WEST HOLLYWOOD – Returning in a stand-up performance this past week, Ellen DeGeneres appeared on the stage of the Largo at the Coronet Theater in the heart of West Hollywood Wednesday night in a sold-out show, the comedian joked about the abrupt end of her daytime ratings behemoth talk show two years ago.

Rolling Stone journalist Krystie Lee Yandoli was in the audience and reported that DeGeneres addressed the end of ‘Ellen’ in her opening routine:

“I used to say that I didn’t care what other people thought of me and I realized…I said that at the height of my popularity,” DeGeneres said, prompting the audience to erupt in laughter. “It is such a waste of time to worry about what other people think…Right now I’m hoping you’re thinking, ‘This is marvelous, I’m so happy to be here.’ But you could be thinking, ‘Let’s see how this goes.’”

Wednesday’s gig marks the first night of DeGeneres’ Ellen’s Last Stand…Up Tour, which she noted a new Netflix special was to be taped this fall. According to Rolling Stone Netflix declined to comment on the news. A representative for DeGeneres did not respond to a request for comment.

In the summer of 2020 a firestorm erupted around the talk show host in the wake of revelations from staffers that she presided over a “toxic” workplace environment for years, and the accompanying allegations that a woman who built an empire on the “niceness” of her persona is in reality one of the meanest people in the business.

In August, Variety magazine reported that her show has ousted three senior producers in the wake of accusations of racial insensitivity, sexual misconduct and other problems behind the scenes at the talk show.

Three senior producers — executive producers Ed Glavin and Kevin Leman, and co-executive producer Jonathan Norman — have been ousted from the Warner Bros.-distributed syndicated strip following damning allegations raised in recent reports by Buzzfeed and Variety.

“Ellen” veterans Mary Connelly, Andy Lassner and Derek Westervelt will remain at the show as executive producers alongside host DeGeneres. Connelly, Lassner and Westervelt have been with the show since its inception in 2003.

In a phone call at the time with the Los Angeles Blade, a spokesperson for Warner Brothers confirmed the departure of the three former executives.

The news was broken to the staff of the show after what Variety described those sources knowledgeable as saying that it was an emotional remote video teleconference between DeGeneres, the newly appointed producers and staffers.

Then in May of 2021, in an announcement made to the show’s staff yesterday and in an interview DeGeneres gave The Hollywood Reporter, it was reported that the show was ending its 19 year daytime television run in 2022.

Rolling Stone reported that in her stand-up set this past week, DeGeneres kicked off with a recap of what she’s been up to since her talk-show ended: gardening, a lot of sweatpants-wearing, and collecting chickens as pets. She joked that as someone who once hosted a daily show, she appreciates the plight of the chicken who has to lay an egg every day. Still, most of the routine found her grappling with having become Public Enemy No. 1 — a whiplash turn from her once-firm reputation as the happy-go-lucky talk-show host who ended each episode telling her audience to “be kind to one another.”

“What else can I tell you?” she mused, mock-reflecting on her recent past before adding sarcastically, “Oh yeah, I got kicked out of show business. There’s no mean people in show business.” 

“The ‘be kind’ girl wasn’t kind,” DeGeneres continued. “I became this one-dimensional character who gave stuff away and danced up steps. Do you know how hard it is to dance up steps? Would a mean person dance up steps? Had I ended my show by saying, ‘Go fuck yourself,’ people would’ve been pleasantly surprised.”

At the conclusion of her set, the crowd gave DeGeneres a standing ovation, prompting her to return to the stage for a candid conversation with the audience. DeGeneres called on people one by one as they asked questions and shared messages of gratitude.

As she closed out the night she told the audience:

“Honestly, I’m making jokes about what happened to me but it was devastating, really,” she said. “I just hated the way the show ended. I love that show so much and I just hated that the last time people would see me is that way.” 

Related:

Once upon a time in America, queer people sometimes adopted their lovers as their “children” so that they could be legally bound together as family.

That’s not a revelation, though some queer younglings may be shocked to learn this particular nugget of hidden history, nor is it a call to political awareness in an election year when millions are actively working to roll back our freedoms. We bring it up merely as a sort of context for the world that provides the setting in “Housekeeping for Beginners,” the winner of the Queer Lion prize at 2023’s Venice Film Festival, which opened in limited U.S. theaters on April 5 and expanded for a wider release last weekend. 

Written and directed by Goran Stolevski – a Macedonian-born Australian filmmaker whose two previous films, “You Won’t Be Alone” and “Of An Age,” both released in 2022, each met with critical acclaim – and submitted (unsuccessfully) as the official Oscar entry for International Feature from the Republic of North Macedonia, it’s a movie about what it means to be “family,” which touches on the political while placing its focus on the personal – in other words, on lived experience rather than ideological argument – and, in the process, drives home some very important existential warnings at a time when things could go either way.

