NEW YORK – GLAAD, the world’s largest LGBTQ media advocacy organization, has released its ninth annual Studio Responsibility Index (SRI), a study that maps the quantity, quality, and diversity of LGBTQ characters in films released by the eight major film studios.
Due to the unique disruption to theatrical releases in the U.S. in 2020 caused by the COVID-19 pandemic, GLAAD chose to center its analysis on the eight film studios that had the highest theatrical grosses from films released in 2019 as the last standard full year, as reported by the box office database Box Office Mojo.
These studios were Lionsgate, Paramount Pictures, Sony Pictures, STX Films, United Artists Releasing, Universal Pictures, The Walt Disney Studios, and Warner Bros.
GLAAD found that of the 44 films released from major studios in 2020, ten (22.7 percent) contained LGBTQ characters including Like a Boss, The Broken Hearts Gallery, Fantasy Island, Valley Girl, Freaky, The New Mutants, and Birds of Prey. This is an increase of 4.1 percent, but a decrease of 12 films from last year’s 18.6 percent (22 out of 118 films). The limited number of films released theatrically in 2020 is a direct result and consequence of the COVID-19 pandemic, which shut down several theaters in the U.S. and globally for large portions of the year.
GLAAD counted 20 LGBTQ characters among all major studio theatrical releases in 2020, a decrease from 50 characters in last year’s report. This decrease is once again largely due to the much-reduced sample size of films released in 2020. Of the 20 LGBTQ characters, 11 are women and 9 are men, making this the first time in the SRI’s history that queer women characters outnumber the men.
For the fourth year in a row, there were zero transgender and/or non-binary characters counted in the major studio films released. GLAAD’s call for increased transgender and non-binary representation and storytelling, especially in a political climate with anti-transgender legislation moving forward at a record pace, remains.
The racial diversity of LGBTQ characters saw a welcome increase in this year’s findings. Of the 20 LGBTQ characters counted, 40 percent (or 8 characters) were characters of color, an increase of six percent from 2019, though a decrease of nine characters. This is still 17 percent lower than the record high of 57 percent characters of color in 2017. Of the 20 LGBTQ characters, eleven (55 percent) were white, three (15 percent) were Asian-Pacific Islander, two (10 percent) were Black, two (10 percent) were Latinx, and one (5 percent) was Indigenous. One character (5 percent) was a non-human appearing alien in Onward.
There was a significant increase in the screen time of LGBTQ characters found in major studio releases in 2020. Half of LGBTQ characters (10 out of 20) registered ten minutes or more of screen time. Six of the 20 characters (or 30 percent) logged under one minute. While some films like The New Mutants, Freaky, Fantasy Island, and The Broken Hearts Gallery used that expanded screen time to tell more developed or nuanced queer stories, often with more than one queer character, more time did not equate to quality across the board. For example, The Gentleman and Buddy Games both registered more than ten minutes but with characters that were stereotypical and which elicited negative reactions from many LGBTQ viewers. There remains a huge opportunity for meaningful LGBTQ storytelling and for unambiguously marketing and promotion.
This year’s report found a decrease in bisexual representation, and an increase in lesbian representation. Of the ten LGBTQ-inclusive films released in 2020, five films (50 percent) contained a lesbian character, up from last year’s 36 percent, but still a decrease from the 55 percent of films with lesbian characters in 2018. Representation of gay men decreased from 68 percent to 60 percent (six films) this year, while bisexual characters decreased from 14 percent to 10 percent (only one film contained a bi+ character).
Of the 20 LGBTQ characters in this report, GLAAD found zero characters living with HIV and also zero LGBTQ characters with a disability. GLAAD began counting LGBTQ characters with disabilities in its 2020 Studio Responsibility Index, and only tallied one character in a 2019 film.
Based on the quality, quantity, and diversity of LGBTQ representation in the studios’ slate, GLAAD has previously assigned a grade to each major studio: Excellent, Good, Insufficient, Poor, or Failing. However, due to the unique and unforeseeable halt of theater operations for a majority of 2020, GLAAD suspended assigning each studio a grade in this year’s report due to circumstances outside of their control. GLAAD plans to resume its grading scale in the next study.
