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Arts & Entertainment

SAG winners shake up Oscar race

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Cast members from “Parasite” speaking to press backstage after their SAG Award win as Best Cast Performance in a Motion Picture (Image via YouTube)

While its recent announcement of a decidedly non-diverse slate of major nominees has drawn a firestorm of criticism for the Oscars, Sunday night’s presentation of the Screen Actors Guild Awards for 2019 served as a reminder that lack of inclusion is not just an Academy problem – it’s a Hollywood problem.

While the nominees going into the SAG presentation were more diverse than the roster for the upcoming Academy Awards (due partly to SAG’s recognition of television as well as film work), the balance was still skewed highly in a straight, white direction. Out of 40 total nominees in the individual acting categories, only 7 were for people of color; only one – for “Fleabag” actor Andrew Scott – was for a performer who identifies openly as LGBTQ.

Even so, SAG struck a powerful blow for diversity with its choice of winner for Best Performance by a Cast in a Motion Picture (SAG’s equivalent of the Best Picture category), awarding the prize to the all-Korean ensemble of filmmaker Bong Joon-ho’s “Parasite.” One of the year’s most critically-lauded movies, it is one of the few non-English-language films to be nominated in Oscar’s Best Picture category, and its surprise win at the SAGs can be seen as increasing the odds of a potential Academy victory, as well.

Some of the evening’s other choices in the film categories may likewise impact Oscar predictions, though in most cases the winners seemed to be cementing their places as front-runners in their respective categories.

Best Leading Male and Female Actor were Joaquin Phoenix (for “Joker”) and Renée Zellweger (for “Judy”), respectively, with both having already accumulated enough wins this award season to make them clear favorites to take home Oscar gold.

In the Supporting Male Actor category, Brad Pitt took home the prize for his role as a career stunt man in Quentin Tarantino’s “Once Upon a Time… in Hollywood,” making him another likely front runner at the Academy Awards.

The win which might throw the biggest wrench into handicapping efforts for Oscar performance categories came with the win by Laura Dern (“Marriage Story”) for Best Supporting Female Actor. While each of the nominees for the Academy’s equivalent category has their supporters, none have been clearly identified as a front-runner, and Dern’s win last night may give her an edge at the Oscars.

In the television categories, Best Drama and Comedy Ensemble awards went to “The Crown” and “The Marvelous Mrs. Maisel,” respectively, with “Maisel” star Tony Shalhoub winning as Best Male Actor in a Comedy Series, as well.

Best Female Actor in a Comedy Series went to Phoebe Waller-Bridge (“Fleabag”), while Best Male Actor in a Drama was awarded to Peter Dinklage (“Game of Thrones”) and Best Female Actor in a Drama was won by Jennifer Aniston (“The Morning Show”).

Rounding out the television category, “Fosse/Verdon” star Michelle Williams continued her awards sweep for her performance as Broadway legend Gwen Verdon as Best Female Actor in a TV Movie or Miniseries, and co-star Sam Rockwell took the prize as Best Male Actor in a TV Movie or Miniseries.

The evening’s other moments of note included the presentation by Leonardo DiCaprio of the 56th SAG Life Achievement Award to veteran actor Robert DeNiro, and SAG-AFTRA Foundation president Courtney B. Vance’s announcement of a $250,000 matching donation that Marilyn and Jeffrey Katzenberg had pledged in response to his own call to raise an additional $1.5 million for the foundation.

Katzenberg told reporters backstage at the ceremony, “The bedrock of what we do are actors and actresses — without them, we have nothing. So, my appreciation for them, and the inspirational goal that our chairman has set, seemed like the right time for us to step up.”

You can find the complete list of nominees and winners from last night’s SAG Awards at the SAG website.

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Movies

‘Cured’ beautifully chronicles fight for dignity

New doc revisits APA designation of homosexuality as a sickness

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Disguised as ‘Dr. H. Anonymous’ in an oversized tuxedo and distorted Nixon mask, Dr. John Fryer sent shock waves through the APA’s 1972 convention. (Photo by Kay Tobin; courtesy Manuscripts and Archives Division, The New York Public Library)

At the 1970 American Psychiatric Association convention, in front of 10,000 professional members, LGBTQ activists had a single rejoinder to decades of APA designation of homosexuality as a sickness in need of treatment: “There is no ‘cure’ for that which is not a disease.” It marked the first direct clash with a psychiatric profession that had classified homosexuality as a mental disorder and advised everything from talk therapy to psychologically destructive shock therapy to “cure” homosexuality. 

