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‘Queer Eye’s’ Bobby Berk offers dishy, celeb-heavy Q&A

Careful budgeting, understanding tax implications are key

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Bobby Berk, gay news, Washington Blade

Bobby Berk of ‘Queer Eye’ fame says his new line for ART Furniture has already been warmly received. (Photo courtesy Gardner Group)

Bobby Berk, one of the “Queer Eye” Fab Five, has been making appearances unveiling his new line for A.R.T. Furniture. His designs are available at Ace Furniture (616 N. Western Ave.) in Los Angeles and Furniture Land (4310 San Fernando Rd.) in Glendale. Full details at arthomefurnishings.com.

He spoke to the Blade last week by phone from his home in Los Angeles about his designs, his costars, his gal pal Taylor Swift, his Hollywood adventures and a whole lot more.

BLADE: How’s 2020 been for you so far?

BOBBY BERK: 2020’s been great, very busy. Just wrapped up shooting a podcast a few minutes ago, I’ve got your interview, then I’m running to do a live interview with Channel 9 in Sydney Australia. Been filming some additional shows, been doing a lot of stuff with “Queer Eye,” a lot of great things with my furniture lines, so 2020 already feels like it’s been a full year.

BLADE: Tell us about your new designs.

BERK: So my new furniture line with ART, it’s great because you know people ask me, fans from the show all the time, you know, “I wish you could decorate my house, I with you could pick out furniture for me,” and obviously I can’t with everyone so I wanted to create a line that was accessible to almost anyone. I think it would have been kind of a dick move of me to talk on “Queer Eye” about how changing your home and help change your life and then go out and make a super expensive furniture line that nobody could afford. So I wanted to make sure I partner with a company like ART who is really good at finding that perfect happy medium on price points to where you’re getting good quality furniture but you’re also getting it at a price point that most people can afford.

BLADE: What was the production timeframe roughly?

BERK: I believe we started the process when I was filming season three and four so that would have been late 2018, I think. … We launched it by spring of 2019 … (which) that was for stores to be able to come look at it like Belfort. Then by the time fall hit, it was in a lot of stores. And now this spring … additional stores are getting it that we weren’t able to fulfill in the very beginning first order. We’re dong 10 in about two months, then we’re going to be launching the second collection as well.

BLADE: How has the reaction been so far?

BERK: It’s been a very great reaction. We have had to stage out when retailers like Belfort start to carry it simply because there was such a great response to it, that we couldn’t open up all the stores that were wanting it. When we launched online, back in the fall, a lot of items instantly went out of stock, so it’s been a really great response. You know, it was a line that inspired by things that I would want in my own home so nice, cool, clean aesthetic that can really go with anyone’s decor. When I design, I always try to make sure I think about the ways a piece can not just look good in a home where people like modern, but also a traditional home. My sofas, for example, can bridge the gap between traditional, transitional and modern.

BLADE: To what degree do you curtail or adjust your creative impulses into something you think will sell? Is there conflict in your own head between art and commerce?

BERK: Uh, yeah, ‘cause for me personally, I would go very minimalist and modern, that’s more of my personal aesthetic, so I would always have to kind of find the happy medium between too modern and cold and still keeping it warm where more people will love it.

BLADE: How do you have time to keep all this stuff going with the TV show as well?

BERK: I don’t know (chuckles). I’m never home. I’m sadly gone probably 90 percent of the year the last few years so yeah, I’m just constantly on the road.

BLADE: Is this pace sustainable? What if “Queer Eye” goes another 10 years? Will you rip your hair out?

BERK: Uh, probably (laughs). No, this pace absolutely is not sustainable, I think all five of us feel that way but we also know that you know there’s not always a chance that things will be going this well, so we all need to, not take advantage of it, but utilize the recognition we’ve gotten from “Queer Eye” to do other things. Because of course “Queer Eye” could go on for 10 more years or it may go on for one more year. We never know, so we all want to make sure we’ve found those certain things in our wheelhouse that we’re able to continue to focus on. Before “Queer Eye,” I had a design firm and retail stores so, “Queer Eye” has just opened up more doors for me to be able to do more things with that like my collection at ART. So yeah, is this sustainable how much we travel and work? No, it’s not. But all five of us know that we’re not always going to have the amount of opportunities we have right now, so we need to take advantage of all the opportunities that present themselves and then, you know, in five years — I have a four-five year plan of moving to Santa Barbara and having kids and not working as much.

BLADE: On “Queer Eye,” the other guys spend a lot more face time with the heroes because you’re so busy remodeling. Do you ever feel left out?

BERK: Yeah, yeah, you know. With the other boys, they’re part of the show, they’re literally physically with the hero. You know, Jonathan is cutting their hair, Karamo is having a great conversation and helping them with self help, Antoni is teaching them to cook, Tan is helping them with their clothes — they have to physically be there with them whereas what I’m doing the hero can’t actually see, it’s actually against the rules for them to see it, so I’m often kept away from them simply because they’re not able to see what I’m dong and we want to see a surprise. So we have, I’m sure you’ve noticed in newer seasons, I am with the heroes more, but season one and two, I was barely with them at all. When I would be asked by producers if I wanted to go on a shopping trip wth Tan and help with clothes, I’d be like, “No I’m busy, working, that makes no sense,” but then the show came out and it was like, “Oh, I’m so busy working I’m not on the show.” So, newer seasons, I have a bit more interaction with the heroes than in the past.