“This is a critical time of transformation for Hollywood – challenged to redefine business lines and practices during a global pandemic, driven by an increased demand from consumers hungry for new content, and rocked by the rightful reckoning and pressure for these studios to create more meaningful substantive change in representing and investing in marginalized communities,” said GLAAD President & CEO Sarah Kate Ellis. “This transformation represents a great opportunity to swiftly accelerate acceptance of LGBTQ stories, break new ground, and invest in queer and trans talent and stories that audiences are eager to watch. Hollywood and the business of storytelling must be more nimble, more creative, more open than ever before.”
In the past year, GLAAD challenged the TV industry to introduce new regular and recurring LGBTQ characters living with HIV in order to combat stigma. Now, GLAAD is similarly challenging Hollywood studios. GLAAD is calling on the distributors tracked in this report to urgently prioritize active development and theatrical release in coming years of stories featuring LGBTQ characters living with HIV. In 2020, GLAAD’s The State of HIV Stigma survey found that nearly nine in ten Americans believe “there is still stigma around HIV,” which is keeping progress back. Approximately 1.2 million Americans and about 38 million people globally are living with HIV.
Three years ago, GLAAD issued a challenge to the film industry that 20 percent of annual major studios releases must include LGBTQ characters by the end of 2021, and that 50 percent include LGBTQ characters by the end of 2024. In GLAAD’s 2019-20 Where We Are on TV study, GLAAD challenged the TV industry to ensure that within the next two years, half of LGBTQ characters tracked are also people of color. At that time, only broadcast scripted primetime series had achieved that goal. In a single year, cable met and surpassed that challenge and broadcast continued to exceed this benchmark for the third year in a row GLAAD found in its most recent Where We Are on TV study. Last year, GLAAD extended that challenge to the film industry as well.
“We know that LGBTQ audiences are a powerful and invested audience – and a quickly growing one – as we see more and more people empowered to live their authentic lives. The power, passion, and growth of LGBTQ audiences proves that if studios wish to be successful in retaining and expanding fans, they must tell meaningful queer and trans stories,” said Megan Townsend, GLAAD’s Director of Entertainment Research & Analysis. “Nielsen reports that LGBTQ audiences are key box office drivers, heavy streaming users, and set the social conversation. As the industry looks towards a changing future, it is clear that LGBTQ characters need to be part of stories across all platforms of distribution, and prioritizing offering fan engagement experiences provides even greater opportunity for representation and inclusion. Sincerely engaging LGBTQ audiences can only benefit the studio’s bottom lines.”
GLAAD’s Studio Responsibility Index assesses films based on GLAAD’s “Vito Russo Test,” a set of criteria analyzing how LGBTQ characters are situated in a narrative. Named after GLAAD co-founder and celebrated film historian Vito Russo, and partly inspired by the “Bechdel Test,” these criteria represent an expectation and standard, providing a roadmap for a greater number of mainstream Hollywood films to reach and surpass. However, as several films tracked prove, passing this test does not guarantee that a film is free of problems, offensive in its portrayals or tropes in films where an LGBTQ character may be tied to the film’s plot, but whose stories were objectionable. Passing the Vito Russo Test is a first step, rather than the finish line.
For a film to pass the Vito Russo Test, the following must be true:
- The film contains a character that is identifiably lesbian, gay, bisexual, transgender, or queer (LGBTQ).
- That character must not be solely or predominantly defined by their sexual orientation or gender identity (i.e. the character is comprised of the same sort of unique character traits commonly used to differentiate straight or non-transgender characters from one another).
- The LGBTQ character must be tied into the plot in such a way that their removal would have a significant effect. Meaning they are not there to simply provide colorful commentary, paint urban authenticity, or (perhaps most commonly) set up a punchline. The character should matter.
GLAAD’s 2021 Studio Responsibility Index found that 90 percent of LGBTQ-inclusive films (9 of 10) released in 2020 passed the Vito Russo Test, which is the highest percentage recorded in the report’s history, or 20 percent of 44 total films. However, this finding again must be understood in the context of a much-reduced sample size of films released theatrically in the U.S. in 2020.
For the full report, visit: www.glaad.org/sri.