Set in the North Macedonian capital of Skopje, it centers on social worker Dita (Anamaria Marinca), a middle-aged lesbian, whose house is a safe haven for a collection of outcasts. First and foremost is her girlfriend Suada (Alina Serban), a single mother of Romani heritage, but the “chosen family” in the household also includes Suada’s daughters, teenaged Vanesa (Mia Mustafi) and precocious 5-year-old Mia (Dżada Selim); Dita’s long-term friend Toni (Vladimir Tintor), a middle-aged gay man who works night shifts at a mental hospital; Toni’s new, much-younger boyfriend Ali (Samson Selim); and Elena (Sara Klimoska), an older and more worldly schoolmate of the other girls who serves as a makeshift big sister.

It is, unsurprisingly, a chaotic environment, a sea of revolving situations that largely goes on without Dita’s direct involvement, though she occasionally asserts more authority than she either has or cares to wield. That all changes, however, when Suada is diagnosed with aggressive pancreatic cancer, leading her to extract from her lover the promise that she will be mother to her children when she’s gone.

If you want a spoiler-free experience, you should stop reading now; further discussion of “Housekeeping for Beginners” requires us to reveal that Dita is forced to make good on that promise, even though she’s never had the desire to be a mother, and it’s not just a matter of making sure the kids get all their daily meals and show up for school on time. In North Macedonia, where same-sex relationships are not illegal but are neither granted the validation of lawful protections, the adoption of children requires a woman to have a husband, which means entering into a sham marriage with Toni – who is not quite a 100% onboard, himself  – and listing him as the girls’ father. More difficult, perhaps, is gaining the trust of Suada’s two daughters, neither of whom is exactly receptive to the prospect of exchanging their real mother for a half-willing replacement. It’s this challenge that proves most daunting, triggering a crisis that will put every member of this cobbled-together family group to the test if they are to have any hope of hanging on to each other and making it work – something to which Dita finds herself growing deeply committed, despite her initial reticence about taking on the role of default matriarch.

Shot in Stolevski’s accustomed milieu – an intimate, cinema verité style built on handheld camerawork and near-exclusive reliance on close-up framing to capture the awkward blend of comfort and claustrophobia that often accompanies life in a crowded household environment – and leaving most of the expository cultural details, such as the impact of ethnic “caste” and the complicated hierarchy of layers involved in negotiating a peaceful coexistence with “normal” Macedonian society when your domestic and familial structures are anything but “normal”,  to be gleaned by context rather than direct explanation. It works, of course; there’s something universally recognizable about the difficulty of “blending in” that helps us bridge the gap even if we don’t quite understand all the fine points as well as we might if we, like Stolevski, had grown up having to deal with them directly.

Even so, there are times when a bit of distance might be missed by audiences in need of a wider scope; it’s hard, after all, to get a palpable sense of space and location when most of what we see onscreen are the upper thirds of whichever cast members happen to be featured in each particular scene. But in case that sounds like a criticism, it’s important to point out that this is part of the film’s magic spell – because by making its physical environment essentially synonymous with its emotional one, Stolevski’s movie delivers its human truth without the unnecessary distraction of learning the ins and outs of a foreign cultural dynamic. The things we need to grasp, we do, without question, even if we don’t quite understand the full context, and what we walk away with in the end is a universally recognizable sense of family, carved in stark relief among a group of people who find it among themselves despite the lack of blood ties or common history to bind them to each other. That makes “Household for Beginners” an unequivocal triumph in one way, at least, because by driving home that hard-to-convey understanding, it manages to underscore the injustice and inhumanity of any world in which the validity of a family is subject to the judgment of cultural bias.

That’s not to say that “Housekeeping” is an unrelenting downer of political messaging. On the contrary, it is lifted by a clear imperative to show the joys of being part of such a family; the humor, the snark, the bright spots that arise even in the darkest moments – all these are amply and aptly portrayed, making sure that we never feel like we are being fed a doom-and-gloom scenario. Rather, we’re being reminded that it’s the visceral happiness that comes from being connected with those we love that matters far more than the rules and judgments of outsiders, which makes the hoops Dita and company have to jump through feel all the more absurd.

Though Stolevski, an Aussie citizen unspooling a narrative based in his country of origin, might not have intended it as such, the message of his film strikes a particular chord in 2024 America. The hardships of Dita and her brood as they try to simply stay together are a clear and pointed warning not to take for granted the hard-won freedoms that we have.

