Believe it or not, there was once a time when the Hollywood entertainment industry didn’t take comic books very seriously — but then, neither did anyone else.

In the early days, comics were dismissed by most adults as childish fantasy; indeed, those with a penchant for clutching pearls saw them as a threat to their children’s intellectual development and therefore to the future of America itself. Their popularity could not be denied, however, and Hollywood, ever eager to capitalize on a trend, was certainly hungry to get a piece of the action.

The problem was that the studio lackeys assigned to adapt the comics for the screen during those “golden years” were never actually fans of the comics themselves. The result was a parade of kitschy – if occasionally stylish – low-budget serials, kiddie matinees, and “B movies” which operated, for the most part, at the level of cartoons, and mindless ones at that. Even in the 1960s, when comics like “X-Men” had begun exploring mature themes and turning the comic book into a counterculture phenomenon, the best that Hollywood – now deploying the then-relatively new medium of television – was a “Batman” series that felt even campier than the corny serials of three decades before.

Yet despite being treated as a throwaway genre with no cultural significance or intellectual value, the popularity never went away – and with the generation that grew up with comics now old enough to be working in Hollywood themselves, a new burst of creativity began to infuse the screen’s version of the genre with the kind of nuance and sophistication that fans had always known was there. Fast forward to 2024, when comics-based content dominates not just our movie screens – nobody needs to be told about the way it has shaped (some would say crippled) the mainstream film industry for the last decade or so – but all our other screens, as well. And while much of the material that has resulted from this obsessive fascination with comics (and comics-adjacent material like “Star Wars” and other similar fantasy franchises) often suffers from the same safe “appeal to the LCD” mentality that robbed the vintage stuff of its potential, the artistry of creators who are fans themselves has also resulted in a lot of genuinely good storytelling.

In the latter category, we offer up “Dead Boy Detectives” – a new series derived from a supplemental thread in renowned comics creator-turned-bestselling author Neil Gaiman’s groundbreaking “Sandman”, which debuted last week on Netflix  – as a counter to the increasingly popular notion that comic books have hamstrung the industry’s creativity.

Based on characters and storylines that emerged during the original run of Gaiman’s iconic book (published by DC Comics via its Vertigo imprint), it’s a fresh, funny-yet-emotionally engaging supernatural saga in which two ghosts who died in their youth – the titular “Dead Boys” – operate a detective agency in London, solving mysteries for other spirits who need closure before moving on to the afterlife.

The boys – Edwin (George Rexstrew) and Charles (Jayden Revri) – are not themselves quite ready to depart the earthly plane, however; on the contrary, they operate on the lam, making sure to keep one step ahead of Death (Kirby Howell-Baptiste, reprising her role from Netflix’s acclaimed “Sandman” adaptation) so that she can’t drag them out of it before they’re ready. Something of a mismatched pair (both died at the same English boarding school, but 60 years apart), they nevertheless have established a fondness for each other and a dynamic together that makes them an excellent team in solving the supernatural crimes they encounter in their work. Their biggest handicap is the difficulty of dealing with the living – who, for the most part, cannot see or hear them – when it becomes necessary in an investigation. Fortunately for them (and for the story, of course), they find a solution to that issue during episode one.

Enlisted by the ghost of a Victorian child to rescue the human medium – Crystal Palace (Kassius Nelson), possessed by a former boyfriend who was actually a demon (David Iacono) – that has been trying to help her “cross over”, the detectives find themselves with a living ally who can not only interact with them, but also with the “real” world in which they do their work. With Crystal  on the team, they are soon called to an American seaport town to investigate the disappearance of a child – who, it turns out, has been abducted by a witch (Jenn Lyon) intent on draining her youthful essence in pursuit of her own immortal beauty. We don’t want to give anything away, but during the course of the case they not only incur her wrath, they set off alarm bells on the “other side”, calling attention to the fact that two AWOL souls are still lingering in the human world.