Dorian Awards cast a queer eye on television
Netflix favorite ‘Heartstopper’ nabs three nominations
As Hollywood gears up for the year’s second “Awards Season” ahead of July 12’s scheduled announcement of the 2022 Emmy nominations, it seems only fitting for us to bring some attention to another awards organization that has already dropped its picks for the year’s best in TV content. We’re referring, of course, to the Dorian Awards, which have been bestowed by the Society of LGBTQ Entertainment Critics since 2009.
If you’ve never heard of the Dorians, that’s not surprising. In keeping with the entertainment industry’s frustratingly persistent skittishness when it comes to All Things Queer, the Dorians haven’t gotten much attention in the mainstream press – though with a 385-member voting body and a scandal-free history, they are arguably more reputable than the Golden Globes. Named in honor of iconic queer writer Oscar Wilde (as a reference to his novel “The Picture of Dorian Gray”), they are admittedly low profile when it comes to glitz and glamour, handing out their prizes at an annual “Winner’s Toast” day party instead of a formal evening affair. Nevertheless, they’ve gained traction as Hollywood’s attitudes toward LGBTQ inclusion and representation have shifted, and each of their two annual ceremonies – one for TV, one for film, held about six months apart – draw an increasing number of A-listers to participate, both as nominees and presenters; and while the Dorians may not hold the level of prestige enjoyed by some of the industry’s other awards, at least we can be sure their voting membership won’t overlook queer shows and talent as often as their counterparts at the Motion Picture and Television Academies.
That doesn’t mean the Dorians are exclusively focused on LGBTQ content. The Society of LGBTQ Entertainment Critics – formerly known as the Gay and Lesbian Entertainment Critics Association, or GALECA – explicitly states that its awards are to honor “the best in film and TV, mainstream to queer+”, while calling attention to the importance of queer contribution and sensibility within the wider culture and reminding “bullies, bigots, and our own at-risk youth that the world loves the sly Q eye on entertainment.” With some state governments and the SCOTUS itself dedicating themselves an all-out assault on the LGBTQ community and its hard-won rights, that last point seems particularly resonant; with so much homo- and transphobic hate pouring its efforts into erasing us, our visibility is more crucial than ever.
Fortunately, as the slate of Dorian nominees announced by GALECA on June 22 reveals, the queer presence on television is strong. No longer segregated to a “niche” genre, the LGBTQ community has finally begun to appear on our screens as it does in life – blended, alongside everyone else, into a world that has room for us all. That’s what ideal inclusion looks like, and it’s heartening – especially now – to see that it has become the norm in so much of the industry’s best offerings.
This year, HBO leads the pack in terms of nods. Two of its heavily queer-inclusive shows, “Hacks” and “Somebody Somewhere,” received five nominations each, while “Euphoria” and “The White Lotus” snagged 4 and 3, respectively. In total, the cable-and-streaming giant got 24, with an additional 13 for programming exclusively on HBO Max, bringing the total to 37.
Coming in second with less than half that number is Netflix. Among its 15 nominations are three nods for “Heartstopper,” the runaway queer fan favorite based on a sweet UK webcomic about two schoolboys in love, and two each for Natasha Lyonne’s brain-twisting time travel dramedy “Russian Doll” and the already-award-winning Korean thriller “Squid Game.”
New series scored high among Dorian voters this year. Besides “Heartstopper” and “Somebody Somewhere,” ABC’s “Abbott Elementary,” Showtime’s “Yellow Jackets,” and Apple TV+’s “Severance” each received multiple nominations, with many other freshman titles picking up individual nods.
As for the awards themselves, the Dorians feature fewer overall categories – instead of being split into “gendered” divisions, actors of all genders compete for a single award in each category – and set themselves apart by striking a mildly tongue-in-cheek pose in the presentation of its “special” accolades. In presenting awards like Campiest TV Show or the brand new “You Deserve an Award” award, the Dorians give a tip of the lavender hat to the tradition of Wildean wit at their back – but they also assert the importance of queer perspective when it comes to taste-making and the aesthetic arts.
Nominees for the 14th Annual Dorian TV Awards (honoring shows which debuted June 1, 2021-May 31, 2022) are listed below. Winners will be revealed on Wednesday, Aug. 12.
