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Join Joel Kim Booster on ‘Fire Island’ this summer

Gay rom com features queer Asian cast

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Joel Kim Booster stars in ‘Fire Island.’ (Image courtesy of Searchlight Pictures)

It would be an understandable mistake to see Joel Kim Booster on one of the two “Out Traveler” magazine covers he’s gracing this month and assume he was just another sexy fashion model, but the 34-year-old Korean-American comedian is not having a moment in the blazing sun of queer pop culture just because of his undeniable talent for rocking a Speedo. 

He is actually in the middle of the publicity push for the upcoming film “Fire Island,” which he wrote and in which he co-stars with (among others) close friend Bowen Yang and comedy legend Margaret Cho, and which begins screening exclusively on the Hulu streaming service just in time for Pride month.

Directed by Andrew Ahn (“Spa Night”), it’s a movie that’s generating a lot of buzz, partly because it’s the first predominantly queer film to be backed by a major movie studio (Disney, through its Searchlight Pictures division). We’ve been burned too many times not to be skeptical about such a project, but anyone already familiar with Booster’s work will undoubtedly tell you it’s not likely to be another watered-down, safe-for-the-mainstream offering designed to check off boxes on the diversity agenda. Since he first made a splash with an appearance on “Conan” in 2016, he has gained a following among queer and straight audiences alike with his unapologetically gay, unabashedly sex-positive comedy, leading to what some might call a meteoric rise to the brink of superstardom through an acclaimed stand-up career, his roles on TV in shows like the short-lived sitcom “Sunnyside” (on which he was a regular), “Shrill,” and “The Week Of” (as well as his writing for shows like “Billy on the Street” and “The Other Two”), and his popular podcasts (“Urgent Care with Joel Kim Booster + Mitra Jouhari” and “The Joy Fuck Club”).

Now he’s poised to become a movie star with “Fire Island,” a gay romantic comedy set in the titular vacation retreat that dares not only to feature a cast made up entirely of queer characters, but doubles down by putting the focus on queer characters who also happen to be Asian. To top it all off, it gives Booster a chance to show off his literate side with a story – which concerns a group of gay best friends out for sexual adventure, and possibly even romance, on what might be their last trip to the iconic gay getaway – adapted from no less esteemed a literary source than Jane Austen’s “Pride and Prejudice.”

The Blade was fortunate enough to chat with Booster in the middle of this very high-pressure month before his feature film debut, and our conversation was informed by the kind of erudite and compassionate intelligence that has marked the young comedian’s career from the start.

BLADE: In your comedy, you’ve drawn a lot of inspiration from being raised as a Korean adoptee by white American parents in a deeply Christian midwestern community. Does that experience figure into the movie, too?

BOOSTER: Of course! As a transnational adoptee, my entire life I’ve been fighting against this nagging feeling of not quite fitting in – and that’s whether I’m around white people, or Asian people, or even some gay people. It’s tough, and it’s been such a paramount part of my life to find people who make me feel seen and accepted and to keep them close, so it felt really important for the theme of chosen family to stay in the forefront when I was making this movie. As much as it’s a “rom com,” it’s also about friendship – about relationships with people who, like I say in the movie, “fill in the gaps.”

BLADE: How did you hit on using Jane Austen as a source?

BOOSTER: It was really a lucky accident. I brought “Pride and Prejudice” with me on the first trip Bowen and I ever took to Fire Island. I would be lying there on the beach reading it and thinking, “It’s amazing how the things she was writing about are so relevant to what we’re experiencing on this island right now.” It was kinda wild, and it started out as threat, a joke – I would keep saying, ‘I can’t wait to write an all-gay adaptation of ‘Pride and Prejudice’ set on Fire Island,’ and people would boo and throw things at me. But after that I would always bring an Austen book with me to read on the island, because it felt special to me. There was just something so prescient about what she wrote, and about her observations on class, especially reading it in this place where we had sort of created our own class system, as gay men.

