads Sing” I thought about how Kya could easily be a character from the LGBTQ community because she is considered an outsider, is shunned and ridiculed, and experiences physical and emotional harm. Do you also see the parallels?

EDGAR-JONES: I certainly do. I think that aspect of being an outsider is there, and this film does a really good job of showing how important it is to be kind to everyone. I think this film celebrates the goodness you can give to each other if you choose to be kind. Yes, I definitely see the parallels.

BLADE: Do you have an awareness of an LGBTQ following for your acting career?

EDGAR-JONES: I tend to stay off social media and am honestly not really aware of who follows me, but I do really hope the projects I’ve worked on resonate with everyone.

BLADE: Are there any upcoming acting projects that you’d like to mention?

EDGAR-JONES: None that I can talk of quite yet. But there are a few things that are coming up next year, so I’m really excited.

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LA Blade Exclusive: L Morgan Lee, Broadway’s newest icon sings her truth

She is the first ever trans actress to receive a Tony Award Nomination & the first trans performer to be in a work that has won a Pulitzer



L Morgan Lee exclusively photographed by Andrey Strekoza for the Los Angeles Blade June, 2022

NEW YORK CITY – “I am just a girl,” L Morgan Lee tells me. That simple statement is her self-definition, a girl taking life one step at a time.

To the rest of us, L Morgan Lee is so much more. She is the award-winning actress starring on Broadway in the hit show of the season, A Strange Loop. Her singing talent matches that of any legendary diva, she is creating landmark theatrical projects on womanhood and New York Times articles are being written about her. She is the “girl” in the spotlight now.

She is also, the first ever transgender actor or actress to receive a Tony Award Nomination.

While she is not the first trans performer to be seen on a Broadway stage, she seems to have broken the glass (or some might say, cement) ceiling of being recognized in the upper echelon of talent. She is the first transgender performer to be in a work that has won a Pulitzer. While the Pulitzer recognizes the author, whom she was not, certainly her creative input was weaved into the final book of the play.

L Morgan has journeyed a complex path to self-awareness. “For me, even in terms of being trans, the idea of being anything outside of what I was assigned at birth was just laughable and crazy to me as a child,” she says. “It just, it made no sense. It was not something that I was comfortable saying out loud to anyone or voicing. How would I be looked at by my parents, by anyone else? So, I would sit and dream. The dreaming is, I think, what forms, much of so many queer people’s lives and experiences.   Those dreams become our lifelines. I would dream and dream. I have a memory of when I was maybe six years old, in the middle of the night, looking up at my ceiling in my bedroom. Waking up soaked with tears. Saying, if I could wake up and be a girl, a girl, everything would be okay.” She adds. “That is why I am so excited to have gotten my first opportunity to be on Broadway, excited to have gotten a Tony nomination. Because I know that there is some kid somewhere, who is also looking up at the ceiling saying that same thing.”

L Morgan’s first adventure into performing was as a kid and ironically projected her future identity fluidity: she costumed up and performed “Karma Chameleon” in nursery school. She allowed herself to explore her true identity under the guise of a Halloween costume quite a few years later. She went in fully fashion glammed drag, and it changed her world forever. “The minute I did it, I felt a jolt of energy I had never felt before. I finally felt free in so many ways. It’s as if like it’s as if I finally got to breathe.”

When she started work on A Strange Loop, she had been cast under the assumption that she was a cisgender man playing female parts. As the years of work into the play went on, L Morgan’s transgender journey escalated, and she attempted to resign from the play as she realized she was no longer the person they thought they had hired. Not only were they aware, as many close loved ones can be, of her journey, but they embraced her and assured her that she belonged more than ever.

“The characters I played allowed me to, in some ways hide until I was able to be more public about who I am. And once I did that, it certainly brought another layer of depth to what I was doing. I have been that much more comfortable in my own skin. I’ve grown. Transition has settled in more. So, both my viewpoints about the show, the people I’m playing, and my lens of life in general, has evolved through the process. So, certainly the woman I am today, views the show and the script, and the characters I play in a very different way than I did when I first sat down to do it in 2015.” 

Her growth within the show, and the growth of the show itself are intertwined. Certainly, some of the magic of the show is that it is not “performed” as much as it is lived out of the souls of the actors in it. L Morgan describes, “The experience of A Strange Loop has been beautiful, complex, layered and ever evolving, for me in particular.  Every time I’ve come back to the rehearsal room with this project, my own lens has been slightly evolved or has moved forward in some ways.”