Things get worse for them in the second episode, when Edwin attracts the interest of the local “Cat King” (Lukas Gage, “White Lotus,” “Down Low”) and subsequently finds himself cursed to remain until he has “counted all the cats” in town – a daunting and maybe impossible task. 

Though jumping into the second installment might feel like getting ahead of ourselves, it’s important to look ahead for the sake of exploring the show’s deliciously pervasive queerness, so forgive the spoiler-ish leap; because it is Edwin, who died in an era long before being openly attracted to other boys could even be discussed, let alone accepted, that serves to root the story’s tension into a real-life context that helps all the supernatural nonsense connect with relatable real-world experience and emotion. Uncomfortable more than a century after his death with the secrets of his own sexuality, he finds himself hampered by his jealousy of the obvious growing attraction between his literal BFF and the new girl psychic who has joined their team – as well as vulnerable to manipulation from both the witch who has it in for him and the Cat King who… well, let’s just say that Edwin’s cat-counting curse could be easily lifted if he would only accept another way to appease the libidinous (and far from unappealing) feline monarch.

It’s best we stop there, before we reveal too much; the series – developed by Steve Yockey and produced by (among others) original author Gaiman and out queer TV impresario Greg Berlanti – sets up its story arc very plainly from the beginning, so savvy viewers will read the subtext long before any definitive events take place, but much of what makes it fun is watching how it all unfolds.

Suffice to say that, with engaging performances from all its players, a light-hearted, smart, and complex sensibility behind all of its fantasy elements, and a palpably queer vibe that leaves plenty of room for allies to jump on board, too, it’s one of the more worthwhile (and meaningful) “comic book” stories to hit our screens in a long while.

Maybe more importantly, it’s also entertaining, which makes it easy for us to recommend “Dead Boy Detectives” as a case you’ll definitely want to accept.

‘Mean Boys: A Personal History’
By Geoffrey Mak
c.2024, Bloomsbury 
$28.99/267 pages

It’s how a pleasant conversation is fed, with give and take, back and forth, wandering casually and naturally, a bit of one subject easing into the next with no preamble. It’s communication you can enjoy, like what you’ll find inside “Mean Boys” by Geoffrey Mak.

Sometimes, a conversation ends up exactly where it started.

Take, for instance, Shakespeare’s “King Lear,” which leads Mak to think about his life and his inability to “cull the appropriate narratives out of nonsense.” Part of that problem, he says, was that his living arrangements weren’t consistent. He sometimes “never really knew where I was living,” whether it was Berlin or California, in a studio or high-end accommodations. The parties, the jokes, the internet consumption were as varied as the homes and sometimes, “it didn’t really matter.” Sometimes, you have to accept things and just “move on.”

When he was 12 years old, Mak’s father left his corporate job, saying that he was “called by God” to become a minister. It created a lot of resentment for Mak, for the lack of respect his father got, and because his parents were “passionately anti-gay.” He moved as far away from home as he could, and he blocked all communication with his parents for years, until he realized that “By hating my father, I ended up hating myself, too.”

And then there was club life which, in Mak’s descriptions, doesn’t sound much different in Berghain (Germany) as it is in New York. He says he “threw myself into night life,” in New York Houses, in places that gave “a skinny Chinese kid from the suburbs… rules I still live by,” on random dance floors, and in Pornceptual. Eventually this, drugs, work, politics, pandemic, basically everything and life in general led to a mental crisis, and Mak sought help.

“I don’t know why I’m telling you all this,” Mak says at one point. “Sometimes life was bad, and sometimes it wasn’t, and sometimes it just was.”

Though there are times when this book feels like having a heart-to-heart with an interesting new acquaintance, “Mean Boys” can make you squirm. For sure, it’s not a beach read or something you’ll breeze through in a weekend.

No, author Geoffrey Mak jumps from one random topic to another with enough frequency to make you pay close to attention to his words, lest you miss something. That won’t leave you whiplashed; instead, you’re pulled into the often-dissipated melee just enough to feel almost involved with it – but with a distinct sense that you’re being held at arms’ length, too. That some stories have no definitive timeline or geographical stamp – making it hard to find solid ground – also adds to the slight loss of equilibrium here, like walking on slippery river rocks.