Add to that a superb collection of performances (BAFTA-winner Marinca and first-time actor Selim are standouts among the many), and you have another triumph from a young filmmaker whose reputation only gets more stellar with each effort.

NEW YORK  — ABC News announced it will air its exclusive interview with Phoenix Mercury star Brittney Griner on Wednesday, May 1, with a “first look” on Good Morning America and the actual primetime special that evening on “20/20.”

The interview is Griner’s first sit down since her release from a Russian prison to discuss the events of February 17, 2022, for which she was arrested, tried and convicted. 

Griner was interviewed by GMA co-host and out lesbian Robin Roberts, who played basketball throughout her four years at Southeastern Louisiana University and was inducted into the Women’s Basketball Hall of Fame in 2012. 

In a clip from “Prisoner in Russia: The Brittney Griner Interview,” Griner is asked by Roberts for her reaction when she realized that she had vape cartridges containing hashish oil, which is illegal in Russia, in her luggage, Griner said, “My life is over right here.” 

“I was just so scared for everything because there’s so much unknown,” Griner told Roberts.

In its news release, ABC reveals that in the special, “Griner talks candidly for the first time about her harrowing arrest and time in prison, where she describes feeling ‘less than human’ and the suicidal thoughts she had while being detained. She also talks about navigating the Russian penal system and the anguish she experienced being what she calls a political prisoner.

The special reveals new details about the negotiations behind the prisoner swap that led to Griner’s release and goes home with her as she unzips her duffle bag from Russia, sharing a few personal possessions she says got her through the ordeal.”

The promotional material also reveals Griner addresses backlash she experienced both while in prison and upon her release in December 2023. 

Roberts also speaks with Griner’s wife, attorney Cherelle Griner, about her role in rallying for Brittney’s release. It’s not mentioned whether Cherelle discusses expecting their first child this summer, as the Los Angeles Blade has reported.

In addition to this special, Griner has partnered exclusively with ESPN and Disney Entertainment Television to share her story through various projects on their platforms. A documentary feature from ESPN Films and scripted series development with ABC Signature are in the works. Cherelle Griner serves as an executive producer on those projects. 

Brittney Griner’s memoir, “Coming Home,” is available in bookstores and online on Tuesday, May 7.

NASHVILLE, Tenn. — Out transgender professional disc golfer Natalie Ryan faced a greater hazard last weekend than anything on the course: A threat of violence.

“I’ve dealt with threats to myself through my career, but today was different,” Ryan wrote in an Instagram post on April 20. “Today someone called in a threat of violence against myself and potentially the other players, staff, and spectators. Play was suspended today because of this person.”

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According to the Disc Golf Pro Tour, the event was paused after receiving that threat of violence, which specifically targeted Ryan, highlighting the security challenges faced by transgender athletes.

“A call came into the event site stating there would be a threat of potential violence against a competitor at this weekend’s tournament,” noted the DGPT, prompting immediate action to ensure the safety of all participants and spectators. 

“April 20, 2024: Earlier this morning, the Disc Golf Pro Tour (DGPT) temporarily suspended competition and spectating at the 2024 Music City Open due to a threat of potential violence against a competitor at this weekend’s tournament. 

“The type of threat was unspecified and made no specific mention of harm to any other person but rose to the level at which tour staff began initiating safety protocols. Metro police were immediately contacted and responded to the scene to assess the situation. The player in question was also notified, as were their cardmates.

“Based on preliminary guidance from Metro police and in the interest of safety for players, staff, volunteers, spectators, and vendors, the DGPT suspended the competition and removed all individuals from the area while the situation was assessed.

“After assessing the situation with Metro police and local tournament staff, additional security measures were deployed on-site, and play resumed at 11:00 AM CT.”

“Threats of violence at DGPT events are utterly unacceptable and are treated with the utmost seriousness by our entire staff,” said Jeff Spring, DGPT CEO and Tour Director. “We have deployed additional security resources to enhance the safety measures in place for all individuals on-site.” Spring said those resources remained in place for the entirety of the weekend tournament. 

“I want to thank local law enforcement and the local tournament staff for their prompt and professional response,” continued Spring. “Furthermore, I want to assure players, spectators, partners, and fans that we are continuing to practice vigilance. We are in continued communication with both the Metro and Nashville police departments, who continue to investigate the situation, and we will continue to coordinate and cooperate with both entities in full.”

Ryan’s post on April 20 framed the threat as a result of intolerance. 

“This threat is a perfect example of what happens when extreme views are tolerated in a community,” she wrote. “Tolerating and including folks with extreme views, like today’s caller, breed these threats. Continuing to use language that makes these people feel comfortable and valid will only make our situation worse. When I ask people to ‘speak up,’ these threats are why it is so important. I hope we can all come together after this and actually try to make sure ALL players, staff, and spectators are safe while we enjoy our sport.”

