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SPRING ARTS 2020: TV’s big paradigm shift and the queer consumer

Apple, Disney, others lock horns wth Netflix as streaming wars intensify — where will all the LGBTQ content land?

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Alexis Bledel as Emily, a lesbian character, in ‘The Handmaid’s Tale’ on Hulu. (Photo courtesy Hulu)

Streaming content — whether we’re talking about music or movies/TV — is, of course, nothing new. But on the movie/TV side, it’s ramping up to unprecedented levels.

The New York Times compares it to the great entertainment industry disruptions of yore — silent films going to “talkies” in the ’20s, TV in the ’50s and the double whammy of cable TV and VCRs in the ’80s, which radically shifted the way consumers viewed content.

Netflix started streaming movies and shows in 2007 and dominates the field with 166 million subscribers worldwide and a $12 billion budget for new content. Until now, the main old school media conglomerates — Disney, NBCUniversal and WarnerMedia — stayed out of it while Netflix (“Stranger Things,” “The Crown”), Amazon Prime Video (“The Marvelous Mrs. Maisel,” “Fleabag”) and Hulu (“The Handmaid’s Tale,” “Veronica Mars”) battled it out.

The old companies now realize they’ll have to adapt to survive. Disney Plus launched Nov. 12 for $6.99 a month offering content from Disney, Pixar, the “Star Wars” franchise, Marvel movies, reruns of “The Simpsons” and about 7,500 episodes of old Disney shows. WarnerMedia will launch HBO Max for $14.99 per month in May with 10,000 hours of available content such as “Friends,” “South Park, old Warner Bros. movies, CNN documentaries, “Sesame Street” and more. And Peacock, NBCUniversal’s imprint, will boast 15,000 hours of available content including reruns of “The Office,” “Frasier,” “Saturday Night Live,” Universal movies, a reboot of “Battlestar Galactica” and gobs more. It’s slated for an April 15 rollout.

Others are taking the can’t-beat-‘em-join-‘em approach. FX on Hulu launched March 2 boasting its shows such as “Mrs. America,” “Better Things,” “Dave” and “Fargo” now available there. And Quibi, set to launch April 6, is focusing on short-form mobile video. Founder Jeffrey Katzenberg is said to have spent more than $1 billion for short-form episodes of shows like a Steven Spielberg horror series “Spielberg’s After Dark” and “Kill the Efrons,” a survival reality series starring Zac Efron and his brother.

Apple, of course, is no longer content to sit on the sidelines either. Apple TV Plus launched Nov. 1. That makes the likely big players Netflix, Amazon Prime Video, Hulu, Disney Plus, Apple TV Plus, HBO Max and Peacock, but that’s just for starters.

There are, according to the New York Times citing data from Parks Associates, 271 online video services in the U.S. some of the more obscure ones offering highly curated content. For every mainstream one, such as ESPN Plus or NFL Sunday Ticket for sports, there’s a bounty of niche options like Crunchyroll and Hidive for anime, Hi-Yah! for martial arts or GAIA for yoga-themed content.

Navigating the deluge

So much is now available, though, that consumers are overwhelmed. Although it’s changed some in recent years, one of the long-running complaints of cable TV or Dish satellite subscribers was having to pay for hundreds of channels they never watched. Well, now with streaming, the argument goes, they no longer have to. Just subscribe to the services you want.

But it’s not that simple. Say you subscribe to Netflix and Hulu but then everybody starts buzzing about “The Marvelous Mrs. Maisel” winning a bunch of Emmys and being must-see TV and you’re faced with major pop culture FOMO. And if you have cut your cable subscription, as 5.5 million did in 2019 alone, what do you do when there’s a major event like the Olympics, the Academy Awards or the Super Bowl that none of the streaming services have the rights to? (The presidential debates, for example, are easy to stream for free online.) And what if you have one of those deals where your phone, home internet and cable are all under one umbrella like Xfinity in the D.C. market and it’s not as easy to get out of?