After Stonewall, gay activists concluded that the classification of homosexuality as a mental illness by the APA would hold back the advancement of the gay rights movement. To secure equality, activists knew they had to debunk the idea that they are sick. 

The struggle to remove homosexuality from the APA’s definition of mental illness is beautifully chronicled in the forthcoming documentary “Cured” — beautifully because the filmmakers contrast erroneous characterizations of homosexuality by mid-century psychiatrists with mid-century photographs that bore witness to gay people’s actual nature. 

Getting the APA to change required more than storming conferences. Gay activists, for instance, pinpointed sympathetic young psychiatrists who could act to reform the APA from within and helped them win seats on the Board of Trustees. Meanwhile, the culture was changing. In the 1970s, gay visibility was growing, which boosted the campaign to end the sickness label. 

At its 1972 convention, the APA offered a platform to gay rights activists Frank Kameny and Barbara Gittings. The duo invited Dr. John Fryer to testify about what it was like to be a gay psychiatrist. Fearing damage to his reputation (he had previously lost a position for being gay), Fryer donned a mask and adopted the title H. Anonymous. Despite his cloaked persona, his testimony was, in the words of one attendee, a “game-changer.” 

Fryer spoke as a gay man with “real flesh and blood stand[ing] up before this organization and ask[ing] to be listened to” and evoked the great emotional toll of being forced to live in the closet — “this is the greatest loss: our honest humanity.” The tide was turning but the intransigent faction needed a few more kicks. Representing a new generation of psychiatrists, Dr. Charles Silverstein would lay down the gauntlet: The APA could either continue to promote “undocumented theories that have unjustly harmed a great number of people” or accept the genuine science that being gay was no illness. At the next year’s convention, in a final clash between opposing sides, Gay Activist Alliance member Ronald Gold pointed out the absurdity that a medical practice predicated on making sick people well was making “gay people sick.” The APA ended its mental illness classification in 1974. 

“Cured” represents a growing awareness of the history of “curing” homosexuality. Netflix recently premiered “Pray Away” about the so-called “ex-gays” who promoted conversion therapy, the destructive practice by fundamentalist Christian quacks. The film “Boy Erased” (2018) took a similar sledgehammer to conversion therapy. 

Precisely because of the long-term ill-effects of stigmatizing gay consciousness, the LGBTQ community has in recent years targeted conversion therapy. Twenty states have banned conversion therapy for minors, and an additional five states have enacted partial bans. 

Although thoroughly discredited by medical professionals, including the APA, conversion therapy continues to harm thousands of youths each year. While “Cured” is instructive for LGBTQ activists combatting conversion therapy nationwide, it has an even more important lesson. 

“There isn’t anything wrong with them, so there can’t be anything wrong with me,” is how one gay man remembers feeling upon entering a gay bar, witnessing convivial gay men and realizing it was time to ditch his homophobic shrink and embrace himself. 

It struck a deep chord with me because I had a similar epiphany as a young man. Feeling my way around my sexuality as a grad student in New York, it all finally came together one night at a Greenwich bar as I sat across from two gay men and chatted about traveling and career ambitions. I am doing nothing wrong, I thought. It made no sense to be afraid of living my life as a gay man.

Our determination to live openly remains a potent inspiration for those still struggling with acceptance, and the strongest rebuke of those who would seek to erase us. 

“Cured” premieres on PBS on Oct. 11. 

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Books

A bisexual coming-of-age tale with heart

‘Things We Couldn’t Say’ offers pleasant surprises

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(Book cover image courtesy of Scholastic)

‘Things We Couldn’t Say’
By Jay Coles
c.2021, Scholastic $18.99/320 pages

You’d like an explanation, please.

Why something is done or not, why permission is denied, you’d like to hear a simple reason. You’ve been asking “Why?” since you were two years old but now the older you get, the more urgent is the need to know – although, in the new book “Things We Couldn’t Say” by Jay Coles, there could be a dozen becauses.

Sometimes, mostly when he didn’t need it to happen, Giovanni Zucker’s birth mother took over his thoughts.