BLADE: When did it stop being a joke?

BOOSTER: Actually, my agent suggested that I should write it, because I was in between projects. I just had a pilot that was passed on by Comedy Central, I was depressed, I had nothing to do – so I ended up writing it as a half-hour pilot script. But nobody wanted it until Quibi [the short-form entertainment platform that launched and folded in 2020 after failing to meet projected subscription levels]. Say what you will about them, but they really invested a lot of money and time into new and young voices, and they took a lot of chances. They took a chance on me, and when they folded I had this script that I could point to which I had written and developed with them. This movie was a tough pitch to sell on just a log line, but I had this finished project, this complicated piece of work to show people, that was much more intricate than I think “Gay ‘Pride and Prejudice’” would maybe lead people to believe.

BLADE: Your movie is just one of several big queer titles on deck for 2022, including Billy Eichner’s rom com, “Bros.” How do you feel about that?

BOOSTER: Honestly, it really takes some of the pressure off. When we get, like, one gay movie a year, a lot of attention and scrutiny gets put on that movie and it’s expected to be everything to everyone in our community. And our community is huge, and it’s diverse, and there are so many stories that aren’t being told. I’m so glad Billy’s movie is coming out as well, he was my first comedy boss, and I’m really happy that people in our community are going to have two big gay rom coms to choose from.

BLADE: We haven’t seen “Bros” yet, but we’ve seen “Fire Island.” There’s a review embargo [until May 23], but I think it’s safe to say nobody is going to boo or throw things at you. Do you feel any sense of competition about it?

BOOSTER: My hope is that people love both, but it’s nice that if somebody goes to see my movie and says, ‘That’s not for me, I don’t see myself there,’ then a couple months later they’ll see Billy’s and they’ll have another shot at it. And I hope both of our movies are successful enough that they create a million clones. I hope it’s just the beginning.

“Fire Island,” which also stars Conrad Ricamora (“How to Get Away With Murder”) and a host of other familiar queer performers, premieres on Hulu on June 3. 

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Surviving Voices: The Black Community & AIDS

“When white people get a cold, black people get pneumonia.’ …if white people are getting the plague, what in the hell are we going to get?”

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Phill Wilson, Founder of the Black AIDS Institute (Screenshot/YouTube)

SAN FRANCISCO – The National AIDS Memorial has released its latest mini-documentary, “The Black Community & AIDS,” the seventh film in its oral history project.  

The Black Community & AIDS” chronicles the personal stories of nearly two dozen survivors and advocates from across the U.S. who are thriving, sharing their hopes and struggles about the HIV/AIDS epidemic, and its disproportionate impact on the Black community.

The film opens with powerful words from Phill Wilson, Founder of the Black AIDS Institute, who says, “My grandmother used to say, ‘When white people get a cold, black people get pneumonia.’ And so I thought…if white people are getting the plague, what in the hell are we going to get?”

In addition to the mini-documentary, viewers can watch individual interview segments which provide candid, deeper conversations with the film participants.

Advocate Tori Cooper says, “To talk about HIV in the Black community in present day, you have to really look at the history of HIV and Black people. Black people have been villainized and stigmatized around not just having an HIV diagnosis but as being pushers of the virus. That stigma that was perpetuated 40 years ago still exists and still impacts the way society thinks about people who are living with HIV.”

Dr. Dázon Dixon Diallo, Founder and President of SisterLove, the first women’s HIV, Sexual Reproductive Justice organization in the southern U.S., “For this epidemic, men opened the door…on the advocacy, on the activism. But what I’m clear about is that it will be the women who close the door on this epidemic. Because once women own it, we change things, and when we change things, we change things for everybody.”

Sharing her truth and powerful story, advocate Sharron Chatman emotionally says, “My mother made me eat off of paper plates and forks and that was hurtful because it was my Mom. Mothers aren’t supposed to reject or feel that way towards their child. Through SisterLove, I began to understand that me being HIV positive was no longer fearful in my life.  I wasn’t afraid anymore. I became a warrior.”