At some point, viewers will have to make a choice, much as they did between VHS or Beta 30 in the ’80s, and not all the companies getting into the game will be successful as consumers are only willing to pay so much — $44 the Wall Street Journal reports citing its own polling — for about 3.6 streaming services (one in five plan to cut the cable cord within the year, the Journal reports).

streaming, gay news, Washington Blade

Felix Maritaud in ‘I Am Jonas,’ a Netflix original movie about a passionate gay teen romance. Netflix is not only the industry dominator, it has the most queer content overall. (Photo courtesy Netflix)

Gay entertainment writer/guru Greg Hernandez says it’s “a new frontier” for pop culture fans.

“There’s so much more content, the sky’s the limit,” he says. “And that’s why this seems unprecedented. It feels like the biggest beneficiaries are the consumers. They have so many choices now. They’re being courted with really quality content from all the top stars, the best actors are going for roles on shows that are being streamed, so I think the consumer is the biggest beneficiary. It’s nice to be courted and nice to have so much of the top talent flocking to this form.”

Cutting the cable cord?

For Matt Chun, a gay Washington man who early in his career worked at ABC, the current system is both a blessing and a curse.

“Digital and social media trends have changed just about everything in terms of the way we consume our content,” he says. “In some ways, we are more than ever in the driver’s seat with TV executives and music artists catering to our short attention spans, our schedules and our price points. In other ways, we’re spoiled brats imprisoned by our voracious appetites. And if not us, certainly the next generation of iPad-trained kids.”

Chun canceled cable about three years ago because it was simply cheaper to pay for streaming. He had Xfinity internet and cable and got tired of the hikes — it started at $75, jumped to $116, then $139 and he said, “Enough.” Similarly, his parents’ Xfinity bill in Philadelphia hiked from $150-187.

He now subscribes to AT&T TV, which comes with HBO GO, and Amazon Prime. The latter two are $63.60 per month (higher because they offer more of a hybrid experience with live TV and On Demand). Amazon Prime is $13 per month. He used to have Netflix but not currently.

And yes, he says there are times there’s something he wants to watch on another service.

“Often you’ll hear buzz about a show on social media but then realize it’s on the one you just cancelled,” he says. “For example right now, I’m curious about ‘The Circle’ on Netflix. There was a time that I would switch my services on and off, chasing the premiere of shows such as ‘Game of Thrones’ on HBO or the return of ‘Love’ on Netflix. But now there are just so many good shows that I just end up choosing one that I’m interested in on one of the services I have.”

There are ways around the dilemma, too.

“If there’s a show I really want to watch and don’t have paid access to, I can often find a streaming site — likely illegal — to binge watch it. Sometimes the quality suffers or the streaming lags, but it’s good enough. Or I’ll binge watch in spurts when I’m at my friend’s house who has different streaming options. It seems like I’m never without options … and someone is always entering the market with lower costs.”

“People share passwords with friends,” Hernandez says. “There are ways to see what you want to see.”

Kenya Hutton, another gay Washington TV fan, subscribes to Netflix, Hulu and Amazon Prime in addition to his $165 monthly Xfinity bill, which he plans to keep. He says despite all that, there’s still a dearth of representation.

“It would be great to see more quality LGBTQ programming from people of color,” Hutton says.

Where are all the queer shows?

There’s voluminous queer content on the major platforms. Four years ago, GLAAD started gathering data on streaming original series for its annual “Where We Are on TV” survey and the numbers have mostly gone up every year since then.

For the most recent survey, released last November, GLAAD found 109 regular LGBT characters on original scripted series on Amazon, Hulu and Netflix, the three platforms it monitors. That was an increase of 34 from last year’s tally. There are also 44 recurring LGBT characters, up from just seven the previous year.

Gay male characters make up 42 percent, lesbians 30 percent, 14 percent bi women and nine percent bi men. The one dip was in trans characters at seven percent, down four percentage points from the previous year. That’s likely a hiccup, GLAAD’s Megan Townsend, lead author of the report, says as shows such as “Transparent” and “Orange is the New Black” have ended and some shows she knows of in development with trans characters haven’t yet launched.