Surprisingly, that’s not entirely unpleasant but readers will want to know that the ending in “Mean Boys” could leave their heads swirling with a dozen thoughts on life, belonging, and death. If you like depth in your memoirs, you’ll like that — and this.

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By Henry Carnell | MIAMI, Fla.  – “They had LGBTQ-inclusive books in every single classroom and school library,” Maxx Fenning says of his high school experience. “They were even working on LGBTQ-specific course codes to get approved by the state,” he said, describing courses on queer studies and LGBTQ Black history. 

No, Fenning didn’t grow up in Portland or a Boston suburb. Fenning graduated from a South Florida high school in 2020. Florida’s transformation from mostly affirming to “Don’t Say Gay” has been swift, he says. “It feels like a parallel universe.” 

Fenning, who just graduated from the University of Florida, follows the developments closely as the executive director of PRISM FL Inc., a youth-led LGBTQ nonprofit he founded at 17. “I’ve watched so many of the things that I kind of took advantage of be stripped away from all of the students that came after me,” Fenning says. “It’s one thing to be in an environment that’s not supportive of you. It’s another thing to be in an environment that’s supportive of you and then watch it fall apart.”

“It’s just gut-wrenching,” Fenning explained, describing how Florida’s increasingly hostile legislation has transformed the state he has lived in most of his life. 

Most recently, Florida passed HB3, “Online Protections for Minors,” which bans youth under 14 from having social media accounts. Youths aged 14 and 15 need parental consent before getting accounts and any minor must be protected from “harmful content” online.

Unlike the previous legislation, which came predominately from the right and directly targeted issues like gender-affirming healthcare or DEI, HB3 is part of a bipartisan push across the country to regulate social media, specifically for youth. HB3 was co-sponsored by Michele K. Rayner, the openly queer Black member of the Florida Legislature, alongside many of her colleagues across the aisle. Similar national legislation, like Kids Online Safety Act, includes 68 Democratic and Republican sponsors.

Shae Gardner, policy director at LGBT Tech, explains that this legislation disproportionately harms LGBTQ youth, regardless of intentions or sponsors. 

Gardner says that while all these bills claim they are for the safety of kids, for LGBTQ youth, “you are putting them at risk if you keep them offline.” She explains that “a majority of LGBTQ youth do not have access to affirming spaces in their homes and their communities. They go online to look like that. A majority say online spaces are affirming.” 

Research by the Trevor Project, which reports that more than 80% of LGBTQ youth “feel safe and understood in specific online spaces” backs this up. Specific online spaces that are under target from legislation, like TikTok, are disproportionately spaces where LGBTQ youth of color feel safest.

“For LGBTQ people, social media has provided spaces, which are, at once both public and private, that encourage, and enhance … a great deal of self-expression that is so important for these communities,” confirms Dr. Paromita Pain, professor, Global Media Studies & Cybersecurity at University of Nevada, Reno. She is the editor of the books “Global LGBTQ Activism” and “LGBTQ digital cultures.”

Fenning emphasizes that with bills like “Don’t Say Gay,” in Florida — and other states including North Carolina, Arkansas, Iowa, and Indiana — LGBTQ youth have less access to vital information about their health and history. “Social media [are] where young people increasingly turn to get information about their community, their history, their bodies and themselves.” 

At PRISM, Fenning works to get accurate, fact-backed information to Florida youth through these pathways, ranging from information on health and wellbeing to LGBTQ history to current events. The feedback has been overwhelmingly positive. Often youth tell him “I wish I learned this in school,” which is a bittersweet feeling for Fenning since it represents how much young LGBTQ youth are missing out on in their education. 