BEST TV DRAMA: “Better Call Saul”; “Heartstopper”; “Yellowjackets”; “Severance”; “Succession”
BEST TV COMEDY: “Abbott Elementary”; “Barry”; “Hacks”; “The Other Two”; “Our Flag Means Death”
BEST LGBTQ SHOW: “Hacks”; “Heartstopper”; “The Other Two”; “Our Flag Means Death”; “Somebody Somewhere”; “RuPaul’s Drag Race”
BEST TV MOVIE OR MINISERIES: “Dopesick”; “The Dropout”; “Midnight Mass”; “Station Eleven”; “The White Lotus”
BEST NON-ENGLISH LANGUAGE TV SHOW: “Elite”; “Lupin”; “My Brilliant Friend”; “Pachinko”; “Squid Game”
BEST UNSUNG SHOW: “Better Things”; “The Other Two”; “Our Flag Means Death”; “Russian Doll”; “Somebody Somewhere”; “We Are Lady Parts”
BEST TV PERFORMANCE: Quinta Brunson (“Abbott Elementary”); Kit Connor (“Heartstopper”); Bridget Everett (“Somebody Somewhere”); Bill Hader (“Barry”); Lily James (“Pam & Tommy”); Natasha Lyonne (“Russian Doll”); Melanie Lynskey (“Yellowjackets”); Amanda Seyfried (“The Dropout”); Jean Smart (“Hacks”); Zendaya (“Euphoria”)
BEST SUPPORTING TV PERFORMANCE: Murray Bartlett (“The White Lotus”); Anthony Carrigan (“Barry”); Jennifer Coolidge (“The White Lotus”); Hannah Einbinder (“Hacks”); Jeff Hiller (“Somebody Somewhere”); Janelle James (“Abbott Elementary”); Matthew Macfadyen (“Succession”); Christina Ricci (“Yellowjackets”); Rhea Seehorn (“Better Call Saul”); Sydney Sweeney (“Euphoria”)
BEST TV MUSICAL PERFORMANCE: Beyonce, “HYPERLINK “https://www.youtube.com/watch?v=4aeDlZOD-B0″Be Alive” (94th Academy Awards); Kristin Chenoweth and cast, “HYPERLINK “https://www.youtube.com/watch?v=_PmS5JIfSkk”Tribulation” (“Schmigadoon!”); Bridget Everett and Jeff Hiller, “HYPERLINK “https://www.youtube.com/watch?v=As-a_bzFrl0″Don’t Give Up” (“Somebody Somewhere”); Jean Smart, “You Make Me Feel Like a Natural Woman” (“Hacks”); Cecily Strong and cast, “HYPERLINK “https://www.youtube.com/watch?v=Dj5mJGyoYIM”Corn Puddin’” (“Schmigadoon!”); Hannah Waddingham and cast, “HYPERLINK “https://www.youtube.com/watch?v=4B0HktX4xqQ”Never Gonna Give You Up” (“Ted Lasso”)
BEST TV DOCUMENTARY OR DOCUMENTARY SERIES: “The Andy Warhol Diaries”; “The Beatles: Get Back”; “How to with John Wilson”; “Spring Awakening: Those You’ve Known”; “We Need to Talk About Cosby”
BEST CURRENT AFFAIRS PROGRAM: “The Amber Ruffin Show”; “The Daily Show with Trevor Noah”; “Full Frontal with Samantha Bee”; “Last Week Tonight with John Oliver”; “The Late Show with Stephen Colbert”; “The Rachel Maddow Show”; “ZIWE” (Showtime)
BEST ANIMATED SHOW: “Arcane”; “Big Mouth”; “Bob’s Burgers”; “Q Force”; “Tuca & Bertie”; “What If…?”
BEST REALITY SHOW: “Legendary”; “The Real World Homecoming: New Orleans”; “RuPaul’s Drag Race”; “Survivor”; “Top Chef: Houston”; “We’re Here”
MOST VISUALLY STRIKING SHOW: “Euphoria”; “The Gilded Age”; “Loki”; “Severance”: “Squid Game”
CAMPIEST TV SHOW: “Diana: The Musical”; “Euphoria”; “Girls5Eva”; “Nine Perfect Strangers”; “Schmigadoon!”