“I think maybe that was just a one-off year,” Townsend, who’s bi, says. “The bigger problem will be if this becomes a trend.”

The 109 LGBTQ characters on the streaming platforms compares to 90 on scripted shows on broadcast TV networks (ABC, CBS, NBC, FOX and The CW) and 121 on scripted primetime cable shows. So while it’s not as if there’s a deluge of LGBTQ characters and storylines on the streaming shows, it’s right up there in the same league as the network and cable shows. Some might even argue it’s a tad underwhelming when you consider streaming has unlimited volume potential whereas network and cable have limited daytime/prime time hours to program.

Of Amazon, Hulu and Netflix, Netflix had the most LGBTQ characters as has been the case every year streaming has been included in the GLAAD survey. So if queer representation on original streaming shows is your main interest, Netflix, home to “Grace and Frankie,” “Tales of the City” and the new RuPaul series “AJ and the Queen,” not to mention reality juggernaut “Queer Eye” (not counted in the GLAAD report) is your best bet.

So how did Netflix end up being the industry leader and also the best at LGBTQ representation? Brian Wright, Netflix’s vice president of original series: young adults/family, says the GLAAD report and other industry report cards are important, but the representation just happened on its own.

“I’m happy to report that it all truly comes out of an organic process,” Wright, who’s gay, says. “It’s about finding incredible storytellers and letting them do their best work. There’s no additional layer of, ‘Well, can you make this person this or that person that?’ We don’t have to do that because it’s already there in the storytelling, in the fabric of these shows. I would say that this great result we’re seeing with GLAAD is just a result of us attracting incredible talent to reflect the world back to the world.”

Wright has been with Netflix for six years and says there’s strong queer representation among its employees. Comparable, he says, to what he experienced at previous jobs with Viacom, Disney and Lifetime — “I’ve bounced around the Hollywood gauntlet,” he says. He oversees shows such as “Stranger Things,” “13 Reasons Why,” “Fuller House,” “The Umbrella Academy,” “Chilling Adventures of Sabrina” and the Ryan Murphy Netflix shows, the latest of which, “Hollywood,” launches in May.

He says the industry gatekeepers at Netflix — those with the power to greenlight a pitch — are more unencumbered than their counterparts in network.

“We don’t have a lot of handcuffs,” he says. “We’re not handcuffed by advertising considerations, we’re not handcuffed by a conservative standards and practices group. … We hear pitches all day long and we go toward the ones that are the most pure in vision and where we feel like, ‘Wow, this person has a story to tell and they totally understand what it is in their bones.’ It’s just not uncommon that there’s a gay person or people that are central to the story.”

There are, however, even gayer (albeit smaller) options.

Dekkoo, which started in late 2015, offers movies and TV — both original and non — geared toward gay men for $9.99 per month.

“When we launched, we had no delusions of grandeur or trying to beat Netflix or even pretending we could play in that field,” says Brian Sokel, Dekkoo president who, ironically, is straight having started the platform with his gay business partner Derek Curl. “But what we realized is that we could fill a void that was missing in the marketplace and probably do it very well and operate as a complementary service that’s all-inclusive for one type of audience.”

He says the big platforms are analogous to Blockbuster Video 20 years ago.

“I remember going there years ago and being bummed out because the selection was one geared to the largest, most homogenous audience possible,” he says. “You wouldn’t find any really deep selections of any genre, you really were just scratching the surface. That’s what made On Demand and Netflix, back when it was DVD by mail, so great was that suddenly you found this individual, independent content and all this incredible stuff you didn’t even know existed.”

Don’t go to Dekkoo looking for major titles like “Moonlight” or “Love, Simon.” Dekkoo, which is about 10 percent original content, Sokel says, is for the “queer independent fare that is really driving the queer cinema universe.”

“You can find gay stuff on all the main platforms,” he says. “It just depends on the user and what they’re looking for. The casual viewer could go on Amazon or Netflix and say, ‘Oh great, there’s a gay movie to watch.’ But for the person who’s really passionate about queer cinema where that’s not gonna cut it for them, that’s why we exist.”

