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Holiday movie and TV preview

Lesbian romance, ‘Rent’ adaptation, and Lady Gaga make the season bright

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Philemon Chambers and Michael Urie in ‘Single All the Way.’ (Photo courtesy of Netflix )

It wasn’t all that long ago – barely one or two Decembers ago, really – that the holiday lineup of movies and TV shows offered very little in the way of LGBTQ inclusion. It may have been the time of year to don our gay apparel, but the closest thing to gay representation we were likely to get on our screens was an elven dentist and a few misfit toys. 

This year, however, is a different story. The seasonal entertainment landscape of 2021 brings with it the usual crop of mainstream (read: straight) crowd-pleasers with queer appeal (Lady Gaga as scheming real-life social-climber and Gucci murderer Patrizia Reggiani? Yes, please!), but it also comes bearing a much heftier-than-usual bag of gifts in the form of actual queer content, with actual queer characters and stories, and with some of our favorite stars. Not all of them are holiday stories, of course, but that doesn’t mean they don’t all make the season brighter – and the Blade is here to help you sort through the bounty with our annual Holiday Preview, a roundup of titles our readers will want to check out. The list is below:

tick, tick…BOOM! (Netflix and in theaters 11/ 19): Perfect for Broadway lovers, this is the hotly anticipated film adaptation of the posthumously produced autobiographical musical by Jonathan Larson, who revolutionized musical theater as the creator of “Rent” but died suddenly of an aortic dissection at 35 before he could see it grow to a global phenomenon. The film follows the young theater composer – played by Andrew Garfield – as he struggles to write what he hopes will be the next great American musical while waiting tables in a NYC diner, dealing with pressures in his personal life, and watching the artistic community around him be ravaged by the ongoing AIDS crisis. Fittingly enough, this hotly anticipated film about a Broadway giant is the feature directorial debut of another Broadway giant – none other than “Hamilton” and “In the Heights” creator Lin-Manuel Miranda, himself. Written by Tony-winner Steven Levenson (“Dear Evan Hansen”), it also stars Alexandra Shipp, Robin de Jesús, Joshua Henry, Mj Rodriguez, Bradley Whitford, Tariq Trotter (aka Black Thought of The Roots), Judith Light, and Vanessa Hudgens. 

House of Gucci (In theaters 11/24): As mentioned above, this tale of true crime and high fashion stars LGBTQ ally Lady Gaga, and it’s already been called “disappointing” by the real-life Gucci family – so you know it’s going to be juicy. Inspired by the shocking true story of Patrizia Reggiani (Gaga), whose marriage into the family behind the Italian fashion house takes center stage as the film chronicles three decades of love, betrayal, decadence, revenge, and ultimately murder. Directed by multiple Oscar-nominee Ridley Scott, this sure-fire award season contender also stars Adam Driver, Jeremy Irons, Salma Hayek, Al Pacino, Reeve Carney, and an unrecognizable Jared Leto as Paolo Gucci.

The Humans (Showtime and in theaters 11/24): Another import from the Broadway stage, this seasonally appropriate adaptation of Stephen Karam’s Tony-winning drama centers on a dysfunctional NYC family as they help their youngest daughter Brigid (Beanie Feldstein) move into her new apartment with her boyfriend (Steven Yuen) on Thanksgiving Day. This sets the scene for a relatable – if occasionally uncomfortable – holiday dinner in which personal issues become fodder for discussion and family conflicts start rearing their ugly heads. More than just another cutting domestic drama for the holidays, this one goes deep to offer a slice-of-life observational commentary on the state of family life in America today. Amy Schumer co-stars as Brigid’s older lesbian sister Aimee, and Jayne Houdyshell reprises her acclaimed Broadway performance as the girls’ mother, in an ensemble cast that also features Richard Jenkins and June Squibb. Playwright Karam not only wrote the adaptation himself, but also directed, making his debut behind the camera and ensuring that this one is sure to be a must-see for fans of theater and film alike.