After play resumed, Ryan finished 15^th at 13-over par. Estonian Kristin Tattar won the tournament, continuing her dominance on the tour the last two years, 

Throw Sport, an LGBTQ+ advocacy group within the sport also issued a statement.

“It is one thing to disagree, and for something as new to public debate as trans women competing against cis women, it is understandable that people will disagree,” the group stated. “What is more important than whether you disagree is how you do so. Hate and violence have no place anywhere. Everyone deserves better — do better.”

But that message wasn’t clear to one male competitor, who was penalized for lateness. Austin Hanmum used his social media platform to not only blast tour officials but to reveal his transphobia. “AI get stroked today for being 12 seconds late but PDGA is still allowing dudes to play FPO,” Hanmum posted on X. “Get your priorities and shit together @PDGA”

I get stroked today for being 12 seconds late but PDGA is still allowing dudes to play FPO. Get your priorities and shit together @PDGA

— Austin Hannum (@AustinHannum) April 25, 2024

Ryan responded on Instagram, saying Hanmum used :the exact language that led to the threat being made in the first place.” She challenged PDGA to take action: “If you’re serious about everyone’s safety then this needs to end now.”

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Ryan followed-up with good news about her success on the disc golf links on Saturday: “I made the cut at the 2024 Champions Cup! I thought I had no shot after being +5 through the first four holes but I was able to focus up and take down a bunch of clutch birdies coming down the stretch. The past few weeks have been wildly stressful for me both with disc golf related things and a few personal problems that have been tiring me out before I even get to the course. I’m currently sitting T15th. I’m hoping I can keep the good play going, ignore the stressors holding me back and play my best! Speak up! Show up!”

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NEW YORK — A fired former umpire is suing Major League Baseball, claiming he was sexually harassed by a female umpire and discriminated against because of his gender and his sexual orientation. 

Brandon Cooper worked in the minor league Arizona Complex League last year, and according to the lawsuit he filed Wednesday in federal court in Manhattan, he identifies as bisexual. 

“I wanted my umpiring and ability to speak for itself and not to be labeled as ‘Brandon Cooper the bisexual umpire,’” he told Outsports. “I didn’t want to be labeled as something. It has been a passion of mine to simply make it to the Major Leagues.”

But that didn’t happen. Instead of being promoted, he was fired. His suit names MLB and an affiliated entity, PDL Blue, Inc., and alleges he had endured a hostile work environment and wrongful termination and/or retaliation because of gender and sexual orientation under New York State and New York City law.

“Historically the MLB has had a homogenous roster of umpires working in both the minor and major leagues,” Cooper claims in his suit. “Specifically, to date there has never been a woman who has worked in a (regular) season game played in the majors, and most umpires are still Caucasian men. To try to fix its gender and racial diversity issue, defendants have implemented an illegal diversity quota requiring that women be promoted regardless of merit.”

Cooper claims former umpire Ed Rapuano, now an umpire evaluator, and Darren Spagnardi, an umpire development supervisor, told him in January 2023 that MLB had a hiring quota, requiring that at least two women be among 10 new hires.

According to the suit, Cooper was assigned to Spring Training last year and was notified by the senior manager of umpire administration, Dusty Dellinger, that even though he received a high rating in June from former big league umpire Jim Reynolds, now an umpire supervisor, that women and minority candidates had to be hired first. 

Cooper claims that upon learning Cooper was bi, fellow umpire Gina Quartararo insulted him and fellow umpire Kevin Bruno by using homophobic slurs and crude remarks. At that time, Quartararo and Cooper worked on the same umpiring crew and being evaluated for possible promotion to the big leagues.

This season, Quartararo is working as an umpire in the Florida State League, one of nine women who are working as minor league umpires.

Cooper said he notified Dellinger, but instead of taking action against Quartararo, he said MLB ordered Cooper to undergo sensitivity training. According to his lawsuit, he was also accused of violating the minor league anti-discrimination and harassment policy.

Cooper’s suit says he met with MLB senior vice president of diversity, equity and inclusion, Billy Bean — who the Los Angeles Blade reported in December is battling cancer. 

The lawsuit says at that meeting, Bean told the umpire that Quartararo claimed she was the victim, as the only female umpire in the ACL. Cooper said he told Bean Quartararo regularly used homophobic slurs and at one point physically shoved him. He also claims that he has video evidence, texts and emails to prove his claim. 

But he said his complaints to Major League Baseball officials were ignored. His lawsuit said MLB passed him over for the playoffs and fired him in October. He said of the 26 umpires hired with Cooper, he was the only one let go.