Sokel declined to share how many subscribers Dekkoo has.

WOW Presents Plus (World of Wonder) is $3.99 per month after a seven-day free trial and offers “all things drag” with “UNHhhh,” “Werq the World” and “RuPaul’s Drag Race Season 12” (also on VH1).

WOW Presents Plus media department did not respond to multiple requests for comment this week from the Blade.

Looking ahead

So where’s it all headed? Is network dying a long, slow death? How does Netflix plan to stave off the competition?

Wright says the beauty of the new paradigm — Netflix is seven years into its original content creation — is the chance for non-U.S. content to take off and have a global impact. He cites “Money Heist” (“La casa de papel”), a crime drama/thriller from Spain (part four with eight new episodes drops April 3), as a strong example.

Netflix headquarters in Hollywood. The company dominates the streaming industry and has more LGBT representation than its rivals, according to GLAAD. (Photo courtesy Netflix)

“It’s become massive,” he says. “I don’t believe in a pre-Netflix world that would have connected with millions of joyful fans all over the world. I think that’s a trend that we’re gonna see continue.”

He says his company always knew competitors would emerge in time. As for how long streaming and broadcast can co-exist, he says it’s “anyone’s guess.”

“I think that streaming is absolutely from a behavioral and technological perspective, it’s so good for the consumer and consumer control is something that’s more and more gonna be considered as the stakes keep moving forward. There are gonna be a lot of different choices out there and we just want to be the that people continue to feel is a must have.”

Chun enjoys all the options and still binge-watches certain shows, but says as a consumer, he has no strong opinions about streaming usurping traditional TV.

“I’m a bit numb and agnostic to it all,” he says. “Mergers are happening and Emmys are being won and I’m just like, ‘Alright, maybe I’ll check you out but I’m already bored thinking about the effort it would take and all my funds are tied up with multiple ‘cheap’ subscriptions. Oh yeah, and we haven’t even talked about porn yet.”

Netflix’s dark side?

Huge industry behemoths often have well-documented dark sides from Walmart’s predatory pricing, Facebook’s shady information sharing, Amazon’s anti-competitive/monopolistic behavior and Google’s recent wave of firing employees — a few of whom are transgender — who dared to call the company out on what they considered unethical practices, as the New York Times reported last month.

So surely Netflix has a dark side too, right?

Brian Wright, Netflix’s VP of original series, insists not.

“I’ve worked in so many places in Hollywood and this is by far the most collaborative group of people I have ever come across,” he says. “It’s a place where that kind of palace intrigue and backstabbing is not tolerated and honestly is called out. … It’s absolutely a high-performance culture here, but we like to avoid the brilliant jerks. One of our key tenets is selflessness.”

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Hollywood’s Peter Kallinteris Agency launching LGBTQ dreams

“It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader”

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Hollywood sign courtesy of the City of Los Angeles

HOLLYWOOD – Whether they’d admit to it or not the aspiration for most actors is to be sitting in the Dolby Theatre at some point in their careers, dressed in their finest fashion ensemble at the most prestigious event of the year and hear, “and the Oscar goes to [insert their name].” Conversely also true for the Emmy awards or the Tony awards, yet for many LGBTQ artists the path to that goal is fraught with obstacles and difficulties.

In 2018, a young Black actor from Atlanta, Georgia, was given a supporting role as Ethan in the surprise hit film Love Simon. That actor, Clark Moore, in interviews with host Rob Watson, journalists Dawn Ennis and Brody Levesque on RATED LGBTQ RADIO and separately with Teen Vogue’s Shammara Lawerence spoke of the difficulty landing roles like that of Ethan, but also the conflict inherent with how the film and television industry has seen LGBTQ actors.

Answering a question by Teen Vogue’s Lawerence centered on that conflict, Moore bluntly assessed the landscape telling her; “Historically, I think the reason why there haven’t been more gay roles or more gay actors playing roles that have lots of layers to them and lots of depths to them is because for whatever reason, people think that the story is done. We’ve seen the gay character. We know what he says. We know what he thinks. We don’t need to tell that story anymore, but if you think about it, we’ve had a full canon of stories about straight white men that stretch back millennia, and so we’re only scratching the surface,” Moore pointed out.