BLADE: How did you like Japan and what was challenging about taping there?

BERK: I loved Japan, I’ve spent a lot of time in Japan before, it’s one of my favorite places, especially Tokyo. I love it there just because it’s so organized and clean and it’s such a respectable society. Some of the challenges filming there was space. People would sometimes think it’s easier to design a small space than a large space but it’s actually harder, especially in Japan where in rental spaces, you’re not allowed to hang anything on the walls, you’re not allowed to paint, you’re not allowed to do anything to the floors, so we had to get really creative on building functional loft furniture that we were able to make the space look super different than before without even painting or hanging a piece of art on the walls.

BLADE: There’s obvious camaraderie between you and your co-stars. Were you concerned at first whether your personalities would jell? To what do you attribute that camaraderie?

BERK: You know, the five of us from the start in casting, in final casting, there probably was between 40-50 guys around the various different design, fashion, food — what have you, and at first Karamo, Tan and I we just kind of gravitated to each other and were always hanging out. Then Antoni and Jonathan kind of came into the fold and none of us really thought, “Oh this is the Fab Five,” we just kind of naturally liked each other and I think the casting directors and executives from Netflix and Scout and ITV kind of saw that we had a natural chemistry, that we really naturally enjoyed each other and instead of it kind of being a competition, we were always in there telling each other what was going on and helping each other. So I think our camaraderie definitely helps. It’s not always a natural thing, you put five perfect strangers together who are with each other 24-7, but it’s grown definitely into kind of a sibling relationship. We’re brothers, we’re best friends, there are some moments where we want to wring each others necks, but the great thing about it is, we’ve spent so much time together, we really have developed a feeling of a sibling with each other. We can get mad at each other, but at the end of the day, we’re family, we’re brothers so we get over it and we’re very protective of each other. Sometimes it’s easy, most of the time it’s easy, but sometimes it’s hard. But I think that’s the thing with every relationship.

BLADE: Are you going to Karamo’s wedding?

BERK: Of course.

BLADE: You helping with any of the design?

BERK: Uh, a little bit, but I definitely can’t share what he’s shared with me.

BLADE: What did you think of Jonathan’s decision to come out as HIV-positive? Had he shared that with you previously?

BERK: I was the first one that he told even before we started filming “Queer Eye,” he and I both lived in L.A. at the time and so after casting, we became very close very quickly and he was over at my house all the time and he shared it with me even before we started filming, so I’ve known about it for probably a couple years before he publicly came out about it, so it wasn’t a shock to me. I was happy that he had the strength to do that and that he’s able to help other people by being very public about his status.

BLADE: Have you had many chances to get to know the original “Queer Eye” cast?

BERK: Yeah, I was actually out with them all of them in L.A. two weeks ago. I’ve known Thom Filicia for years, again, before I was on “Queer Eye” as a designer, I really am a designer, so he and I have been in the same industry, we’re always at the same events, we’re always at the same trade shows. And then Carson (Kressley), I’ve known for years. All the others I had met throughout the years, but I’m definitely closest to Thom simply because we’re in the same industry and we’ve known each other so long. But they’re all so amazing, they’re all so lovely, it’s amazing hanging out with them and seeing just how individually unique they all are, just like the five of us are, and how no matter how many years they’ve been apart since the original, when they get together, it’s like they’ve never skipped a beat, it’s cute.

BLADE: So you’d be totally down to do a crossover special of some kind?

BERK: Oh absolutely.

BLADE: Do you like Thom’s design aesthetic? (Filicia, too, has presented at Belfort Furniture.)

BERK: I think it’s beautiful. I think we have a very different design aesthetic. He’s definitely more transitional and traditional, I’m definitely more modern and minimalist, although I would say that both him and I design for the client or for the home. So where my home is very minimal and there’s not a whole lot of stuff in it, for heroes on “Queer Eye,” I can be maximalist for people who want a lot of stuff. So his personal aesthetic is beautiful, he’s done some amazing homes, some amazing condo buildings. But yeah, I love it.

BLADE: Did it bother you that Taylor Swift was, some would argue, rather late to the game in terms of being an LGBT ally?

BERK: You know, of course we always wish somebody would be vocal from day one but I also can very much understand the pressure that she’s been through being basically owned by a record label and being told by a publicist and record labels what you need to say and shouldn’t say, what you shouldn’t get involved in. You know as quote-unquote celebrities, we’re always told, “Oh be as neutral as possible, you don’t wanna offend people on the left or the right, stay out of politics, stay out of issues,” which some of us find much easier than others. You know, I often get myself in trouble because I have a hard time keeping my mouth shut. Jonathan’s the same way and so I can understand why she felt pressured to not be an ally, to not get involved publicly, you know what I mean? … I don’t hold it against her, all I can do is be as very happy that she is using her power to make a difference now and I couldn’t love her more. She’s one of the most sweet, humble, down-to-earth people I’ve met. … You never really know what to expect when you meet somebody like her because a lot of people I’ve met in Hollywood and entertainment come across as one thing and then you meet them in person and they are not at all that thing and it can be very sad and disappointing, so it was a great feeling when I got to meet her and hang out with her and realize that she really is what she portrays out there, she really is this sweet, loving girl who just wants to make the world a better place.

BLADE: Who’s somebody you met who’s markedly different from his or her public persona?