Through a spokesperson, MLB declined to comment on pending litigation. Quartararo has also not publicly commented on the lawsuit.

HOLLYWOOD – The evolution of Earth Day, from its inception in 1970 to the global movement it is today, has been accelerated by dire and extreme climate change events that do not seem to have garnered the political attention they deserve. Cataclysmic events have underscored the reality of global warming in the face of industries and populists who want to deny it. 

Earth Day 2024 is a day that united millions in the past and continues to inspire action towards environmental sustainability and conservation today.

As glaciers melt and weather systems buckle, we need a call-to-action anthem. Just as We Are the World unified hearts and minds against famine and starvation, we need to blast the climate change cause to reach souls where other agendas may be keeping their minds in the dark. Music transcends barriers, connecting with people on an emotional level and inspiring change in ways that statistics and reports cannot. 

Anne Stott’s Water to Blood is the anthem we need this Earth Day. It strives to inspire us all, and the powers that be, to address the climate crisis NOW.

You can squeeze the earth til it’s dry and the people til they’re weak, build a wall so high you can’t hear the screams, but so far we’ve had fires, floods and now the plague. This empire’s dying cause it can’t face change. The time’s here now, it’s not coming… it’s come.           Water to Blood

Incisive. Vibrant. Dramatic. Anne Stott is a singer/songwriter of cinematic alt-rock, an actor, and an apolitical rabble-rouser. Her “bad girl to the good girls and good girl to the bad girls” energy infuses her music and live performances with edgy compassion while her elastic style embraces eighties pop and nineties grunge infused with a modern moody atmosphere.

Produced by Blondie/Rufus Wainwright producer Barb Morrison, the Water to Blood anthem smashes the psyche to its core, leaving the listener energized, motivated, and with a sense of urgency that too much time has passed to ignore our collective environmental crisis any longer.

“The Right Wing is so GOOD at spinning,” Anne Stott tells me when we sat down for the Rated LGBT Radio podcast. “My hope for this song is that it will motivate people who haven’t been engaged in climate change to get more active and it will be a comfort and it will help rejuvenate and energize those who have been devoting their lives to make change. I think the production of the song combined with the lyrics creates a nice synergy of political takedown and an optimistic, motivational vibe. And I definitely have both of those sides. I am always deeply moved by people standing up for what is right and if this song can contribute to people’s struggle to protect our future on this planet that would make me really happy”

As a quirky queer singer-songwriter and film actress that splits her time between Cape Cod and New York City,  Anne wields a unique worldview as someone who was formed by growing up internationally.

Born in Philadelphia, she grew up in Luxembourg and moved to the UK, then Minnesota and New York City.  She moved to Provincetown in 2007 for a writing retreat for a few months and ended up staying. She busked in the street outside of the town hall and got discovered by director David Drake, who cast her in a play at the local art house. 

She was involved in political activism (she was a member of the Lesbian Avengers) but “hit a wall” because she wanted to do something more creative. She has released two albums of original music, Love Never Dies and Pennsylvania.

Who does she see as the biggest villains against a climate change solution? Big Plastics, and Big Oil. “The plastics industry and the oil industry are going to hold on to their propaganda until they can milk every penny they can from the planet,” she says.

Being in New York City when wildfires in the east clouded the sky, Anne was impacted. “It was like something out of a horror movie,” she recalls. “We HAVE to stop calling these things anomalies. The anomalies are no longer ‘anomalies’. I have to stop myself from calling these ‘distinct events’, no, this is the normal now and it is really scary, and it is really hard to own that.”

Is there hope? “I am very inspired by the youth movements around climate change. They are not as big in the news right now, but there is a lot of engagement with people in their 20s and their teens, and that is very inspiring.”

“I think of the government coming together for the Manhattan Project and the development of the atomic bomb. We need that level of commitment, drive, and expertise to come together to look at this from all angles. People want to do more, but we have shaped this culture around convenience, and it is hard to walk that back individually,” she adds.

 When she is not saving the world, Anne and her music is a bewitching synergy between Joni Mitchell and Chrissie Hynde, performing sincere and engaging personal songs as well as those about social change and political takedown.

The Water to Blood climate change track launches today to coincide with Earth Day. It will be also on her upcoming album Watershed Synapse Experience which comes out in September. (Also produced by Barb Morrison).

In the meantime, she will be releasing more singles from thought-provokers on racism, to a hot dance track. While you wait, download Water to Blood, turn up the volume and wake up everyone in listening distance.

Literally and figuratively – because the crisis isn’t coming, it’s come.

Watch:

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Rob Watson is the host of the popular Hollywood-based radio/podcast show RATED LGBT RADIO.