“If we can have stories about people all the way back thousands of years ago and we can still be telling the same story now about straight white men and their journey to self-discovery or redemption, there’s plenty of stories to tell of people of color and LGBTQ people and anybody who falls in the intersection of those two identities,” he added.

Yet in the age of digital moving beyond the traditional film and television as more and more content is streamed online- and there’s insatiable need by casting agencies for a wider diverse spectrum of actors, there are still obstacles in the path for LGBTQ actors, especially trans and disabled LGBTQ actors.

Enter Peter Kallinteris, who with his broad based knowledge and understanding of the critical needs of the LGBTQ actor community decided that the time has arrived to have specialized representation for that community.

“Looking to the past, Hollywood hasn’t been very kind to the Queer community. Throughout the history of cinema gay men were either played as effeminate, weak, airheads, and lesbians as tough softball or gym coaches, who are often played by straight people,” Kallinteris said. “Within the the broader culture, there are subcultures, just as within any community. They are nuances within each that will never find its way between the pages of a table read.”

“To create an authentic moment the space has to be made for those who’ve lived that life every day. Gay, Black, White or Straight ect, our experiences of the world are different depending on how we show up. In many cases that will determine our outcomes,” he noted. “Specialized representation is so important because without the lingering trauma, and continued hatred & fear toward our community the Queer division of PKA wouldn’t exist, we’d just be accepted. We have important stories to tell and will continue to be telling them. PKA is just the begging for all to feel safe and thrive.”

In a statement issued from his offices at the Sunset-Gower Studios, the former historic home of pioneering Columbia Pictures founded in 1918, Kallinteris reflected, “When I was a young Actor being gay was career ending.”

“Today it’s celebrated. It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader because I can.”

To accomplish this he launched the Queer Division of his PKA agency. “The Queer Division of  PKA was inevitable, a natural outgrowth of my own personal evolution first by coming out as gay man, from Artist to Agent. The timing was right to make an impact with talent,” he said.

“As my Agency grew I was able to gleam that there was a space beginning to open up by which I could represent the full spectrum of Queer humanity & sexuality within the arts. Not as one dimensional static caricatures, but as beings who’s emotions run the full gamut of the human experience. This was very exciting to me, I have a opportunity to effect change. I wanted to be apart of history Pioneering a movement,” he added. 

He said that his message to LGBTQ artists is simple. “I want talent to know they will be given the opportunity to be who they are, live their truth and work for who they are without rejection, humiliation, fear, or hopelessness. People perform at their best, live at their best. And do their best when they are happiest.  PKA is not just a brand, we are the LGBTQIA community. If life imitates art, then let’s represent it boldly!”

His expectations of the film and television industry’s reaction? “My inspiration to launch the Q.D. is truthfully representing talent that reflects the current needs for the industry, and to remain a permanent fixture within the industry that continues to grow stronger. I want the industry to understand I’ve created this environment specifically for the Queer community. I’m happy & honored to be the first Agency that represents this community in this way,” Kallinteris said.

Last week, PKA, whose clients include, Justin Jedlica (TV personality), Steven James Tingus (President George W. Bush’s lead for disability research and policy for eight years), Kate Linder (The Young and the Restless), Albert Lawrence (IMDB Host), Deric Battiste aka DJ D-Wrek (MTV’s Wild ‘N Out), and Leslie Stratton (The Swing of Things, Truth or Dare), announced the launch of the Queer Division in a video.

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Julia Scotti, the movie, is just Funny That Way

Life is funny that way—not working out quite the way we thought it would. And that is ultimately the point

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Graphic courtesy of Susan Sandler

WHITING, NJ. – “You are a piece of work, Julia!” Simon Cowell blurted during her landmark America’s Got Talent debut.  Julia Scotti had just completed her audition for the show that ended not only with a standing ovation, but with the revelation that she had once upon a time been a stand-up comedian named Rick. As that news crossed the faces of the four judges, their collective jaws dropped. “I mean like you come out as the nice little granny school teacher all sweet and then you go into your routine and like WHOA. Talk about surprises – they are never ending with you, are they?” Cowell finished.