WILDE WIT AWARD (to a performer, writer or commentator whose observations both challenge and amuse): Joel Kim Booster; Quinta Brunson; Jerrod Carmichael; Jennifer Coolidge; Bowen Yang
THE “YOU DESERVE AN AWARD!” AWARD (to a uniquely talented TV icon we adore): Gillian Anderson; Christine Baranski; Lynda Carter; Kim Cattrall; Cassandra Peterson
GALECA LGBTQIA+ TV TRAILBLAZER (for creating art that inspires empathy, truth and equity): Jerrod Carmichael; Margaret Cho; Russell T. Davies; Kate McKinnon; Bowen Yang
‘Wildhood’ explores queer Indigenous experience
An example of personal filmmaking at its most sublime
It’s hardly news to say that the movies have a less-than-ideal track record when it comes to authentic representation – or, really, any representation at all – of Indigenous people. For most of its history, Hollywood’s “dream machine” dutifully perpetuated the narrative that, with very few exceptions, “the only good Indian is a dead Indian,” and even after the cultural tide began to turn, filmmakers who attempted to propagate a more compassionate viewpoint usually muted their efforts with stereotyped portrayals of Native Americans that presented them either as comic relief or tragic victims of oppression – when they weren’t being idealized as magical fonts of ancient wisdom, that is – and did little to convey the reality that they were really just human beings like the rest of us.
It goes without saying that the LGBTQ community can relate. But though things have gotten somewhat better for us in recent years, we are still hard pressed to think of many examples of films in which Indigenous people have not been essentially marginalized – and when we try to think of movies with Indigenous people who are also queer, the best most of us can do is “Little Big Man,” the 1970 Arthur Penn western in which Dustin Hoffman is raised by a Sioux Nation tribe and grows up with a Two Spirit character named Little Horse (played by Native actor Robert Little Star) as his friend. For the record, it’s a sympathetic portrayal, if not quite fully drawn. It was also nearly 60 years ago, and we’re still waiting for another mainstream movie to show us a more authentic vision of queer Native experience.
While Hollywood continues to drag its feet on correcting that gap, however, Canadian/L’nu Two Spirit/nonbinary filmmaker Bretten Hannam has been hard at work to bring their own perspective to the screen – and their debut feature film, “Wildhood,” which launches on Hulu June 24, is as much a breath of trope-free air as one could wish.
Disregarding expectations about Indigenous identity right out of the gate, it centers on Link (Phillip Lewitski), a half-Mi’kmaq teenager who lives with his younger half-brother Travis (Avery Winters-Anthony) in a rural trailer park on the coast of Nova Scotia. Their home life is toxic, with an abusive father (Joel Thomas Hynes) more interested in training them for a life of crime than in taking care of their basic needs; when Link learns that his Mi’kmaw mother may still be alive – despite what he had been told since early childhood – he abruptly decides to steal away with Travis and make a run for it, hoping to locate her and find a better life in the process.
Ill-prepared for a cross-country journey, an early encounter brings them quickly under the wing of Pasmay (Joshua Odjick), a Two Spirit Mi’kaq pow wow dancer traveling from gig to gig. Though Link is hesitant to trust this interloper and the two are frequently at odds, he gradually warms to Pasmay, and an emotional bond begins to grow between them as the three young travelers make their way across the Canadian wilderness together.
It’s not hard to gather where things go between Link and Pasmay, and together with the quest to reconnect Link to his estranged mother and the Native heritage she represents, it should be obvious enough that this is a coming-of-age tale whose protagonist yearns to embrace more than one neglected facet of his identity. Yet though it might be easy to classify “Wildhood” as a teen “coming-out” movie, it would also be misleadingly dismissive.
Like its central character, it’s a movie with many questions to be asked and answered, and sexuality is only one of the many elements woven together in Hannam’s briskly paced yet intricately layered screenplay. No one in the movie needs to “come out,” exactly; it’s easily gleaned that Link knows from the start that he is gay, or at least someplace on the queer spectrum, even if he doesn’t know that getting comfortable with that fact might be tied up in the journey ahead of him. As for Pasmay, they’re fully comfortable with their Two Spirit nature, yet the past trauma of family rejection is something they have yet to fully overcome. As these two walk together – accompanied by the one-eyed but clear-sighted Travis, who is working through family issues of his own – their growing closeness requires them to grapple with these lingering fears, providing a framework through which Hannam can subtly illuminate the differences between the world views held by white and Indigenous cultures.