He is an established LGBTQ columnist and blogger having written for many top online publications including The Los Angeles Blade, The Washington Blade, Parents Magazine, the Huffington Post, LGBTQ Nation, Gay Star News, the New Civil Rights Movement, and more.

He served as Executive Editor for The Good Man Project, has appeared on MSNBC and been quoted in Business Week and Forbes Magazine.

He is CEO of Watson Writes, a marketing communications agency, and can be reached at [email protected] 

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WEST HOLLYWOOD – The world’s largest LGBTQ+ casual encounters app announced last week that it was introducing a new feature that expands its connective capacities. The West Hollywood based company noted that users have identified new uses for the app, ranging from long-term relationships and networking to local discovery and travel advice.

Grindr says that its app is the connective tissue for the gay community all over the world, including in many countries where it is illegal to be gay. 

In a company blog article written by George Arison, Grindr’s Chief Executive Officer published on April 16, he stated:

For decades, the global LGBTQ+ community has physically connected in cities around the world, creating hubs, or Gayborhoods, for local gay, bi, trans, and queer people to freely express themselves, enjoy a sense of safety and intimacy, and foster community through spaces created specifically for us. 

However, not all of us are able to access a physical Gayborhood. 

[…] We’re announcing Roam, a new feature that allows you to temporarily place your profile in a new location ahead of a trip. Roam is the first of many future Gayborhood features we are launching, and it unlocks new travel functionality to bring you one step closer to other Grindr users around the globe. 

Roam allows you to ‘visit’ a new geography to explore other profiles, be seen by members of the local community, and chat with people in that location. Roam is currently in testing in several markets and will be launching broadly later this year.

In 2024, with queer-themed entertainment available on demand via any number of streaming services, it’s sometimes easy to forget that such content was once very hard to find.

It wasn’t all that long ago, really. Even in the post-Stonewall ‘70s and ‘80s, movies or shows – especially those in the mainstream – that dared to feature queer characters, much less tell their stories, were branded from the outset as “controversial.” It has been a difficult, winding road to bring on-screen queer storytelling into the light of day – despite the outrage and protest from bigots that, depressingly, still continues to rear its ugly head against any effort to normalize queer existence in the wider culture.

There’s still a long way to go, of course, but it’s important to acknowledge how far we’ve come – and to recognize the efforts of those who have fought against the tide to pave the way. After all, progress doesn’t happen in a vacuum, and if not for the queer artists who have hustled to bring their projects to fruition over the years, we would still be getting queer-coded characters as comedy relief or tragic victims from an industry bent on protecting its bottom line by playing to the middle, instead of the (mostly) authentic queer-friendly narratives that grace our screens today.

The list of such queer storytellers includes names that have become familiar over the years, pioneers of the “Queer New Wave” of the ‘90s like Todd Haynes, Gus Van Sant, Gregg Araki, or Bruce LaBruce, whose work at various levels of the indie and “underground” queer cinema movement attracted enough attention  – and, inevitably, notoriety – to make them known, at least by reputation, to most audiences within the community today.

But for every “Poison” or “The Living End” or “Hustler White,” there are dozens of other not-so-well-remembered queer films from the era; mostly screened at LGBTQ film festivals like LA’s Outfest or San Francisco’s Frameline, they might have experienced a flurry of interest and the occasional accolade, or even a brief commercial release on a handful of screens, before slipping away into fading memory. In the days before streaming, the options were limited for such titles; home video distribution was a costly proposition, especially when there was no guarantee of a built-in audience, so most of them disappeared into a kind of cinematic limbo – from which, thankfully, they are beginning to be rediscovered.

Consider, for instance, “I Think I Do,” the 1998 screwball romantic comedy by writer/director Brian Sloan that was screened last week – in a newly restored 4K print undertaken by Strand Releasing – in Brooklyn as the Closing Night Selection of NewFest’s “Queering the Canon” series. It’s a film that features the late trans actor and activist Alexis Arquette in a starring, pre-transition role, as well as now-mature gay heartthrob Tuc Watkins and out queer actor Guillermo Diaz in supporting turns, but for over two decades has been considered as little more than a footnote in the filmographies of these and the other performers in its ensemble cast. It deserves to be seen as much more than that, and thanks to a resurgence of interest in the queer cinema renaissance from younger film buffs in the community, it’s finally getting that chance.