With Julia Scotti, the surprises never end.

Her latest surprise for the public is a gem of a film, Julia Scotti: Funny That Way.  It is a documentary of her journey from the days of Rick, the up and coming comic who performed on bills with Chris Rock and Jerry Seinfeld to Julia, who is wowing millions.

Of her transition, Julia has remarked. “It is NEVER an easy process whether you’re a public figure or not. You are essentially killing your old self and ending your old life. And with that comes the history you’ve built with friends and family. Some are very accepting, but most are not. That is why the suicide attempt rate for Trans  folk is still at 41%.”

Funny That Way does not spare us the heart-breaking fallout from the virtual “death’ of Rick Scotti.  Filmmaker Susan Sandler weaves Julia’s story, the losses and damage, to her rebirth, healing and the reuniting with her kids after a 15-year estrangement.

Julia and Susan sat down with us on the podcast Rated LGBT Radio to talk about the film.  “This is a story and like all stories, there is a beginning and a middle and an end. In the end, I want the audience to know there is HOPE. It is bumpy at times, joyous at times.  It is not just isolated to my life. You can have that in your life when you walk through that door of your own truth and come out the other side and when you look back on all you went through, you go ‘what the hell was I so afraid of?’ Look how happy I am.” Julia explains.

Susan had never directed a documentary before, but as one of Hollywood’s master story tellers, and a Golden Globe nominee, she was unfazed.  “The impetus behind this film was falling in love with Julia, her, then and now.  If you are working from a really rich, complex, compelling character –which is Julia—that is the GIFT. All of my nerve endings, my story telling, told me this was dynamic documentary, and that’s the form in which I wanted to tell it.”

Susan took five years to research, document and interact with Julia’s past.  She went through old footage of Rick Scotti’s stage acts and restored many of them so they could be used in the film. She brought on composer Matt Hutchinson for a beautiful score, and animator Sam Roth for whimsical cartoons that tie the story together.

Before the filming started, Julia had just re-connected with her son Dan, and daughter Emma.  A decade and a half ago, when Julia announced to her then spouse that she was in fact a woman transitioning, her then-wife retaliated by taking their kids away.  Dan and Emma spent their whole adolescence not knowing Julia at all. The story of that pain is told in Funny That Way.  Susan wanted to show the relationships real-time in the film as they came to reconnect with Julia. “We were just at the beginning stages of reconciling,” recounts Julia. “I did not want them feeling like I was just reconnecting with them because I wanted them in this film. I did not want to distance them even more.”

Dan and Emma were onboard, however.  Also on board, albeit only by phone, was Kate. Kate was  Julia’s last wife, described as Julia’s “love of her life”. Kate supported Julia emotionally and spiritually through out the entire transition process.  One of the most poignant moments in the film was Julia hearing Kate describe the end of their relationship.  Kate’s support was significant, but once Julia became fully Julia, it was evident to both that their relationship had changed and they had to let it go.

Susan captured many live moments of Julia’s evolving life.  She caught the very first time that son Dan ever called Julia “his mother” and the effect was pronounced.  Also caught in the film was a moment when Julia and Dan are watching Rick’s old stand up routines.  One such performance  takes Julia by surprise—it was a routine that she had not remembered ever doing.  It was a set where then Rick expressed his revulsion to transgender women in no uncertain terms.  Julia sat shocked.

“My sensibilities have been ‘woked’, I think that is the term for it.” She told me about that experience. ”Thinking back, I was going through issues and aware that something was not right internally. It frightened me to no end.  Looking at that clip, I am totally ashamed of what I did. It embarrassed me.”

“I knew it was me. I knew I was there. But I don’t feel a connection with that person.  That is the truth.”

The film does not dwell long on the past shames and regrets.  It arcs to the present where an adult daughter gets to see her parent’s comedy routine for the very first time.