These powerful stories are just a few of the important topics the film addresses with interviewees who openly discuss the stigma, shame, and the complex, intersecting and multilayered prejudices that persist today and how so many survivors are thriving, living with pride, dignity and advocating for justice, equal access to care, and an end to the epidemic.

“The Black Community & AIDS” was produced and directed by Jörg Fockele. Chevron, a long-standing partner of the National AIDS Memorial, is the presenting partner, providing major funding annually during the past five years for the program.

“These films really bring to the forefront the power of storytelling and the lessons that can be taught for current and future generations,” said Huma Abbasi, General Manager, Health & Medical at Chevron. “Our long-time support for this program is part of our commitment to sharing the very human experiences that have shaped four decades of the AIDS epidemic. These stories demonstrate the devastating impact that continues today, the hope and the work that still lies ahead.”

Community partners include the San Francisco AIDS Foundation, Black Brothers Esteem, the New York City LGBT Community Center, Oasis Florida, W.O.M.E.N. Inc., GLAAD, MOBI, GMHC, Frontline Legal Services, Native Son, SisterLove, AIDS Project of the East Bay, Positive Women’s Network and Thrive SS.

“This mini-documentary speaks to the work of the National AIDS Memorial in addressing the impact of HIV/AIDS in the Black community and the issues of stigma, discrimination and otherism that still exist today, four decades into this epidemic,” said Chief Executive John Cunningham. “We are so appreciative to the survivors and advocates featured in this film who shared their stories and whose work is helping make a difference in changing the statistics and helping to finally curb the disproportionate impact of this epidemic in the Black community.”

Prior to its official release, “The Black Community & AIDS” was exclusively featured at several major film festivals and HIV/AIDS events throughout the country, including Frameline, SF Queer Film Fest, New York City Black Pride, Positive Living Conference, and Atlanta Black Pride. The film was recognized for its powerful storytelling, including being honored with the prestigious Jury Award at SF Queer Film Fest. The film will also be shown as part of the National AIDS Memorial Change the Pattern initiative that is partnering with Southern AIDS Coalition and Gilead Sciences to bring the AIDS Memorial Quilt to the South as a teaching tool with Quilt displays and programming to reimagine the fight to end HIV.

Created in 2015, this multi-year AIDS oral history project helps ensure that stories and lessons of the epidemic are captured, curated, and retained for future generations.  Additional featured films include Substance Users, the Recovery Community & AIDS”, “The Transgender Community & AIDS,” “The A&PI Community & AIDS,” “Women & AIDS,” “The National Hemophilia Community & AIDS,” and “The San Francisco Leather Community & AIDS.”

The 17-minute film can be viewed on the National AIDS Memorial website and its YouTube channel.

Surviving Voices 2022 – The Black Community & AIDS:

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After months of hype, ‘Bros,’ ‘My Policeman’ ready to debut

Fall film season offers big-budget rom-com, a trans Pinhead, and more

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David Dawson, Emma Corrin, and Harry Styles star in ‘My Policeman.’ (Photo courtesy Amazon)

This has been a year with an unprecedented number of big titles featuring LGBTQ characters and stories, and given the amount of regressive backlash our community continues to receive from the socially conservative (i.e. bigoted homophobic) crowd, that’s a comforting thing. As we push closer to the year’s close, there are admittedly fewer stand-out offerings on deck for queer viewers – but the ones that are on their way give us plenty to look forward to, anyway. Our list of titles to look for is below:

BLONDE (Sept. 16)

Marilyn Monroe is a Hollywood icon who always held a special place in the hearts of the LGBTQ community; maybe it has something to do with being exploited for her talent and beauty while still being marginalized in a hetero-masculine world. Whatever the reason, queer film buffs should be keen to see this screen adaptation of Joyce Carol Oates’ classic bestselling novel, which boldly fictionalizes Monroe’s life and re-imagines it as a parable about the fate of women in a culture that treats their bodies as a commodity. Following Monroe from her volatile childhood, it blurs fact and fiction as it charts her rise to stardom, emphasizing the ever-widening split between her public and private personas that led to her tragic end. Written and directed by Andrew Dominik, the film stars Cuban actress Ana de Armas as Marilyn, with Bobby Cannavale, Adrien Brody, Julianne Nicholson, Xavier Samuel, and Evan Williams; it premieres in theaters on the 16th, followed by a debut on Netflix – which produced it – on Sept. 28. 