It wasn’t as though she was the only thing he had to think about. Gio was an important part of the basketball team at Ben Davis High School; in fact, when he thought about college, he hoped for a basketball scholarship. He had classes to study for, two best friends he wanted to hang out with, a little brother who was his reason to get up in the morning, and a father who was always pushing for help at the church he ran. As for his romantic life, there wasn’t much to report: Gio dated girls and he’d dated guys and he was kinda feeling like he liked guys more.

So no, he didn’t want to think about his birth mother. The woman who walked out on the family when Gio was a little kid didn’t deserve his consideration at all. There was just no time for the first woman who broke his heart.

It was nice to have distractions from his thoughts. Gio’s best friends had his back. He knew pretty much everybody in his Indianapolis neighborhood. And the guy who moved across the street, a fellow b-baller named David, was becoming a good friend.

A very good friend. David was bisexual, too.

But just as their relationship was beginning, the unthinkable happened: Gio’s birth mother reached out, emailed him, wanted to meet with him, and he was torn. She said she had “reasons” for abandoning him all those years ago, and her truth was not what he’d imagined.

There are a lot of pleasant surprises inside “Things We Couldn’t Say.”

From the start, author Jay Coles gives his main character a great support system, and that’s a uniquely good thing. Gio enjoys the company of people who want the best for him, and it’s refreshing that even the ones who are villains do heroic things.

Everyone in this book, in fact, has heart, and that softens the drama that Coles adds – which leads to another nice surprise: there’s no overload of screeching drama here. Overwrought teen conflict is all but absent; even potential angsts that Gio might notice in his urban neighborhood are mentioned but not belabored. This helps keep readers focused on a fine, relatable, and very realistic coming-of-age story line.

This book is aimed at readers ages 12-and-up, but beware that there are a few gently explicit, but responsibly written, pages that might not be appropriate for kids in the lower target range. For older kids and adults, though, “Things We Couldn’t Say” offers plenty of reasons to love it.

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Television

Father & Trans son musical duo make history on NBC’s ‘The Voice’

“I do have a special connection to the concept of a Blind Audition where the only thing that matters is the art and who the person is inside”

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Jim and Sasha Allen performing on NBC's The Voice, Sept. 21, 2021 (Screenshot via NBC)

BURBANK – The unique folksy blend of the voices in a sweet rendition of the John Denver classic song “Leaving on a Jet Plane” this week on NBC’s The Voice, caused celebrity judges Kelly Clarkson and Ariana Grande to mash their buttons and turn their chairs around and face the performance.

Unbeknownst to the entire panel of judges, which also includes John Legend and Blake Shelton, they were witnessing a bit of history for the reality musical talent search television show. On stage was 57-year-old music teacher Jim Allen and his son Sasha- the moment was groundbreaking as the 19-year-old teen singer is a Trans male.

In the pre-performance video profile, the younger Allen reflected “I do have a special connection to the concept of a Blind Audition, where the only thing that matters is the art and who the person is inside.” Allen went on to detail more of his background; “I was born female, and I never felt comfortable, and it ate away at me the more I grew up.”

The pair from Newtown, Connecticut have an obvious deep bond. Referring to his kid, the elder Allen said: ““It’s a parent’s job to listen to your child, even when it’s hard to understand them,” he then added. “And that brought forth extreme sadness at not having understood what he had been going through for years. […] While it is such a big and extraordinary thing to absorb, there are fundamental things that don’t change about a person. And it’s nice to be at that point where, you know, it’s not a big deal.”

Jim and Sasha Allen (Screenshot via NBC)

“I remember at night just laying in bed and thinking, ‘If I could just wake up as a completely different person, I would do it. I would give up everything I have to be able to live in peace and live comfortably without being tormented internally.’ I used to write in notebooks, ‘I feel like a boy. I want this so bad.’ And I’d shred it up into such tiny pieces, because I was so scared for anybody to know,” the younger Allen shared.

“The only way to feel like me was to transition to male. I dealt with a lot of hateful comments, whether it was from my classmates or from teachers. I wouldn’t have been able to get through high school without music and without art to express what I was going through,” he said.

Duo Jim and Sasha Allen Sing John Denver’s “Leaving on a Jet Plane” | The Voice Blind Auditions 2021:

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