Some of the greatest joy in the film is witnessing the growing relationship between Julia and son Dan. Dan is sweet and compassionate, and they both have a deep love of comedy.  Through their discussions and collaboration on things funny, we witness something decidedly not funny, the deep re-kindling love they have for each other.

The film will make you laugh, and cry, and laugh again.  New clips of Julia’s now famous turn on America’s Got Talent shows her more personal reflective moments over a life changing triumph.

The only regret director Sandler has about the film is how it will be brought to the public. “I am happy to be brining the film now for the people who have an appetite for it. For the truth, the humor, the complete emotional honesty.  But I mourn. I mourn the moments not being able to sit with you in a theater. And experiencing the film with you. It was supposed to be seen by audiences, and then give them the opportunity to go down the street and see Julia live at a club.”  But, life is funny that way—not working out quite the way we thought it would.   And that is ultimately the point.

Editor’s Note: The film was originally slated for theatrical release which was delayed then put off by the coronavirus pandemic.

Julia Scotti: Funny That Way is available now on digital platforms! That means you can rent or buy it online, at places like iTunes, Apple TV, Amazon, Google Play and more.

Here’s the full list of where you can find it. 

DIGITAL

iTunes
Amazon
Google Play
Xbox
VUDU
FandangoNow
Vimeo On Demand

CABLE / SATELLITE

iN Demand Movies
Verizon
AT&T
Vubiquity
DirecTV
Dish
Telus

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Greyson Chance: A Butterfly’s Journey from Holy to Hell and Back

A decade ago there was a boy made famous by a pop song and a viral video. Today, there is an artistic, powerful singer song writer

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Greyson Chance (Photo Credit: Broderick Bauman)

HOLLYWOOD – Many want to saddle singer Greyson Chance with the label “comeback” or having a “return from retirement.”  It is an understandable mistake as the “fame to disaster” narrative IS there. The real story is about one of the most exciting new artists of today.  One that speaks to not only the LGBTQ youth of today, but of their entire generation.

Over a decade ago, there was a boy.  The boy was very gifted at the piano, and at singing. He entered a talent contest and belted out a well known pop song by one of the trendiest artists of the day.  Of course, there was a video.  Social media was itself an infant, and as such, started launching like videos into the stratosphere.  His video was one of the first to be seen gazillion of millions of times.  Then there was the Ellen show, then the record contracts and a music video where he was Ariana Grande’s love interest.

Life would never be the same again.  It would not be the same as Greyson Chance would be forever entwined with Lady Gaga and Paparazzi.  It would not be the same as when his voice changed and it all came crashing down. “The second that the momentum stopped, you know, I truly was just sort of thrown to the curb when I was 15. I, all in the same day,  got dropped by my record label, my management, my publicist, and my agent.  It was the ultimate for me, as a child musician.” Greyson told me.

The real story however, is of a fantastic singer/songwriter who hit the industry in a big way with a debut album of his own work in 2019. He emerged then as a honed artist who had already been educated on the workings of the industry, and as a professional who knew how to walk in with his own vision and make it happen.

“It is a machine and, when I when I came on the scene originally, I had this huge viral video and with that, a lot of money coming around, and big players kind of involved in the industry,” he says.  He made music their way.  He did the songs they wrote, and played the part of the person they wanted him to be.

(Photo Credit: Broderick Bauman)

He learned how to be the kind of artist he did not want to be.  The young artist went back to Oklahoma and enveloped himself in the cocoon of normalcy.  He incubated there, fell in love, and had his heart broken by someone he thought he was going to hold onto forever.  At that point, he emerged from the cocoon, with a full self-written album in hand, a musical butterfly spreading his wings.

“I’m 23 years old right now. And I started off with my first record deal when I was 12 years old. There was so much of my adolescence, in my childhood in music, where I wasn’t given the chance to not only make music that I really wanted to do, but also to be writing. I was being forced to do records,  I didn’t have a huge artistic involvement in anything I was doing. So when I came back into music, I really wanted to finally show the world that I was a songwriter, that I had a unique voice. That I had some unique things to say.   I really emphasize authenticity. These are stories that are coming from the heart. These are things that are coming from my own life. It’s not even really a choice that I have anymore.  It is honest, from a place that’s true and genuine,” Greyson states.