Morgan Mayfaire, executive director of TransSOCIAL, a Florida advocacy group, said that these internet bans are an extension of book bans, because when he was a teen, books were his pathway into the LGBTQ community. “For me it was the library and the bookstores that we knew were LGBTQ friendly.” Now 65, Mayfaire understands that “kids today have grown up with the internet. That’s where they get all their information. You start closing this off, and you’re basically boxing them in and closing every single avenue that they have. What do you think is going to happen? Of course, it’s going to have an impact emotionally and mentally.”

Fenning says that social media and the internet were powerful to him as a teen. “I was able to really come into my own and learn about myself also through social media. It was really powerful for me, building a sense of self.” Gardner agrees, sharing that legislation like this, which would have limited “15-year-old me, searching ‘if it was OK to be gay’ online, would have stagnated my journey into finding out who I was.”

Gardner also explains that many of the bills, like HB3, limit content that is “harmful” or “obscene” but do not specifically define what that content is. Those definitions can be used to limit LGBTQ content.

“Existing content moderation tools already over-censor LGBTQ+ content and users,” says Gardner, “they have a hard time distinguishing between sexual content and LGBTQ+ content.” Pain emphasizes that this is no accident, “there are algorithms that have been created to specifically keep these communities out.”

With the threat of fines and litigation from HB3, says Gardner, “moderation tools and the platforms that use them is only going to worsen,” especially since the same legislators may use the same terms to define other queer content like family-friendly drag performances. 

In addition to being biased, it has devastating effects on LGBTQ youth understanding of their sense of identity, Fenning explains. “That perception of queer people as being overly sexual or their relationships and love being inherently sexual in a way that other relationships aren’t does harm to our community.”

Gardner acknowledges that online safety has a long way to go — pointing to online harassment, cybercrime, and data privacy—but that these bills are not the correct pathways. She emphasizes “everybody’s data could be better protected, and that should be happening on a federal level. First and foremost, that should be the floor of protection.” 

She also emphasizes that content moderation has a long way to go from targeting the LGBTQ community to protecting it. “Trans users are the most harassed of any demographic across the board. That is the conversation I wish we were having, instead of just banning kids from being online in the first place.”

Being queer on the ground in Florida is scary. “The community is very fearful. This [legislation] has a big impact on us,” explains Mayfaire. 

“I mean, it sucks. Right?” Fenning chuckles unhappily, “to be a queer person in Florida. In a state that feels like it is just continuously doing everything it can to destroy your life and all facets and then all realms.”

Despite the legislative steamrolling, several court wins and coordinated action by LGBTQ activists help residents see a brighter future. “There’s a weird tinge of hope that that has really been carrying so many queer people and I know myself especially this year as we’re seeing the rescinding of so many of these harmful policies and laws.”

For example, this March, Florida settled a challenge to its “Don’t Say Gay” legislation that significantly lessens its impact. Already, experts warn that HB3 will face legal challenges.

Pain emphasizes that social media is central to LGBTQ activism, especially in Florida. “There have been examples of various movements, where social media has been used extremely effectively, to put across voices to highlight issues that they would not have otherwise had a chance to talk about,” she says, specifically citing counteraction to “Don’t Say Gay.” That is another reason why legislation like this disproportionately harms LGBTQ people and other minority groups, it limits their ability to organize.

Fenning emphasizes that HB3 directly attacks spaces like PRISM, which do not just share information for the LGBTQ community, but provide spaces for them. “Foundationally it provides an opportunity for the community,” he says, but more than anything, it provides a space, where “you can you can learn from your queer ancestors, so to speak, and take charge.” And that is invaluable. 

******************************************************************************************

Henry Carnell is a reporter and researcher specializing in climate, science, technology, disinformation, and, sometimes, the LGBTQ community.

He is also a Williams College graduate and Mother Jones’ Ben Bagdikian 2023-2024 Editorial Fellow. He is also a fellow at the Washington Blade through The Digital Equity Local Voices Lab. Previously, they have worked at MIT Press and 5280 Magazine.