With an Indigenous queer filmmaker behind the camera, the takeaway from that contrast inevitably emphasizes the opposition between two different cultural conceptions of queerness itself, and rightly so. As for their direction, Hannam’s remarkably self-assured visual storytelling effortlessly complements the nuances of their screenplay to mesmerizing effect, making all these intellectual-sounding themes arise like thoughts in a meditation, to be noted as they pass and remembered later. No doubt it helped that “Wildhood” was expanded by Hannam from an award-winning 2019 short; in any case, the result is a film with an easy, natural flow that neither shies from emotion nor dwells in it, and culminates exactly where we hoped while taking us places we never expected to go.
As for the acting – a crucial element in making any film rise to its highest aspirations – Hannam’s cast not only serves them well, but are so perfectly attuned to their movie’s delicate spirit that they seem not to be performing at all. The nonbinary Odjick, charismatic without being showy, exudes a confident compassion that makes a perfect complement to Lewitski’s awkward and angry teen rebel, and the easy chemistry between them helps to make the latter’s lowering of defenses all the more believable. Winters-Anthony gives a stunningly genuine performance as Travis, helping to bring full weight to the all-important theme of chosen family; and Michael Greyeyes (the film’s most recognizable face, thanks to TV roles in “True Detective” and “Fear the Walking Dead,” among other titles) gives a memorable turn as a helpful stranger who facilitates Link’s eventual reunion with his mother – in exchange for a favor, of course.
“Wildhood” comes to Hulu after becoming a hit on the Festival Circuit in 2021, where it was an official selection at both TIFF and AFI Fest and won awards at both the Canadian Screen Awards (for Odjick’s performance) and the Palm Springs International Film Festival. That provenance is a testament to the importance of such festivals in amplifying the voices of marginalized artists and allowing them to tell their stories – but it’s not the reason for putting the movie at the top of your must-stream list, nor is the fact that it’s an embarrassingly rare example of Indigenous queer inclusion on the screen. Ultimately, the reason for watching “Wildhood” is that it is an example of personal filmmaking at its most sublime, existing at the intersection of personal experience, public enlightenment, and popular entertainment.
That’s a big burden to bear, but “Wildhood” never feels weighed down. On the contrary, it leaves us with a sense of freedom and acceptance that is lighter than air.
Summer of 2022: a queer screen roundup
Kevin Bacon stars in queer horror flick ‘They/Them’
Since the summer season starts with Pride month, we can always count on June bringing plenty of great LGBTQ entertainment options to our screens. This year has been particularly bountiful – we’ve already highlighted several standout titles for our readers, like the smart, sophisticated, and stingingly funny rom-com “Fire Island” (now streaming on Hulu) and the dazzlingly diverse re-imagination of the iconic series “Queer as Folk” (available to watch on Peacock), as well as the return of “Love, Victor,” Hulu/Disney’s popular coming out/coming of age series (beginning its third and final season on June 15) – so it’s understandable if viewers are still making their way through these and some of the other movies and shows on our must-see list.
If you’re one of those who are still catching up, however, you’d be well advised to do it quickly. June is not quite done rolling out its offerings, and that’s just the beginning. The rest of summer has more in store for queer viewers – and once again, the Blade is here to offer some suggested titles that we think are worth looking out for in the weeks to come.
Being BeBe (Now streaming, Apple TV/Prime Video/broadcast premiere June 21 on Fuse)
Director Emily Branham brings us this intimate documentary charting 15 years in the life of drag performer Marshall Ngwa (aka BeBe Zahara Benet), who immigrated to America from the homophobic environment of his native Cameroon before becoming the first champion on “RuPaul’s Drag Race” and launching a career as one the leading artists celebrating Black Queer Excellence today. It’s an up-close look at a performer whose emotional journey raises timely concerns at the intersection of LGBTQ, BIPOC, and immigrant lives today.