Set among a circle of friends and classmates at Washington, D.C.’s George Washington University, it’s a comedic – yet heartfelt and nuanced – story of love left unrequited and unresolved between two roommates, openly gay Bob (Arquette) and seemingly straight Brendan (Christian Maelen), whose relationship in college comes to an ugly and humiliating end at a Valentine’s Day party before graduation. A few years later, the gang is reunited for the wedding of Carol (Luna Lauren Vélez) and Matt (Jamie Harrold), who have been a couple since the old days. Bob, now a TV writer engaged to a handsome soap opera star (Watkins), is the “maid” of honor, while old gal pals Beth (Maddie Corman) and Sarah (Marianne Hagan), show up to fill out the bridal party and pursue their own romantic interests. When another old friend, Eric (Diaz), shows up with Brendan unexpectedly in tow, it sparks a behind-the-scenes scenario for the events of the wedding, in which Bob is once again thrust into his old crush’s orbit and confronted with lingering feelings that might put his current romance into question – especially since the years between appear to have led Brendan to a new understanding about his own sexuality.

In many ways, it’s a film with the unmistakable stamp of its time and provenance, a low-budget affair shot at least partly under borderline “guerilla filmmaking” conditions and marked by a certain “collegiate” sensibility that results in more than a few instances of aggressively clever dialogue and a storytelling agenda that is perhaps a bit too heavily packed. Yet at the same time, these rough edges give it a raw, DIY quality that not only makes any perceived sloppiness forgivable, but provides a kind of “outsider” vibe that it wears like a badge of honor. Add to this a collection of likable performances – including Arquette, in a winning turn that gets us easily invested in the story, and Maelen, whose DeNiro-ish looks and barely concealed sensitivity make him swoon-worthy while cementing the palpable chemistry between them  – and Sloan’s 25-year-old blend of classic Hollywood rom-com and raunchy ‘90s sex farce reveals itself to be a charming, wiser-than-expected piece of entertainment, with an admirable amount of compassion and empathy for even its most stereotypical characters – like Watkins’ soap star, a walking trope of vainglorious celebrity made more fully human than appearances would suggest by the actor’s honest, emotionally intelligent performance – that leaves no doubt its heart is in the right place.

Sloan, remarking about it today, confirms that his intention was always to make a movie that was more than just frothy fluff. “While the film seems like a glossy rom-com, I always intended an underlying message about the gay couple being seen as equals to the straight couple getting married,” he says. “ And the movie is also set in Washington to underline the point.”

He also feels a sense of gratitude for what he calls an “increased interest from millennials and Gen Z in these [classic queer indie] films, many of which they are surprised to hear about from that time, especially the comedies.” Indeed, it was a pair of screenings with Queer Cinema Archive that “garnered a lot of interest from their followers,” and “helped to convince my distributor to bring the film back” after being unavailable for almost 10 years.

Mostly, however, he says “I feel very lucky that I got to make this film at that time and be a part of that movement, which signaled a sea change in the way LGBTQ characters were portrayed on screen.”

Now, thanks to Strand’s new 4K restoration, which will be available for VOD streaming on Amazon and Apple starting April 19, his film is about to be accessible to perhaps a larger audience than ever before.

Hopefully, it will open the door for the reappearance of other iconic-but-obscure classics of its era and help make it possible for a whole new generation to discover them.

HOLLYWOOD – Celebrated Oscar winning actor Jodie Foster marked her 10th wedding anniversary to her wife director Alexandra Hedison with her addition to a legendary list of Hollywood stars, by leaving her hand and footprints in cement outside Hollywood’s TCL Chinese Theatre on Friday.

The ceremony was emceed by her longtime pal and friend actor Jamie Lee Curtis and Turner Classic Movies host, television personality Benjamin Mankiewicz. As she added her handprints, footprints, and autograph to the cement casting she took her shoes off and went barefoot.

“The person that I have to thank the most, really, is my wife Alex, who I cannot believe was so generous to give up our 10-year anniversary day to come and do this with me,” said Foster, adding, “This is my life,” she told the standing room only crowd. “I love my life, and I’m so grateful that all of you guys think I’m OK.”

Foster’s over fifty year career in Hollywood has seen her win Oscars for her performances in the category of Best Actress for 1988’s film The Accused and 1991’s The Silence of the Lambs. She was also nominated as Best Supporting Actress for the 1977 film Taxi Driver, 1995’s Nell. This past year Foster was nominated for her role as Best Supporting Actress in 2023’s Nyad.

Nyad, is a biographical sports drama film about sixty-year-old swimmer Diana Nyad’s multiple attempts in the early 2010s to swim the Straits of Florida, starred Annette Bening in the leading role as Foster portrayed Bonnie Stoll as Nyad’s athletic trainer. 

Also attending Friday’s ceremony was Diana Nyad who stood alongside Foster’s wife.

Foster holds the distinction of being the second person to win multiple Oscars before the age of 30. She is also the only openly LGBTQ woman to win two Academy Awards for acting, although she was not publicly out until after both wins.