Saved by the Bell, Season 2 (Peacock TV 11/24): Peacock’s reboot of the classic ‘90s sitcom returns for a second round, and besides the obvious appeal in the camp and nostalgia departments, it also features a trans leading character portrayed by a trans actress. Populating the halls of Bayside High is a cast that includes Elizabeth Berkley Lauren, Mario Lopez, John Michael Higgins, Haskiri Velazquez, Mitchell Hoog, Josie Totah, Alycia Pascual-Peña, Belmont Cameli, Dexter Darden, Mark-Paul Gosselaar, Tiffani Thiessen, and Lark Voorhies (Lisa Turtle).

Single All the Way (Netflix 12/2): Yet another Tony-winner (Michael Mayer) directs this promising entry to the Holiday roster, Netflix’s first-ever gay-themed Yuletide romance starring Michael Urie (“Ugly Betty,” Broadway’s “Torch Song”) as a gay man who asks his best friend (Philemon Chambers) to pose as his boyfriend at his family’s Christmas dinner to avoid being questioned about his perpetually single status. Unbeknownst to him, his mom (Kathy Najimi) has already planned to set him up with her handsome personal trainer (Luke MacFarlane) – which obviously means that festive hijinks are sure to follow. This slice of seasonal sweetness also features Barry Bostwick (“The Rocky Horror Picture Show”) and Jennifer Robinson, and capping it off is the incomparable Jennifer Coolidge, rounding out her “White Lotus” year with what will undoubtedly be another mesmerizingly dotty performance in a supporting role.

Michael Urie and Jennifer Coolidge in ‘Single All the Way.’ (Photo courtesy of Netflix )

The Bitch Who Stole Christmas (VH1 12/2): In the “why didn’t they do this sooner?” category is this holiday special from Emmy-winning TV icon and “Drag Race” legend RuPaul, who takes the screen as “a workaholic big-city fashion journalist” who (according to the show’s official description) goes on assignment to “a Christmas-obsessed small town” and “finds herself in the middle of cut-throat housewives, a high-stakes ‘Winter Ball’ competition, and a sinister plot that could destroy Christmas fore-evah!” Joining Mama Ru onscreen will be 20 “Drag Race” winners and a host of other celebrities. We’re there.

With Love (Amazon Prime 12/17): From Gloria Calderón Kellett, the critically acclaimed showrunner of the queer-inclusive reboot of “One Day at a Time,” comes Amazon Prime Video’s first holiday miniseries, complete with a heavily inclusive LGBTQ cast and queer storylines that feature a gay couple (played by Mark Indelicato and Vincent Rodriguez III) and one of the first transgender love stories ever to be found in a holiday rom-com. The series consists of five hour-long episodes tracking the Diaz family as they search for love and purpose across five different holidays during the year. Also starring are Emeraude Toubia, Desmond Chiam, Rome Flynn, Isis King, Todd Grinnell, Constance Marie, and Benito Martinez.

Under the Christmas Tree (Lifetime 12/19): Lifetime’s first-ever lesbian romance begins when “Christmas tree whisperer” Charlie Freemont (Tattiawna Jones) finds the perfect tree for the governor’s holiday celebration – in the backyard of marketing whiz Alma Beltran (Elise Bauman). The two women spar, naturally, but it’s not long before – with a little help from the tree and “some Christmas fairy dust” from the town’s resident pastry chef (Ricki Lake) – the romantic sparks begin to fly.

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‘Wildhood’ explores queer Indigenous experience

An example of personal filmmaking at its most sublime

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Joshua Odjick and Phillip Lewitski star in ‘Wildhood.’ (Photo courtesy Hulu)

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. 

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Summer of 2022: a queer screen roundup

Kevin Bacon stars in queer horror flick ‘They/Them’

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Kevin Bacon stars in queer horror film ‘They/Them.’ (Photo courtesy Peacock)

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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Margaret Cho on ‘Fire Island’ and the state of stand-up

‘We laughed every day’ making new film

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Margaret Cho returns to film in ‘Fire Island’ out June 3. (Photo by Mary Taylor)

Could there be an Emmy Award in Margaret Cho’s future? In Hulu’s “Fire Island”(premiering June 3), as well as on HBO Max’s “The Flight Attendant,” Cho’s uncharacteristic restraint gives her queer characters, Erin and Utada respectively, an admirable depth and humanity. Additionally, Cho has an upcoming appearance on the Emmy Award-winning “Hacks”(as herself), and ongoing guest-starring roles in a multitude of popular shows. Never one to sit idle, Cho will be taking her stage act on the road throughout the coming months. Busy as she is, Margaret was gracious enough to make time to answer a few questions.