BERK: Hmmm, so yes. So RuPaul, I actually met in 2003, I was a manager at Restoration Hardware in New York and she came in looking for some knobs for some dresser she was doing and he was just the kindest, sweetest most lovely person and then after I had my own stores, he started coming in and shopping in my stores and he would come in and just the sweetest, warmest person. And again, on the show he’s the same way and I’m not saying that he’s not sweet and warm, but one thing I was surprised about when I see him for example at the Emmys, the first time I saw him at the Emmys, he wasn’t very warm, and I was like, “Huh, fame has changed him.” But our publicist at Netflix used to work on “Drag Race,” so he’s very close to Ru, he knows Ru very well, and I mentioned it to him I was like, “Wow, you know, I’ve met Ru multiple times and he’s always like the sweetest, kindest person, I don’t get that from him anymore.” He was like, “No, he just doesn’t like being in the spotlight at events like this so he gets very shy and quiet,” so sometimes you think somebody is some way and they’re not and like. … I thought Ru had gotten cold, ‘cause this industry can do it to you, but then I find out that no, Ru is just as shy and terrified as the rest of us.

BLADE: What was it like filming (Taylor Swift’s) “You Need to Calm Down” video? Surely all those celeb cameos — you were not all there at the same time I imagine?

BERK: All of us were but Tan. He was filming the season finale of “Next in Fashion” that day, so Jonathan and I went from watching the runway show of Tan’s finale directly to Taylor’s set and we met Antoni and Karamo there, so four of us were there together but Tan filmed his separately.

BLADE: Was Ellen or Adam Rippon or any of those people there that day?

BERK: Adam was there, he and I are actually friends. Hannah Hart was there, um — who else was there that day? They’re the only ones I remember being directly around us. The set was so massive and they filmed it over I think a week, so different celebs would come in at different times. Some would film in a studio in front of a green screen, for example Tan’s was shot in a studio, so yeah, we weren’t always there at the same time, that would have been chaos. Oh Todrick Hall was there as well.

BLADE: How is (husband) Dewey? Do you guys get enough time together?

BERK: No, we never get enough time together. He is definitely a very private, very introverted, shy guy. He couldn’t care less about any of the Hollywood stuff, which is actually great. I actually prefer it that way because when I’m at home, I’m back in my normal life. But yeah, no, we can never get enough time together. He’s a surgeon. We’ve been together for 16 years and since “Queer Eye,” he’s just started working less. He’s in private practice, so luckily he’s been able to take a step back a little bit. He usually only works about two days a week then meets me wherever I’m filming.

BLADE: Do you know Nate Berkus? Do you like his stuff?

BERK: I love Nate Berkus. His stuff is great. Both he and Jeremiah. Their taste is impeccable, they’re handsome as hell, they’re the best dads. Yeah, I like them a lot.

BLADE: Do you miss your anonymity?

BERK: Absolutely (laughs).

BLADE: Give me an example.

BERK: I miss just being able to go to the grocery store. Or to Starbucks. You know, I miss being able to just roam around and just do regular things. There’s so many positive things about this and I’m not complaining about the loss of it at all, but, you know, sometimes I wish I could just go to the grocery store and go through all the fruit and shop around but I can’t really do that without getting stopped over and over, so I just pretty much order everything online. Sometimes I’ll go into a Starbucks and a fan will be there and there’ll be a moment of the show that’s really touched them or helped somebody in their family, so they’ll start telling me a story in Starbucks and then be crying, then I’ll be standing there in line holding them and hugging them thinking in my mind, “Oh this is amazing, this is so wonderful, but I really just wanted to get my coffee.” You know, it’s a double-edged sword. Sometimes I wish I could just run in, run out like I used to be able to.

BLADE: Please don’t think I’m asking this because I think you look fat — I truly do not. This is just something I’ve been meaning to ask someone who’s done a lot of TV. Does the camera add 10 pounds?

BERK: The camera adds 10 pounds of gay (laughs). Um, sometimes, yeah. But also when I started filming season five I was 210 pounds and now I’m like 183 so I went from being in very good shape before the show, to putting on a bit of weight during the show because our lives have just been so crazy to now really doubling down and focusing on fitness and not letting myself eat crap on set all the time and not work out.

BLADE: What did you mean 10 pounds of gay? Are gestures magnified?

BERK: Oh yeah, I’m always like, “Damn, do I sound that gay?” Yeah, and I also think it’s because the five of us together, we’re so comfortable together and able to be our true selves that sometimes we really queen out and not give a damn. It’s funny watching yourself.

BLADE: Was it hard to summon the courage to be so open about your past? Leaving home at 15 and all that.

BERK: It was hard because, you know, for quite a few years, I didn’t have a good relationship with my parents …

BLADE: It’s better now?

BERK: Oh yeah, it’s great now. But that’s why it’s a little hard because publicly talking about it, you know, it definitely made my mom sad, it definitely opened up old wounds, it took me a while to be OK talking about it. Sometimes I’m still not OK. Sometimes I’ll get asked about my relationship with my parents in interviews, not in this, but people will really pry and they’ll be like, “Oh well you know, on the show you talked about how horrible they were to you and blah blah blah blah blah, why are you talking to them now?” I’m just like whoah — if I’m able to say I’ve been able to reconcile with my family and we have a good relationship now, why would you try to open those wounds? Why would you try to hurt my mama?