PETER VON KANT (Sept. 21)

Already given a limited theatrical release on Sept. 2, this French romantic drama from writer/director François Ozon was the opening film at February’s Berlin Film Festival and has been eagerly awaited by hardcore film geeks ever since. The reason? It’s a reinterpretation of the play by Rainier Werner Fassbinder, “The Bitter Tears of Petra von Kant,” which the legendary queer filmmaker himself originally adapted for the screen in 1972 to create a revered classic of European cinema that broke ground for its depiction of same-sex relationships. Now, Ozon has re-imagined the story by swapping the gender of its protagonist – which changes everything yet nothing in this S&M-tinged tale of narcissistic hedonism and obsessive desire. It stars Denis Ménochet in the title role, with an ensemble of players that features Isabelle Adjani, Khalil Gharbia, Stéfan Crépon, and Aminthe Audiard – as well as Hanna Schygulla, the German film legend who also appeared in Fassbinder’s original movie. You might still be able to find a big screen showing somewhere near you, if you’re lucky. Otherwise, don’t worry; you’ll be able to find it streaming VOD from starting on Sept. 22.

THE DREAMLIFE OF GEORGIE STONE (Sept. 22)

We don’t often include short films in our preview lists – an oversight we frequently find ourselves regretting – but this one deserves your attention. Spanning 19 years, it tells the story of Georgie, an Australian transgender teen, and follows her on her journey to adulthood as she helps to change laws, affirms her gender, and finds her voice along the way. Directed by Maya Donna Newell (“Gayby Baby”) as an effort to push back against Australian conservative voices who pointed at children like herself, who grew up with queer and trans parents, as an argument against the country’s movement for marriage equality, it’s the result of a six-year collaborative process (with Georgie and her mom, Rebekah Robertson) that only lasts for 29 minutes – but it’s 29 minutes of inspirational, queer-affirming content you’ll want to experience.

BROS (Sept. 30)

Certainly the buzziest LGBTQ title of the year, the ferociously funny Billy Eichner’s rom-com about two commitment-challenged men and their attempt to have a relationship has already gotten us excited for its debut by way of a teaser trailer full of laugh-out-loud moments. Written by Eichner, who also stars (opposite rom-com veteran Luke Macfarlane), it’s the first time an openly gay man has been able to co-write and star in his own major studio film; not one to be content with that milestone, he went a step further by casting every principal role – even the heterosexual ones – with queer actors. Apart from these notable points, it will be interesting to see how a queer-themed romance will succeed with mainstream audiences; but there are many purely entertaining reasons to look forward to this Nicholas Stoller-directed romp, which also features TS Madison, Monica Raymund, Guillermo Diaz, Guy Branum, Amanda Bearse, Bowen Yang, Benito Skinner, Matthew Wilkas, Jai Rodriguez, Dot-Marie Jones, and a host of other familiar queer faces. It’s worth mentioning that veteran comedy filmmaker Judd Apatow was co-executive producer (alongside Stoller and Eichner), but though his pedigree is appreciated as a part of the joint effort it took to get this history-making Hollywood romance to the screen, it’s bursting with so much talent already that his involvement is only icing on the cake.