BLADE: Margaret, in the new movie “Fire Island,” you play Erin, who’s described by one of the characters as a “career brunch server, age unknown, lesbian queen.” What was it about Erin that spoke to you and made you want to portray her?

MARGARET CHO: I just love the script. I’m a big fan of Joel Kim Booster, and his comedy and his writing, and as a person. I wanted to be a part of the film. I love Andrew Ahn’s direction. I love Bowen (Yang). It was really special to do this. The “career brunch server” was so appealing. Everything about this character is a lot of fun, and so it was just perfect. We had a blast doing it.

BLADE: It looks that way! Erin is the wise lesbian housemother to her gaggle of younger gays. Is this an aspect of your personality that also transfers to your off-screen life?

CHO: Absolutely! The elder gay. The crone. It’s also the old lesbian who’s burned all of her bridges with the current lesbians her age and has to mine the younger generation for friendship. It’s very fun, it’s really cold, and it’s very realistic to me.

BLADE: What was the best part for you about acting with rising comic actors such as Bowen and Joel, whom you mentioned, as well as Matt Rogers?

CHO: We laughed every day. We had such a good time. Outside of my dressing room, every day, there were full-on reenactments of entire “Real Housewives” episodes. Full Tiffany Pollard monologues from “I Love New York.” It was like Shakespeare in the Park, but it was “Real Housewives” by the trailer. It was exciting. I just love those guys.

BLADE: Erin was able to afford to purchase the Fire Island house following winning a settlement involving a piece of glass and a major Italian chain restaurant. Do you think our current culture is more litigious than necessary?

CHO: I don’t know. I think the character is just really savvy and knows where to make an opportunity for herself. I think that’s really more it. I don’t know if it was necessarily because of the culture or the time or whatever. But I think that she’s just smart about doing what she can to get something.

BLADE: Was your first trip to Fire Island as a performer or as a vacationing guest?

CHO: Every trip I’ve made there was as a performer and then I stayed for vacation. So, I made it work and pleasure, both at the same time. I’ve been going there since 2008. I love spending time there and just hanging out. I’m actually more of a Provincetown lady. I’ve been going to Provincetown since the 1980s to work and perform and just hang out. These are very much important areas for me. It’s the gay beach life that I really love.

BLADE: You mentioned Andrew Ahn, the gay filmmaker who directed “Fire Island,” and he also directed the lauded 2019 film “Driveways.” Is he a director you could see yourself working with again?

CHO: Absolutely! I love Andrew. I think he’s quite an incredible director. Not only is he so great with actors…the way that he creates films is so visually stunning and they’re so emotionally rich. I really admire him and his vision as an auteur. I would love to work with him again.

BLADE: You were one of the performers in the line-up for the LGBTQ comedy show “Stand Out,” which was part of Netflix is a Joke: The Festival. Stand-up comedy has received increased attention with Jerrod Carmichael coming out as gay in his HBO Max comedy special “Rothaniel,” as well as the controversy surrounding Dave Chappelle’s Netflix comedy special. As a performer whose roots are in stand-up comedy, do you think there’s the possibility of healing?

CHO: Yes, I think so. We need to hear from LGBTQIA voices in comedy. I think that queer comedy has always been a part of the larger comedy world. We’ve always had a very strong presence within comedy. I see so many more of us participating and out there in this conversation. I was glad to be part of the festival and I’m so grateful to be part of the queer comedy community.

BLADE: Finally, I live in Fort Lauderdale, and I noticed that Florida is not on your tour schedule. I know that I’ve seen you perform in West Palm Beach, Miami, and, more recently, in Fort Lauderdale. With the political climate being what it is under the current governor, do you foresee performing here at any point in the near future?

CHO: Yes, definitely. I think it’s important to be out there. I was actually just there a few weeks ago, so. I think that we need to be constantly out there and we definitely need to be heard. Yes, I’m sure I’ll be returning again soon. 

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