BLADE: Thanks for your time and good luck with your line.

BERK: Thanks!

Bobby Berk says loss of anonymity, old family wounds occasionally haunt him. (Photo courtesy Gardner Group)

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Jinkx and DeLa deliver pitch-perfect holiday comedy

The Return of The Jinkx & DeLa Holiday Show, LIVE!” comes to LA for one show only: Saturday, December 18, at The Theatre at Ace Hotel

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Jinkx Monsoon & BenDeLaCreme (Photo by Jiji Lee)

NEW YORK – Touring through December 30 with a new, essential viewing installment of their annual holiday stage show (skipped last year because of COVID-Number-You-Know), drag queens Jinkx Monsoon and BenDeLaCreme need about five minutes of stage time to prove they’ve earned their place in the pantheon of mismatched comedy duos.

From the time they set up the show’s premise to the moment they send their swooning audience back into the larger world hoarse from excess laughter, the writer/performers work a binge-worthy buddy dynamic informed by the kinetic stage antics of Martin and Lewis, the pitch-perfect timing of Bob and Ray, the contempt-breeding familiarity of Eunice and Mama, and the fourth wall-breaking rivalry of Looney Tunes characters. (“Duck Season,” insists DeLa’s Bugs, answered by a “Rabbit Season!”-spouting Jinkx, in full-on Daffy mode.)

If some of the above pairings don’t ping your radar, no worry. Rest assured the carefully calibrated Christmas concoction created by DeLa and Jinkx knows its herstory. You can see it clear as day, in the DNA of each character: DeLa is stick-up-posterior organized and proper—the rigid product of too many traditional Christmases in Connecticut. Jinkx is a vulgar vixen whose idea of decking the halls is hitting the bars—and the back alley after last call.

Each bristles at the other’s extremes, oblivious to their own. Thus, the show is a series of escalating scenarios, where their oil and water makeup threatens to fracture the friendship beyond repair.

But how did things get to such a point? After entering the stage to raucous applause (seen by this scribe on Dec. 4, the second of two shows at NYC’s Town Hall), Jinkx and DeLa acknowledge the down time (“two years gone”) between these annual Yuletide stage shows, during which each gives their own take on the bill-paying indignities of Cameo bookings.

All is well—but soon enough, we’re introduced to an all-new character whose chemistry with DeLa does not sit well, at all, with Jinkx (a study in delayed or devoured pleasure, depending upon whether she stops short or imbibes from her omnipresent cocktail glass). It doesn’t help at all that the budding new bestie is a saccharine-sweet, larger than life, anthropomorphic peppermint retrieved from the bottom of DeLa’s comedically oversized purse.

Peppi the Peppermint (puppeteered by DeLa) is a bottomless well of mint-based puns and newborn-innocent questions about the meaning of words. The script hands Jinkx a half-dozen or so chances to stew in her juices before boiling over, when Peppi’s vocabulary comprehension skills are portrayed as wildly inconsistent (multisyllabic words are understood perfectly, while the meaning of simple ones prove elusive).

For fans of 2020’s subversively sincere and heroically explicit “The Jinkx & DeLa Holiday Special” (currently available on HULU), Peppi the Peppermint is to this show as Nanog (DeLa’s “dairy nogmother” puppet) is to that one—a seemingly harmless confidant who transfixes DeLa while alienating Jinkx. In addition to this forward-moving narrative device, “The Return of The Jinkx & DeLa Holiday Show, LIVE!” benefits from mounting several of the production numbers from “Holiday Special,” complete with a six-person dance ensemble drawn from that show’s cast.

Benefitting from on-point costumes that crystallize the essence of their character, the ensemble is especially effective in DeLa’s dense little ditty about all the essential elements of a Connecticut Christmas. Later on, in a number that takes jabs at the story of the virgin birth and its 33-year aftermath, one dancer—as the adult Jesus—becomes the cross that the Christ child is crucified on. Played as a seconds-long tableau within the song’s fast-paced choreography, it’s long-lasting satire at its most devastating and damning. 

That’s only one of several WTF? moments in the show, the best of which they save for late in the game. Having earned sustained hoots and hollers throughout the nearly two-hour show, the broad comedy gets toned down a few dozen notches, with our freshly reconciled Jinkx and DeLa in an exchange about the gift of friendship and the power of community. There’s a grounded sincerity to that moment, with no expectation, or delivery, of a punchline. That’s a tough act to sell when you’ve been playing to the back of the house all night—but it works, and it’s wonderful. 

“The Return of The Jinkx & DeLa Holiday Show, LIVE!” comes to the Los Angeles area for one show only: Saturday, December 18, at The Theatre at Ace Hotel. Produced and directed by BenDeLaCreme, co-written and co-created by BenDeLaCreme and Jinkx Monsoon, and associate produced by Kevin Heard. For more information and to purchase tickets, visit jinkxanddela.com

Saturday, December 18 – Los Angeles, CA (The Theatre at Ace Hotel)

Sunday, December 19 – San Francisco, CA (The Palace of Fine Arts Theatre)

Tuesday, December 21 – Seattle, WA (The Neptune)

Wednesday, December 22 – Seattle, WA (The Neptune)

Thursday, December 23 – Seattle, WA (The Neptune)

Friday, December 24 – Seattle, WA (The Neptune)

Sunday, December 26 – Seattle, WA (The Neptune)

Tuesday, December 28 – Vancouver, BC (Vogue Theatre)

Thursday, December 30 – Portland, OR (The Newmark)

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Golden Globes announces diverse slate of nominees

But is it diverse enough to quell controversy?