The Umbrella Academy, Season 3 (June 22, Netflix)
The popular comic-book-inspired fantasy drama series comes back for a much-anticipated third installment after leaving its titular collection of superhero siblings stranded in a strange timeline at the end of the last one. Hip and irreverent, this violent, decidedly adult superhero saga had a huge cult following even before Netflix brought it to the screen, and show creator Steve Blackman’s slick, stylish adaptation of it has spawned a whole new army of fans – many of them queer, thanks to the material’s inclusion of two queer characters among the leads and an “outsider” vibe that gives it a generally queer sensibility. This season will surely be essential viewing for LGBTQ viewers, since it marks the return of Elliot Page to the character he originated before transitioning, in a storyline carefully crafted by Blackman (who consulted with GLAAD and brought in writer Thomas Page McBee to consult, alongside Page himself) in which the character (formerly Vanya) transitions to become Viktor and begins using he/him pronouns – a historic moment in television, whether you’re a fan of superhero shows or not. Besides Page, the series stars Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, Justin H. Min, Colm Feore, Ritu Arya, and Justin Cornwell.
Where the Crawdads Sing (July 15, in theaters)
Though Delia Owens’ best-selling novel does not tell a specifically queer story, it has drawn many queer fans. That’s probably because its lead character Kya, an abandoned girl who raised herself to adulthood in the dangerous marshlands of North Carolina, is relegated to the status of “other” when she is drawn into the nearby town community by two young men – and it doesn’t help matters when one of them turns up dead. Starring Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., and David Strathairn, this screen adaptation was written by “Beasts of the Southern Wild” scribe Lucy Alibar and directed by Olivia Newman.
Anything’s Possible (July 22, Prime Video)
We may have thought we had seen all multi-hyphenate performer Billy Porter’s many talents, but we were wrong. The Tony- and Emmy-winning Porter makes his debut as a feature film director with this “delightfully modern” Gen Z coming-of-age story about a confident trans high school girl named Kelsa who is busily navigating her way through senior year when she discovers that a shy classmate has developed a crush on her. Written by Ximena García Lecuona, the story is described as “a romance that showcases the joy, tenderness, and pain of young love,” and it stars Eva Reign, Abubakr Ali, and Renée Elise Goldsberry. And in case you’re wondering, Porter does not appear, himself – though he is credited as Executive Music Producer alongside Justin Tranter, which is yet another reason to look forward to this one.
Uncoupled (July 29, Netflix)
Neil Patrick Harris returns to the sitcom milieu that has brought him fame in a sitcom so perfect for him it’s shocking nobody ever thought to make it before – but perhaps we had to wait for him to be the right age to play Michael, a 40-something gay man who thinks he has a picture perfect life until his husband blindsides him by walking out the door and away from their marriage after 17 years together. He’s now confronted with the nightmare scenario of being middle-aged, queer, and single in New York City – but when he starts to recognize the possibilities of living a single life, he decides to make the most of it. From “Emily in Paris” creator Darren Star and longtime “Modern Family” producer Jeffrey Richman, it looks to be a prime opportunity to enjoy Harris at his comedic best in a sharp, sexy, and very queer eight episodes of television.
They/Them (August 5, Peacock)
From horror cinema heavy-hitters Blumhouse Productions comes this queer fright flick (pronounced “they-slash-them”) described as a “queer empowerment story set at a gay conversion camp” and starring Kevin Bacon as a counselor hoping to help his “guests” find “a new sense of freedom” by shedding their queerness. Unfortunately, a mysterious killer starts claiming victims, and the campers must work together to protect themselves from more than just heteronormative programming. Oscar-nominated screenwriter John Logan (also responsible for the beloved horror series “Penny Dreadful”) created, wrote, and directs, bringing his vision as an out gay man to a classic genre with surprisingly few queer entries. Kevin Bacon, Anna Chlumsky, Theo Germaine, Carrie Preston, Quei Tann, Austin Crute, Monique Kim, Anna Lore, Cooper Koch, and Darwin del Fabro star.
Besides all these, don’t forget we also have new seasons of queer-inclusive sitcoms “Rutherford Falls” (June 16, Peacock) and “What We Do in the Shadows” (July 12, FX), so there will be more than enough strong LGBTQ content to hold us over until the release of Billy Eichner’s hotly anticipated gay rom-com “Bros” in September – but you’ll have to wait until our Fall Preview issue to find out more about that.
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