“The piece is as strong as it is because the lens itself, the lens through which the story is told, is very specific and very honest. Inside of that specificity, there are lots of complications and layers and messy stuff. There are things that you don’t ‘talk about out loud’ taboo to discuss. There are things that people see as problematic. There are so many things inside of all of that, but it’s honest and it’s human. It is a 25-year-old, who’s about to turn 26, sort of raging through life, feeling oppressed and unseen and shouting out to find how he fits into the world. It is how he can find his truest voice in a world that doesn’t really allow him to feel like he’s enough. Because it is so specific about those things the show touches so many different people.”

L Morgan demonstrated coming out as a confident transgender actress, with her vulnerabilities unhidden, on the opening night of the play and decisions she made as she stepped into the public spotlight. “I feel a responsibility. It feels like a dream, it feels wonderful. It feels exciting. It’s like everything I’ve ever asked for but the, the most poignant feeling for me is the responsibility. How could I show up for that person that needs to find me.”

“On my opening night on Broadway, we were trying to figure out what I was going to do with dress and hair and all these things. You only get a first time once. You get your debut one time. So how do I make the most of this moment? I felt raw and excited. I needed to show like the most honest and clear-cut version of me I could. I needed to show my shaved head because that’s something that’s important to me. It’s something, I almost never show. I stepped out revealed, exposed and vulnerable on the very public red carpet, speaking to cameras with my buzzed head. Our relationship with hair runs very deep, especially for trans people, and there was something about it, that just felt like, I needed to do it. That kid somewhere under the covers needs to see this trans woman who is in her Broadway debut and she’s in a pretty dress and she has a shaved head, and she seems like she’s comfortable. Then when you hear her talking about it, you hear about her vulnerability and hear that she felt nervous, and you hear that she was dealing with dysphoria and she was dealing with confidence and she was dealing with all these things that we attached to our hair and she reveals those things. Not only because they’re true but because when we reveal Our Truth, our humanness, there is universality there. There is connection inside of our vulnerability.”

While the Tony nomination escalates her Broadway experience, L Morgan does not lose sight of her mortal existence. “On the day that the Tony nominations happened, I fell apart, completely losing it in my bedroom. Then I realized, I still needed to get a couch, and clean up the apartment. I still feel regular. It’s been a wild dream and at the same time, your real life just keeps on going. I am just trying to put one foot in front of the other.”

On the night of the Tonys. L Morgan will be up against some heavy hitters. Not the least of these is Broadway Legend Patty LuPone. L Morgan is ok with that. Her dream has been to see her face in one of the camera boxes on television of the nominee hopefuls.  

“The biggest reason I do, what I do is one because I love storytelling. My experience is black, my experience is trans, but I’m just, I’m just a woman. I am a woman who had a trans experience. That’s my story. I know that somewhere there’s s a kid, as I have said, who is just like I was. It is extremely important for me to make that kid proud and make that kid feel seen and make that kid know that it’s possible.” 

“I want that kid to be able to know that most importantly, they already are who they are dreaming to be. The world is telling you something different, but you know who you are. There’s nothing wrong with you, there is nothing wrong with us. The world has never told us that we were an option.”  

“That kid needs to find my story. They need to know that we exist. It is the reason it took me so long to be public about things and to start speaking, because I wasn’t seeing enough examples. There’s a quote, ‘she needed a hero, so that’s what she became.’ I really live by that.”

She needed to see a transwoman Tony Nominee. So that’s what she became.

When they call the winner on Tony Night, it will be between a Broadway legend and Broadway’s newest icon.

However it goes, another ceiling has been broken forever, and somewhere a trans girl in hiding will realize her dream too can come true.


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For better and for worse, Oscar makes history again

The biggest queer moment of the night was Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress



Jessica Chastain accepts the Oscar for Lead Actress (Screenshot/ABC)

HOLLYWOOD – By the time you read this, the biggest moment from this year’s Oscars will already be old news – but before we can move on to a discussion of what the wins and losses reveal about the state of LGBTQ+ representation, inclusion, and acceptance in the Hollywood film industry, we have to talk about it anyway.

When Will Smith stepped up onto that stage at the Dolby Theatre to physically assault Chris Rock – a professional comedian, doing the job he was hired to do in good faith that he would be safe from bodily harm while doing it – for making an admittedly cheap and not-very-funny joke, it was a moment of instant Oscar history that overshadowed everything else about the evening.

There’s been enough discussion about the incident that we don’t need to take up space for it here – tempting as it may be – other than to assert a firm belief that violence is never a good way to express one’s disapproval of a joke, especially during a live broadcast that is being seen by literally millions of people.

Smith, whether or not he deserved his win for Best Actor, succeeded only in making sure his achievement – which could have been a triumphant and historic moment for Black representation in Hollywood, not to mention an honorable cap for his own long and inspiring career – will be forever marred, and the palpably insincere non-apology that replaced what could otherwise have been his acceptance speech was only a textbook example of putting out fire with gasoline.