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Billy Porter and Michaela Jae Rodriquez in POSE (Image courtesy FX)

[NOTE: This article has been updated to reflect corrections from the originally published version. The previous HFPA membership included no Black members, instead of no people of color as initially reported. Additionally, it was previously stated that the awards ceremony would take place on the Golden Globes’ You Tube channel; however, a format for the presentation has yet to be officially announced.]

HOLLYWOOD – If any doubt remained that the Hollywood Foreign Press Association has fallen spectacularly out of favor, it was summarily erased by the fact that the sole celebrity on hand to help announce the list of nominations for its 2021 Golden Globe Awards was Snoop Dogg.

That’s not a dig against Snoop Dogg. The eminently lovable rapper is an icon who manages to float effortlessly between worlds within the entertainment industry, thanks to a reputation for enthusiastic self-parody and a proven tendency to be pretty much game for anything – and frankly, watching him read the service manual for a vintage sewing machine would likely be more entertaining than sitting through a list of award nominees being recited (with perfunctory reverence, of course) by even the most accomplished of screen thespians.

Still, the glaring absence of any representative from the industry which the HFPA exists to honor is proof that the organization is still a long way from recovering from the scandal that broke in the wake of a Los Angeles Times investigative report earlier this year, which revealed that its nearly 90-person membership included no Black members and provided damning details about its long-alleged unethical practices – including the influence over its voting process by gifts, paid travel, and other perks from studios and networks behind the potential nominees and winners.

The bombshell report, which was published mere days before the Golden Globes presentation last February, led to an embarrassing award show in which the revelation of the winners was eclipsed by the organization’s scramble to do damage control.

Leaning into a too-little-too-late show of diversity among the ceremony’s performers and presenters, and sending some of the HFPA’s high-level representatives to the podium in a desperate effort to spin the situation with a not-quite-apology for its previous shortcomings (followed by an unconvincing promise to do better), the organization seemed only to have dug itself deeper into the hole of bad publicity that threatened to put an end to the awards body’s 78-year existence, once and for all.

Proposed reforms to the structure and practices of the HFPA were announced, and were promptly dismissed by Time’s Up as “window-dressing platitudes.” Major players in the industry announced intentions to boycott the Golden Globes; more than a hundred PR firms threatened to cut off the HFPA from access to their clients; high-profile talent publicly denounced the organization, with three-time winner Tom Cruise even returning his trophies. Perhaps most disastrous of all, NBC – the network which had been home to the Golden Globes broadcast – announced it would not be airing another one until at least 2023, saying that “change of this magnitude takes time and work” and that “the HFPA needs time to do it right”.

Despite all this, the beleaguered organization declared its intention to continue with its annual awards presentation, and following months of restructuring – in which the HFPA has attempted to diversify its ranks by adding new members, rewritten its bylaws, forbidden the acceptance of gifts, restricted compensated travel, and undertaken an effort to revamp itself from bottom to top – has tenaciously clung to relevance by announcing the nominees for this year’s crop of films and television shows in an early morning press conference marked by the non-participation of any of the potential recipients of those honors.

This means, of course, that it’s time to start gearing up for another awards season in which the dramatic changes wrought by the Covid pandemic upon the entertainment industry are sure to have a still-unpredictable effect on the outcomes, and to engage in a game of “armchair quarterbacking” as we attempt to predict how the honors bestowed by other awards bodies will impact the winners’ circle for the most coveted industry prize of all: the Oscars.

Traditionally, the Golden Globes have been seen as a bellwether for Academy Award inclusion, with many of the nominees and winners going on to eventual Oscar glory – but given the current still-ongoing boycott of the HFPA by so many of the industry’s most influential power-players, it remains to be seen if that long-standing assumption will hold true this year.

With that in mind, it’s worth taking a look at the nominees – with an eye to the diversity among the choices, particularly the inclusion of LGBTQ-relevant nominees among the contenders.

For television, Black actors Billy Porter (“Pose”) and Omar Sy (“Lupin”), as well as South Korean actor Lee Jung-jae (“Squid Game”), received nominations as Best Lead Actor in a Drama Series, while the equivalent Lead Actress category included Black actress Uzo Aduba (“In Treatment”) and Black/Puerto Rican actress Michaela Jaé Rodriguez (“Pose”) – who also makes history by becoming the first transgender performer to be nominated in this category, a feat she also accomplished at the 2021 Emmys. In the Comedy division, Black actor Anthony Anderson (“Black-ish”) picked up a nod as Best Lead Actor, with Black actresses Issa Rae (“Insecure”) and Tracee Ellis Ross (“Black-ish”) included among the nominees for Best Lead Actress.

In the supporting categories (which are not divided into comedy and drama division), O Yeong-su (“Squid Game”) got a nod for Best Supporting Actor, with no nominees of color named within the Supporting Actress slate.

For performances in a Limited Series, Anthology Series, or Motion Picture Made for Television, Latino actor Oscar Isaac (“Scenes From a Marriage”) and French-Algerian actor Tahar Rahim (“The Serpent”) made the cut for Best Actor, while Black actress Cynthia Erivo (“Genius: Aretha”) was nominated for Best Actress.