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By Rob Salerno | WEST HOLLYWOOD – Rob Anderson understands why you might’ve blocked him. Over the last four years, Anderson has attracted more than four million followers across Instagram, Twitter, YouTube and TikTok.

But as he launches his latest book, Gay Science, collecting and expanding on his viral comedy video series that examines gay stereotypes through the “totally scientific method,” he’s become pretty blasé about the pitfalls of being promoted by the social media algorithms.

Anderson says he understands that despite his enormous success, the various social media platforms often push content at people who aren’t interested.

“I guess it is so annoying,” he says with a laugh. “So when people block me, I’m never like, ‘Ew.’ I’m like, ‘No, it’s annoying. I get it,” 

“When I first started making videos and then my followers were growing, I was blocking people left and right and for the same reason. I don’t hate them. It’s annoying to see this thing on my feed,” he says. “Those Instagay couples that were always taking pictures. I blocked all of them.”

Anderson spoke to The Blade in West Hollywood, where he’s in town to promote Gay Science at the Los Angeles Times Festival of Books with a panel discussion on “The Gay Agenda” on April 21 – two days before the book becomes available at bookstores everywhere. 

He says he created the “Gay Science” video series to poke fun at and reclaim stereotypes about gay men.

“I made my first video about why gay men like iced coffee because I wanted to have fun with those sorts of stereotypes I find online. Like why do gay guys run like that? Why do they write like girls, you know, and then all the other fun stereotypes that we’ve kind of like made up about ourselves like why we can’t sit in a chair the right way, because apparently we love having stereotypes,” he says.

For the book, Anderson applies the same skewed scientific take to explain more than 50 different stereotypes across the entire LGBT spectrum. So the book has chapters that ask “Are Pansexual People Living Better Lives?” “Does College Make People Bi?” and “Do Lesbians Hate Electricity?”

“I challenged myself to write about everyone. I think everyone deserves to have something to laugh at because things are so awful politically. So asexual people, intersex, non-binary chapters. There’s a chapter ‘Did trans people invent pronouns?’ And, like everything else, the chapter proves that’s right.” 

Gay Science doesn’t take on the question of why so many gay men find Anderson annoying, but he has some theories.

“I attracted the attention of gay people, and some people choose to take that and give you back love, and then some people choose to take that and hate on you,” he says. “It’s really not even about me. It’s always about them, like something they’re going through.”

“And honestly, I get it. Being gay is hard and we had a lot of tough times growing up, and then once you come out, you struggle to feel accepted in a gay space.”

Maybe he can study this in Gay Science Volume 2.

And sometimes that backlash has just made Anderson even more powerful. 

Two years ago, when he was about to go on his first comedy tour, a Twitter user from Washington, D.C. shared a now-infamous opinion about Anderson’s $100 VIP meet-and-greet tickets.

“ONE HUNDRED DOLLARS TO MEET R*B AND*RSON? When I can see him sucking dick on the dance floor at the after party for free? I’ll pass,” wrote @livefreeordavid.

The tweet generated thousands of likes, retweets and comments – many of them even more hateful. But the upshot is that Anderson sold out his D.C. shows within days and the rest of his tour shortly after. Anderson says he only learned about the tweet months later, when someone tagged him in the thread.

“I just kind of kept it. I screenshot it. I’m like, I just need to remember this. When people hate on you, it’s gonna be good. And I had to bring that back up again recently because I was on [Watch What Happens Live] for Gay Science and someone on Twitter was like, ‘Oh, how embarrassing. He’s the bartender.’ They’re trying to hate on me for like being on TV.” 

Some of Anderson’s zen attitude to toward the haters can also be attributed to a recent successful shift in his content. While he was working on the book Gay Science, he paused making new videos in the series – all that new content is in the book. 

Instead, he started posting video recaps of movies and TV shows from his youth, which has attracted a broader audience. 

“I’d been rewatching Seventh Heaven and I was like, actually this show is ridiculous. I’m just gonna post about these shows. And those took off because it’s more universal. My audience has grown since then, and now it’s mostly not gay people.”

“I really feeling like the content that I’m making is still gay. Like I’m a gay guy and you can tell that I’m not straight, but I get a lot less hate. Isn’t that crazy?” 

“Not just supportive, but fun DMs that were like, ‘you need to do this movie because this is so fucking crazy.’ And it was because women are involved now and they’re just better than men,” he says. 

Maybe that’s another topic for future volumes of Gay Science.

Gay Science will be released in stores April 23.

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Rob Salerno is a writer and journalist based in Los Angeles, California, and Toronto, Canada.