Yet that polarizing display also allows us a springboard into the much-more-important subject of queer visibility in the movies, thanks to another Smith-centered controversy (and there have been so many, really) from the early days of his career that sheds a lot of light on the homophobic attitudes of an industry almost as famous as playing to both sides of the fence as it is for the art it produces. 

Back in 1993, riding his success as a hip-hop artist-turned actor and springboarding from his “Fresh Prince of Bel-Air” fame into a movie career, Smith appeared in the film adaptation of John Guare’s critically-acclaimed play “Six Degrees of Separation,” playing a young con artist who preys on a wealthy Manhattan couple (played by Donald Sutherland and Stockard Channing), convincing them to give them money and even move into their home before they eventually discover the truth after coming home to find him in bed with a male hustler.

Unsurprisingly (it was 1993, after all), some of the play’s homosexual content was “softened” for the film version, but Smith was still called upon to perform in a scene depicting a kiss between himself and co-star Anthony Michael Hall. After initially agreeing, he abruptly changed his mind (due to advice from friend-and-mentor Denzel Washington, who warned him that kissing a man onscreen could negatively impact his future career) and refused to do the kiss, necessitating the use of camera trickery to accomplish the scene.

Decades later, Smith expressed regret at the choice, saying it was “immature” and that he should have gone ahead with the kiss – but the story nevertheless provides some insight about the pressure placed on actors in Hollywood to appear heterosexual for their audiences, no matter what.

Despite advancements, that pressure continues today – and Smith, whose unorthodox and publicly rocky marriage already has put him under an arguably unfair microscope, has also been alleged (most notoriously by trans actress Alexis Arquette, who made controversial comments about the couple shortly before her death in 2016) to be participating in a sham marriage in an effort to conceal both his own and his wife’s queer sexuality, may well have been feeling it when he was moved to assert his masculinity at the Academy Awards.

True or not, such rumors still have the potential for ruining careers in Hollywood; and while it may be a facile oversimplification to assume that homophobia was behind Smith’s ill-advised breach of decorum, it’s nevertheless a topic that goes straight to the heart of why the Academy, even in 2022, has such an abysmal track record for rewarding – or even including – openly queer actors on Oscar night.

Granted, things have improved, at least in terms of allowing queerness to be on display at the ceremony. On Sunday night, out Best Actress nominee Kristen Stewart attended with her fiancée, Dylan Miller, with the couple sharing a public kiss on the red carpet as they arrived for the festivities; the trio of female hosts – which included out woman of color Wanda Sikes alongside fellow comedians Amy Schumer and Regina Hall – called out Florida’s “Don’t Say Gay” bill with a defiant joke during their opening presentation.

Jessica Chastain – who won Best Actress for playing unlikely LGBTQ ally and AIDS advocate Tammy Faye Baker in “The Eyes of Tammy Faye” – made an emotional speech decrying anti-LGBTQ legislation and advocating for all people to be “accepted for who we are, accepted for who we love, and to live a life without the fear of violence or terror.”

Numerous participants in the evening, whether male or female, queer or straight, took the opportunity to push gender boundaries with their couture for the evening (thanks for that, Timothée Chalamet). Elliot Page, joining Jennifer Garner and JK Simmons for a “Juno” reunion, became the first trans man to be a presenter at the Academy Awards. Finally, two beloved queer icons shared the stage for the evening’s finale, as Lady Gaga was joined by wheelchair-bound Liza Minnelli, frail but full of obvious joy at being there, to present the award for Best Picture.

The biggest queer moment of the night, of course, was also one of the first: Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress. Accepting the award (for which she was considered by far the front-runner), De Bose proudly highlighted her queerness alongside her other intersecting identities, saying “You see an openly queer woman of color, an Afro-Latina, who found her strength and life through art. And that is, I think, what we’re here to celebrate.”

The evening’s other queer nominees did not fare so well. “Flee,” the Danish documentary about a gay Afghan refugee’s escape from his homeland as a teen, made history by scoring triple nominations as Best Documentary Feature, Best International Feature, and Best Animated Feature, but it went home empty-handed. Stewart – the only other openly queer acting nominee – lost to Chastain for Best Actress, and the divisive but queer-themed “Power of the Dog” lost its bid for Best Picture to “CODA,” as well as all of its multiple acting nominations – though its director, Jane Campion, already the first woman to be nominated twice for the Best Director Prize, became the third woman to actually win it.