The big screen acting categories also included several nominees of color. Though there were no performers of color in the running for Best Lead Actress in a Motion Picture Drama, the Lead Actor slate includes three Black actors – Mahershala Ali (“Swan Song”), Will Smith (“King Richard”), and Denzel Washington (“The Tragedy of Macbeth”) – among its contenders. In the Musical or Comedy division, Latino actor Anthony Ramos (“In the Heights”) scored a nomination for Lead Actor, with Latino/Polish newcomer Rachel Zegler (“West Side Story”) earning a nod for Lead Actress.

In the Supporting categories (which again, are not separated into Drama and Comedy divisions), Black performers Aunjanue Ellis (“King Richard”) and Ruth Negga (“Passing”) joined Black/Puerto Rican performer Ariana DeBose (“West Side Story”) on the list of Actress nominees, and while the Actor category contained no performers of color, deaf actor Troy Kotsur (“CODA”) made the cut, in a rare show of representation for people with disabilities.

When it comes to LGBTQ representation, however, the nominations fall considerably shorter. Among all the acting nominees, the only out members of the community are Porter and Rodriguez (each in their respective Lead Performance categories for “Pose”), Kristen Stewart (“Spencer”) and Lady Gaga (“House of Gucci”) for Lead Actress in a Motion Picture Drama, and Hannah Einbender (“Hacks”) for Best Performance by a Lead Actress in a Television Comedy. In addition to these, Azuba, Erivo, and Andrew Garfield (nominated for Best Lead Actor in a Motion Picture Musical or Comedy for “tick, tick… Boom!”) are noted for their vocal LGBTQ advocacy as allies. 

While nominees Benedict Cumberbatch and Kodi Smit-McPhee (nominated for Lead and Supporting Actor, respectively, in a Motion Picture Drama for “The Power of the Dog”) play queer characters, both identify as straight in real life. The same is true for Ewan McGregor, nominated as Best Actor in a Limited Series for his star turn as the title character in “Halston”.

Finally, it’s worth mentioning that the Best Director of a Motion Picture category, long dominated exclusively by men, this year includes two women: Jane Campion (“The Power of the Dog”) and Maggie Gyllenhall (“The Lost Daughter”)

Whether or not these nominees – or any of the others, for that matter – end up following up their recognition today with nods or wins on Oscar night remains to be seen. In the meantime, we can find out who will take the HFPA’s honors on January 9, when the Golden Globes are scheduled to take place. According to a representative from Sunshine Sachs (the PR firm representing the HFPA), a format for the presentation has yet to be determined, so it’s still unclear if we will get a chance to see who actually shows up to claim a prize from an organization now relegated to pariah status by most of Hollywood.

A complete list of nominations is below.

Best Television Series, Musical or Comedy

“The Great” (Hulu)

“Hacks” (HBO/HBO Max)

“Only Murders in the Building” (Hulu)

“Reservation Dogs” (FX on Hulu) 

“Ted Lasso” (Apple TV Plus)

Best Performance by an Actor in a Television Series, Drama

Brian Cox (“Succession”)

Lee Jung-jae (“Squid Game”)

Billy Porter (“Pose”)

Jeremy Strong (“Succession”)

Omar Sy (“Lupin)

Best Performance by an Actress, Limited Series, Anthology Series or a Motion Picture made for Television

Jessica Chastain (“Scenes From a Marriage”)

Cynthia Erivo (“Genius: Aretha”)
 
Elizabeth Olsen (“WandaVision“) 

Margaret Qualley (“Maid”)

Kate Winslet (“Mare of Easttown”)

Best Director, Motion Picture

Kenneth Branagh (“Belfast”) 

Jane Campion (“The Power of the Dog”)

Maggie Gyllenhaal (“The Lost Daughter”)

Steven Spielberg (“West Side Story”) 

Denis Villeneuve (“Dune”) 

Best Performance by an Actress in a Motion Picture, Musical or Comedy

Marion Cotillard (“Annette”)

Alana Haim (“Licorice Pizza”) 

Jennifer Lawrence (“Don’t Look Up”) 

Emma Stone (“Cruella”)

Rachel Zegler (“West Side Story”)

Best Performance by an Actor in a Motion Picture, Drama

Mahershala Ali (“Swan Song”)

Javier Bardem (“Being the Ricardos”)

Benedict Cumberbatch (“The Power of the Dog”) 

Will Smith (“King Richard”) 

Denzel Washington (“The Tragedy of Macbeth”) 

Best Television Series, Drama

“Lupin” (Netflix)

“The Morning Show” (Apple TV Plus)

“Pose” (FX)

“Squid Game” (Netflix)

“Succession” (HBO/HBO Max)

Best Performance by an Actress in a Television Series, Drama

Uzo Aduba (“In Treatment”)

Jennifer Aniston (“The Morning Show”)

Christine Baranski (“The Good Fight)

Elisabeth Moss (“The Handmaid’s Tale”)

Michaela Jaé Rodriguez (“Pose”)

Best Performance by an Actor, Limited Series, Anthology Series or Motion Picture made for Television

Paul Bettany (“WandaVision”)

Oscar Isaac (“Scenes From a Marriage”)

Michael Keaton (“Dopesick”)

Ewan McGregor (“Halston”)

Tahar Rahim (“The Serpent”)

Best Performance by an Actor in a Motion Picture, Musical or Comedy

Leonardo DiCaprio (“Don’t Look Up”) 

Peter Dinklage (“Cyrano”) 

Andrew Garfield (“Tick, Tick … Boom!”) 