HELLRAISER (Hulu, Oct. 7)

Clive Barker’s 1987 classic horror film (based on his 1986 novella, “The Hellbound Heart”) gets a few new twists in this remake by director David Bruckner, which will premiere on Hulu as part of the streaming platform’s “Huluween” celebration. In this re-imagined and updated version, the story follows a drug-addicted young woman who comes into possession of an ancient puzzle box, learning too late that its purpose is to summon a group of sadistic supernatural beings called the Cenobites from the hellish dimension they call home. Inherently queer from the start (Barker himself, who serves as one of the executive producers on the new film, has long been openly gay), this iteration doubles down with its casting of trans actress Jamie Clayton (“Sense8”) as its sinister main antagonist – affectionately known as “Pinhead” by fans. She’s joined by a cast that includes Odessa A’zion, Adam Faison, Brandon Flynn, Aoife Hinds, Jason Liles, Yinka Olorunnife, Goran Visnjic, and Hiam Abbass.

Trans actress Jamie Clayton stars as Pinhead in Hulu’s remake of ‘Hellraiser.’ (Photo courtesy Spyglass Media)

MY POLICEMAN (Oct. 21)

Last up (but definitely not least) is this hotly anticipated adaptation of Bethan Roberts novel about forbidden love and changing social conventions, which stars “It-Boy” of the day Harry Styles as Tom, a policeman in 1950s Britain at the center of a romantic triangle in which he splits his conflicted love between teacher Marion (Emma Corrin) and museum curator Patrick (David Dawson). The story spans four decades, fast-forwarding to the 1990s to give the now-older trio (Linus Roache, Gina McKee, and Rupert Everett) a last chance to repair the emotional damage of the past. Directed by Michael Grandage, this visually elegant, heart-stopping portrait of three people caught in the shifting tides of history might be the most “prestigious” title on our list. Whether or not it’s worthy of the hype that accompanies its pop-singer star, whose perceived sexual fluidity (he’s never labeled his sexuality, and continues to avoid doing so even two years into a relationship with actor-turned-filmmaker Olivia Wilde) continues to tantalize queer fans, is something we’ll have to wait until Oct. 21 – or Nov. 4, when producer Amazon makes it available for streaming on Prime – to find out.

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Director sheds light on George Michael’s struggle with the closet

‘Balancing desire for artistic perfection with the struggle with demons’

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George Michael died at 53 after a long struggle with substance abuse. (Photo courtesy of Protocol Media)

Of all the great songs the late George Michael left as a legacy, “Careless Whisper” is certainly among the greatest – and yet, ironically, he never really liked it.

“He said he was ashamed of it,” says Simon Napier-Bell, who was Michael’s manager during the WHAM! years. “It had come to him in a moment, and he liked to sit and think about everything he wrote, what he wanted to say. This one just popped out, and it was like, ‘Fuck me, I’ve given away my inner self and I didn’t even know I was doing it.’”

Napier-Bell, now 80, is a music industry veteran with a long roster of legendary clients. In recent years, he’s turned to making documentaries – and his latest effort, “George Michael: Portrait of An Artist,” provides a comprehensive look at the life of his now-iconic former client. And yes, it deals with the proverbial elephant in the room – Michael’s 1998 “lewd conduct” entrapment arrest for cruising in a Beverly Hills men’s room.

In the film, which documents the musician’s public and private lives side-by-side and sheds insight on the difficult balancing act he tried to maintain between his star image and his authentic self, the incident is just part of Michael’s larger story. It’s a key moment, however. For a younger generation, Michael’s “notorious” bathroom incident often overshadows his musical legacy, and some judge him harshly for remaining closeted through so much of his career. As Napier-Bell – an out and proud gay man himself – told the Blade, they couldn’t view him any more harshly for it than he did himself – but in the 1980s, if he wanted the level of stardom he was capable of achieving, he had no choice but to keep his sexuality hidden.

“Every artist has the problem of balancing their desire for artistic perfection with the needs of the industry and the struggle with their own demons,” says the director. “People say stars are uncompromising, but it’s the very opposite – the music industry DEMANDS compromise. George had a dislike of having to compromise, and a lot of guilt for not coming out, which he knew he ought to do.”