Greyson represented not only with a new thematic “voice”, but an actual new physical voice as well.  “It was interesting, what I went through, they always tell you that when your voice changes, it’s going to be sort of a tough go and that is such an understatement. It was so hard for me for a few years to really kind of find comfortability in my physical voice again. I mean, I really struggled through my voice change. But ultimately, I learned as a kid when I was on the road that in a way, when you’re a touring musician, you’re sort of like an athlete. My muscle is, is my voice.”  Greyson’s new voice is far superior to his belting-out-broadway boy voice.  He has a harmonic high register, and a sultry deep one. It copies no one else’s, this voice is uniquely his own.

In 2019, Greyson came out with his launch album “Portraits”.  The stories of the album gave vision to the various personas he saw of himself as he navigated an ill fated romance.  One week,  he was looking at engagement rings, the next week, out of the blue, “the man of his dreams” left him without explanation.  Greyson works each personal portrait into the prism of a beautiful, musically shiny diamond. “Portraits for me was truly my reinvention piece. And what I mean by that is, at the time before I put out that album, you know, I couldn’t even get a meeting in LA with anybody. You know, no one wanted to touch me, no one wanted to be involved in in my project and involved in my music. So I told myself, You know what, I’m going to write a record, and I’m going to write a full album. I’m going to give this one last shot, and see, see what happens. And, fortunately, it went over very, very well.”

In 2019 he filled 109 venues performing the songs from Portraits.  He publicly came out as gay in response to a fan during a conversation about living authentically.  He has also been transparent about his personal challenges, including his on-going battle with anorexia.  “It was truly very, very difficult to diagnose it. I had come off of this really bad breakup that I wrote my album Portraits about, and I was developing habits of not eating and not taking care of myself. I blamed it on the sadness I was feeling at the time. Then, as things became a little more normal, and I became a bit more stable, I noticed that I still had had this issue and things that were going on. For me, I had to work through a lot of therapy,   to get a grasp on it. I brought it public because it was so stigmatized, and still is.   I like to think that I have my life together. But here’s  the deep issue that I struggle with, and I go through. I’m  on a road to recovery, it’s never ending when you are battling with an eating disorder, but I’m doing very, very well right now. I’m staying on top of it. Through my disclosure, there was such an amazing and beautiful dialogue that keeps happening, people reaching out to me and sort of sharing their own struggles and battles with it as well.   I’m working on trying to be the best version of myself that I can be.”

(Photo Credit: Broderick Bauman)

After a forced lockdown during the pandemic of 2020, Greyson is ready to move into the next phase of his butterfly trajectory.  He has released two singles off his next EP, Trophies, and he is in love again.  The songs on the EP will be in a thematic composition.  The two first released create a spiritual arc from the heavenly rich ballad-like Holy Feeling to the high-pop danceable hedonistic Hell Boy. 

He says of the new material, “My boyfriend and I just celebrated our one year anniversary yesterday.   Trophies, is really expressing the fear of now losing love, and sort of that fear that was created in the old relationships that I’ve had. It is the desire for my fans and queer people around the world to know what  truly being in love is. We’re constantly told as, as queer people that, our relationships are always going to be rocky, they’re never going to be sort of American Dream type relationships. Because we’re different, these relationships are going to be different, because we’re inherently different. That is just absolutely BS.   Regardless of how you identify who you love, you can totally have all of this stereotypical white picket fence, you know, dog in the backyard green grass type of thing. It is so within your wheelhouse. It’s not out of reach. This record is emotionally going through all those those things, and talking about them in the music.”

A decade ago there was a boy made famous by a pop song and a viral video.  Today, there is an artistic, powerful singer song writer who sings the authenticity of his generation.  The rush you feel is the wind from rainbow colored butterfly wings taking flight, and the knowledge that the most famous Greyson Chance is the one yet to come.

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