Cooper Hoffman (“Licorice Pizza”)

Anthony Ramos (“In the Heights”)

Best Supporting Actor – Motion Picture

Ben Affleck (“The Tender Bar”) 

Jamie Dornan (“Belfast”) 

Ciarán Hinds (“Belfast”) 

Troy Kotsur (“CODA”) 

Kodi Smit-McPhee (“The Power of the Dog”)

Best Original Score, Motion Picture

“The French Dispatch” (Searchlight Pictures) — Alexandre Desplat 

“Encanto” (Walt Disney Pictures) — Germaine Franco

“The Power of the Dog” (Netflix) — Jonny Greenwood 

“Parallel Mothers” (Sony Pictures Classic) — Alberto Iglesias 

“Dune” (Warner Bros.) — Hans Zimmer

Best Actress in a TV Series, Musical or Comedy

Hannah Einbinder (“Hacks”)

Elle Fanning (“The Great”)

Issa Rae (“Insecure”)

Tracee Ellis Ross (“Black-ish”)

Jean Smart (“Hacks”)

Best Limited Series, Anthology Series or a Motion Picture made for Television

“Dopesick” (Hulu)

“Impeachment: American Crime Story” (FX)

“Maid” (Netflix) 

“Mare of Easttown” (HBO/HBO Max)

“The Underground Railroad” (Amazon Prime Video)

Best Supporting Actor, Television

Billy Crudup (“The Morning Show”)

Kieran Culkin (“Succession”)

Mark Duplass (“The Morning Show”)

Brett Goldstein (“Ted Lasso”)

O Yeong-su (“Squid Game”)

Best Picture, Musical or Comedy

“Cyrano” (MGM)

“Don’t Look Up” (Netflix) 

“Licorice Pizza” (MGM) 

“Tick, Tick … Boom!” (Netflix) 

“West Side Story” (20th Century Studios / Walt Disney Studios Motion Pictures)

Best Supporting Actress, Motion Picture

Caitríona Balfe (“Belfast”) 

Ariana DeBose (“West Side Story”) 

Kirsten Dunst (“The Power of the Dog”) 

Aunjanue Ellis (“King Richard”) 

Ruth Negga (“Passing”)

Best Picture, Foreign Language

“Compartment No. 6” (Sony Pictures Classics) — Finland, Russia, Germany

“Drive My Car” (Janus Films) — Japan

“The Hand of God” (Netflix) — Italy

“A Hero” (Amazon Studios) — France, Iran

“Parallel Mothers” (Sony Pictures Classics) — Spain

Best Screenplay, Motion Picture

Paul Thomas Anderson — “Licorice Pizza” (MGM/United Artists Releasing) 

Kenneth Branagh — “Belfast” (Focus Features) 

Jane Campion — “The Power of the Dog” (Netflix) 

Adam McKay — “Don’t Look Up” (Netflix)

Aaron Sorkin — “Being the Ricardos” (Amazon Studios)

Best Performance by an Actress in a Motion Picture, Drama

Jessica Chastain (“The Eyes of Tammy Faye”)

Olivia Colman (“The Lost Daughter”) 

Nicole Kidman (“Being the Ricardos”)

Lady Gaga (“House of Gucci”) 

Kristen Stewart (“Spencer”) 

Best Motion Picture, Drama

“Belfast” (Focus Features) 

“CODA” (Apple) 

“Dune” (Warner Bros.) 

“King Richard” (Warner Bros.) 

“The Power of the Dog” (Netflix) 

Best Television Actor, Musical / Comedy Series

Anthony Anderson (“Black-ish”)

Nicholas Hoult (“The Great”)

Steve Martin (“Only Murders in the Building”)

Martin Short (“Only Murders in the Building”)

Jason Sudeikis (“Ted Lasso”)

Best Supporting Actress, Television

Jennifer Coolidge (“White Lotus”)

Kaitlyn Dever (“Dopesick”)

Andie MacDowell (“Maid”)

Sarah Snook (“Succession”)

Hannah Waddingham (“Ted Lasso”)

Best Original Song, Motion Picture

“Be Alive” from “King Richard” (Warner Bros.) — Beyoncé Knowles-Carter, Dixson 

“Dos Orugitas” from “Encanto” (Walt Disney Pictures) — Lin-Manuel Miranda 

“Down to Joy” from “Belfast” (Focus Features) — Van Morrison 

“Here I Am (Singing My Way Home)” from “Respect” (MGM/United Artists Releasing) — Jamie Hartman, Jennifer Hudson, Carole King 

“No Time to Die” from “No Time to Die” (MGM/United Artists Releasing) — Billie Eilish, Finneas O’Connell 

Best Motion Picture, Animated

“Encanto” (Walt Disney Studios Motion Pictures) 

“Flee” (Neon) 

“Luca” (Walt Disney Studios Motion Pictures) 

“My Sunny Maad” (Totem Films)

“Raya and the Last Dragon” (Walt Disney Studios)

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Belinda Carlisle brings a heavenly Christmas Bash December 16th

Her work evolves beyond the demands of the pop market while never losing its hooks and whimsy. it reflects Belinda’s evolving life

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Courtesy of Belinda Carlise

HOLLYWOOD – On December 16th, 7pm, the city of West Hollywood transforms into a piece of “Heaven on Earth.” An angelic supernatural deity from the sky won’t be delivering this gift, but rather an angel from iconic pop paradise.