Though his documentary doesn’t get granular about the timeline of Michael’s coming out process, the filmmaker claims the singer toyed with the idea in his earliest days of success yet held back when it became clear his record label would not allow it. Instead, says Napier-Bell, he planned to build his career and then come out when he was already a star. But then, as the director remembers, AIDS happened.

“Young people today really don’t understand,” he says. “I recall standing in the balcony of Heaven, THE huge gay club in London at the time, with Paul Gambaccini [a UK broadcast celebrity and author who appears in the film], and he pointed down at the enormous crowd of dancing people pressed together and said to me, ‘Do you realize that nearly half of these guys are going to be dead in five years?’ It was such an outrageous thing to say, you wanted to think maybe four or five of them might get it – but he was absolutely right.”

With fear of the disease setting back gay acceptance on both sides of the Atlantic – “If you knew someone was gay in the 1990s you stayed away from them,” he recalls, “not just straight people but other gays as well” – Michael remained in the closet.

Still, for many in the public, his sexuality was no secret. Despite the heteronormative image he continued to project, millions of queer fans recognized his truth and related to him for it, and many of his straight female followers sensed it, too. Napier-Bell recalls talking to girls at George’s gigs and asking if they fancied him. “They would say ‘Oh, he’s fabulous! But that’s not really possible, is it?’”

It was not until 15 years later that Michael’s closet door was finally flung open by that Beverly Hills arrest. With his secret exposed, there was no reason to hide anymore. He tried to turn the moment to his favor, seizing the opportunity to come out proudly and advocate against homophobic law enforcement policies that targeted gay men for having consensual sex; the world, however, was not quite ready then to embrace his attempt at a sex-positive stance, and both his image and career sustained lingering damage.

Though he can’t know for sure and has no information to confirm his suspicion, Napier-Bell believes Michael intended – “at a highly conscious subconscious level, just near the top of the subconscious, I should think” – to get caught.

“When I was managing him with WHAM!, he was going to gay clubs – and it wasn’t because he wanted sex, because he was getting that anyway. He was doing it because he really wanted to be outed – you could see it – but didn’t know how to come out.”

Later, Michael would often flaunt his queerness in public. “He would be giving an interview, and Kenny [Goss, his longtime partner] would be off camera and say to him, ‘I’m going now, darling’ and he would say, ‘Oh, see you at home, put the kettle on,’ and blow him a kiss.’ He wanted to show that it was just like being straight, just like being married.”

The arrest, intentional or not, may have liberated him from the closet once and for all, but it also tarnished him in the eyes of many of his LGBTQ fans. “He did a huge amount of good by projecting a positive image,” says Napier-Bell, “but then he complicated it with defending cruising and not being monogamous. He never got to a simple position on all that, did he?”

Michael would continue to be in the public eye, but his star faded steadily – partly, Napier-Bell believes, because he encouraged it to do so – and he struggled with substance abuse. He died at 53 in 2016, officially of heart disease.

Reflecting now, Napier-Bell believes that Michael’s star has “gotten bigger” since his death, something he says is “rare for any musical artist,” in large part because of the inner conflicts that haunted his life and found expression in his songs.

“All his struggles – being trapped in the closet, his boyfriend dying of AIDS, his disastrous ending – give us something we can identify with. We project our happy lives when we leave the building, when we’re social. He didn’t just come out about sex, he came out about being fucked up, about his life being difficult. We need people to talk about these things, and to have all that angst projected through his life and his songs is very comforting, for everybody.

“People say it was sad, but life doesn’t have a happy end,” Napier-Bell says. “If you’ve written one of the three biggest Christmas songs in history, it’s not a bad day to die. And his overall canon is pretty dang good. I think he would have been happy with that outcome.“

“George Michael: Portrait of an Artist” is available on demand from Amazon Prime Video, Apple iTunes, and Google Play.

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