Of course, the Oscar, like any other award, should be bestowed upon the most deserving nominee regardless of sexuality, gender, or any other “identity” status, and it seems unreasonable to expect all the queer nominees to win – though some might feel a little reparative favoritism wouldn’t necessarily be a bad thing when it comes to balancing the scales. Even so, nobody has a chance to win if they’re not even nominated, and that’s where Oscar has repeatedly and persistently fallen short.

According to a recent report from Professor Russell Robinson, Faculty Director of Berkeley Law’s Center on Race, Sexuality & Culture, analysis of more than half a century of Academy Award acting nominations reveals that out of 68 nominations (and 14 wins) for performers playing LGBTQ roles, only two nominees – neither of whom went on to win – were LGBTQ-identified in real life.

While actors like Tom Hanks (“Philadelphia”), Sean Penn (“Milk”), Penélope Cruz (“Parallel Mothers” and “Vicky Cristina Barcelona”), and the late William Hurt (“Kiss of the Spider Woman”) garnered career-boosting acclaim along with their Oscars for playing queer characters, there are no equivalent success stories for queer actors playing straight roles – indeed, only eight openly queer performers have gotten a nomination for ANY role, queer or otherwise, in the entire history of the Oscars, and no transgender performers have ever received one at all.

While one might believe statistics like this are at least beginning to change, bear in mind that both of Benedict Cumberbatch’s two Oscar nods so far were for playing gay men, including this year’s “Power of the Dog” (the first was for playing real-life queer hero Alan Turing in “The Imitation Game”).

The topic of whether straight actors playing queer characters is appropriate at all is of course a hotly-debated one, with reasonable arguments – and queer voices in support of them – on both sides. We won’t attempt an in-depth examination of that issue here, but what is obvious even without the above statistics is that the Academy – or rather, looking at it from a wider scope, Hollywood itself – has a deeply-ingrained prejudice against queerness, regardless of how loudly it proclaims itself to be an ally.

Yes, progress has undeniably been achieved, especially within the last few years; the strong showing of films like “Moonlight,” “Call Me By Your Name,” “Bohemian Rhapsody,” and other LGBTQ-oriented titles on recent Oscar nights has gone neither unnoticed nor unappreciated.

Yet the Academy – as well as the industry it represents – has a pattern of responding to criticism over its inclusiveness in half-measures. It takes more than a hashtag to end sexual harassment of women in the workplace, no matter how many times it’s flashed on the screen during an awards show, and it takes more than a token nomination every few years to give an underrepresented population a fair place at the table, too.

This year’s ceremony was not without its missteps. The choice to bump awards from the broadcast for time while simultaneously devoting minutes to a James Bond tribute or a performance of a song (“We Don’t Talk About Bruno” from Disney’s “Encanto”) that wasn’t even nominated; accompanying the annual “In Memoriam” tribute to the year’s dearly departed with a choreographed dance and vocal performance; the insensitivity of rushing some winners (like “Drive My Car” director Ryusuke Hamaguchi, accepting when his film won for Best International Feature) to finish their speeches while letting others continue uninterrupted; these and other ill-considered decisions had already blemished the show before “the slap heard ‘round the world” ever happened.

Nevertheless, this Oscar show felt more authentic than many in recent memory. There was a raw, unpredictable quality to it, perhaps rooted in the Academy’s controversial choice to relegate several “lesser” awards to a pre-show presentation, that manifested itself in the uncomfortable response of the audience to the often sharp humor of hostesses Sikes, Schuman, and Hall – who mercilessly skewered Hollywood’s say-one-thing-do-another approach to sexism, racism, homophobia and more throughout the show, often with visible apprehension over how their jokes might land.

Nervousness notwithstanding, their presence and their comedic calling-out of industry hypocrisy, along with the willingness of the celebrities in the house to laugh about it, was an element that lifted the proceedings enough to make them not only bearable, but sometimes even enjoyable.

That doesn’t mean the Academy can rest on its laurels. While it’s become common for their awards show – and all the others, for that matter – to serve as a kind of celebrity roast, where jokes are made and laughed at about the industry’s hot-button issue of the day, the persistent problems in Hollywood can’t be corrected just by allowing its workers to blow off steam by making fun of them once a year.

The film industry thinks that by going along with self-mocking humor about its own misogyny, racism, and homophobia, it gets a pass to continue ignoring the growing demand from the public to eliminate those same toxic ingredients from its standard recipe.

Perhaps the Smith incident, based as it seems to have been in a show of masculine dominance, will prompt some soul-searching within the entertainment community over its own rampant hypocrisy. Let’s hope so, because if the Academy Awards are ever to be truly inclusive in their representation of every segment of our society, no matter who they are or who they love, that’s something that has to happen first in the movies their prizes are meant to honor.

We’ve come a long way, to be sure, but we’re not there yet.


Jessica Chastain Accepts the Oscar for Lead Actress:

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