That night, Belinda Carlisle makes a grand entrance and gives an eager audience the presence of a queen of pop, the most recent inductee to the Rock and Roll Hall of Fame along with her group, The Go-Gos.

It will be on that night that Belinda Carlisle hosts THE party event of the season with co-host, drag superstar, Trixie Mattel. One sings, one throws comedic shade, and a packed room at the Abbey will be losing their collective minds.  Not that the party itself isn’t all the reason you would need to get it on your calendar, the evening benefits a fantastic charity, The Animal People Alliance (APA), that intertwines the love for animals with the salve to human suffering.

Courtesy of Trixie Mattel

APA’s charter reads: “To provide high quality and compassionate care, of the highest standards, to neglected street animals in India and Thailand. We train and employ vulnerable people from the community, and pay living wages that help them improve their standard of living.”   The organization, by employing people who would otherwise be stateless and/or in poverty, has treated over 16000 street animals since 2014. Their programs for animals include rabies vaccinations, sterilizations and other emergency health aid.

Belinda sat down with me this week on the podcast RATED LGBT RADIO to talk about her life, her amazing career, her party and the strength she has achieved in standing up to both inner and outer demons.

She survives. She fearlessly opens herself up, and if anyone scrutinizes her past… she will lead the way.  She happily tells of being a member of the most successful all-women pop bands in history.  They sang and wrote their own songs, they played their own instruments. They did it on their terms. No men were needed or required. She candidly shares about her struggles with eating disorders and drug addiction. 

Belinda shows profound compassion for those struggling with addiction and darkness, “Addiction is a sickness…it is a disease of perception, you can’t see your effect on other people… It is a trap you feel you can’t get out of. Every addict has a heart and a humanity that is obscured by addiction. It is a horrible, horrible thing for anyone to go through. It is hard to remember that there is a heart under all that, there is something divine under all that darkness.”

Her interest focuses more on what came after she embarked on recovery  “My life is much more exciting since sobriety, even more exciting than the hey day with the Go-Gos. For anyone out there who is worried about aging, or life being over at a certain point—it’s not. Life is just the most amazing miracle and privilege.”

Her significance for the LGBTQ community, impacts many of the most vulnerable.  She is the mom of a gay man, activist and writer, James Duke Mason. His birth made her examine the trajectory of fame, drugs, and rock & roll in which she was on, careening threateningly close to disaster and death.

She had settled comfortably into maternal nurturement when Duke came out to her at the age of 14. Belinda had been impressed with Duke’s ability to explain the situation to her. She found out that he had been online with PFLAG for weeks learning about how to present his news to her, information to give and educated about key talking points. 

Appreciating their real life help of a young person in need, Belinda vehemently supported PFLAG, the Trevor Project and others ever since. “I am so glad I have a gay son, I can’t even tell you,” she says.

Artistically, she also continues to thrive.  The Rock and Roll Hall of Fame finally inducted the Go-Gos this year.  It was an honor 15 years in the making.  It should have been an obvious choice to put them there.

As the first all-female group making it big, they sang, wrote every note and played every instruments. The Go-Go’s, a 2020 American/Irish/Canadian documentary film directed and produced by Alison Ellwood, cast attention on the Hall of Fame oversight, and essentially made the case for how special the group actually was.

Belinda also recently released a new single Get Together a cover of the 1967 Youngbloods hit. The Youngbloods sang it at Woodstock in 1969 to make a statement about the divisions of the Viet Nam era in America.

Belinda sings it now, her voice pure, mature and as an anthem making a plea, if not a motherly order, to reconsider the divisions we are experiencing today.  She says, “We live in this age of outrage.  This song is ‘ok people, CHILL OUT’. All this divisiveness is not going to get us anywhere. It’s timely.”

Beyond Get Together, Belinda works on more new music including singles and a new album.  She continues to produce with the top song creators of the industry including award winning song writer Diane Warren and Go-Gos dates at the end of the year.

Her work evolves beyond the demands of the pop market while never losing its hooks and whimsy. it reflects the channeling of Belinda’s evolving life.  When she lived in France, she released a French collection.

As she delved into spirituality and the culture of Thailand, she released the powerful Wilder Shores, which blended a spiritual mantra into pop hooks. “Chanting is a science, it has a super power. It is not airy fairy,” she states.

The fact is, Belinda Carlisle continues arriving and thrilling.  She does not need to prove herself to anyone.  She has defined the next thirty years of her life as philanthropy.  

“I just wing it as I go along. I learned what it is like to work from the heart. Work in a way where you don’t care about any kind of outcome. That is how I am working now. I am just having fun, and doing just what I want. I am really lucky that way,” she declares.

Her party on December 16th at the Abbey appears right on track to bear that out.

Love, humanity, care of animals and a major splash of fabulousness enveloping an enthused audience.

In other words, pure Belinda.

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Listen to the full interview:

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Rob Watson is the host of RATED LGBT RADIO, a national podcast and he’s one of the founders of the evolequals.com.

A gay dad, business man, community activist and a blogger/writer, Watson is a contributor to the Los Angeles Blade covering entertainment, film, television, and culture with occasional politics tossed in.

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