His reporting has appeared in Them, Mother Jones, Inside Climate News, 5280, and LGBTQ Nation. 

This story is part of the Digital Equity Local Voices Fellowship lab through News is Out. The lab initiative is made possible with support from Comcast NBCUniversal.

RIO DE JANEIRO — An estimated 1.6 million people on Saturday attended Madonna’s free concert on Rio de Janeiro’s Copacabana Beach.

The concert, which was the last one as part of Madonna’s Celebration Tour, included a tribute to people lost to AIDS.

Bob the Drag Queen introduced Madonna before the concert began. Pabllo Vittar, a Brazilian drag queen and singer, and Anitta, a bisexual pop star who was born in Rio’s Honório Gurgel neighborhood, also joined Madonna on stage.

Congresswoman Erika Hilton, a Black travesti and former sex worker, and Rio Municipal Councilwoman Mônica Benício, the widow of Marielle Franco, a bisexual Rio Municipal Councilwoman who was assassinated in 2018, are among those who attended the concert.

“Madonna showed that we fight important fights for the human rights of Black (people), young (people), women and LGBTQIA+ people, and against all injustice, discrimination, and violence,” said Associaçao Nacional de Travestis e Transexuais (National Association of Travestis and Transsexuals), a Brazilian trans rights group known by the acronym ANTRA, on its X account. “What they call identitarianism’ is our subversion to the retrograde and conservative tackiness that plagues the country.”

The Associated Press reported the concert was Madonna’s biggest ever.

For months now, most of the buzz around Luca Guadagnino’s newest film – “Challengers,” starring Zendaya as a professional tennis coach caught in an ongoing romantic triangle with a pair of male rival players – has been about how “bisexual” it would be.

After all, this was the man that brought us “Call Me By Your Name,” and even if the Italian filmmaker’s work has not always been that queer in focus, this premise was begging for it; and when the trailers started to drop, heavily laden with imagery that made the bisexual subtext blatantly obvious, the speculation – and the anticipation – only grew.

As it turns out, “Challengers” wasn’t teasing us in vain – but it may not even matter, because after spending two hours and 10 minutes with these characters, it’s hard to imagine any viewer, whether straight, bi, or a total “Kinsey 6,” wanting to feel represented by them.

Told in a non-linear patchwork format, Guadagnino’s movie – penned by Justin Kuritzkes – chronicles the complicated relationship that develops when two high school tennis champs, boyhood friends Patrick and Art (Josh O’Connor and Mike Faist, respectively), encounter high-profile pro prospect Tashi (Zendaya) at the US Open juniors. Infatuated at first sight as much by her prowess at the game as by her looks or personality, they woo her together, resulting in a steamy but thwarted three-way experience that ends with her promising her phone number to the one who wins the next day’s match.

More than a decade later, Tashi and Art are a married, wealthy power couple with a child; they’ve risen to fame after Tashi, sidelined by injury into a career as a world-class coach, has helped Art rise to international prowess, while Patrick, who originally won the challenge to become Tashi’s lover, has sunken to the level of low-ranked has-been after brief professional success. Art has hit a slump in his upward trajectory, so to freshen up his game, Tashi enters him into a small-time “challenger” tournament where Patrick, now scraping by on his meager winnings from lower circuit events such as this one, is a “wild card” entry. The rekindling of old rivalries and complex feelings between this intertwined trio of “players” results in a final competition in which the outcome has more to do with unrequited personal passions than it does with tennis.

Ostensibly both a sports movie and a romantic drama, it’s a film that wastes no time in tying its two themes together for an exploration of how the competitive instinct that might be essential to one can be a major obstacle when it comes to the other. Thanks to its back-and-forth time structure, we are rushed through all the necessary twists and turns of a 13-year romantic triad quickly enough to recognize immediately that the need to “win” supersedes every other desired outcome for these three people; more than that, in the broad strokes that emphasize the quick deterioration of their affections in the pursuit of the “game” (a word we use here both literally and figuratively), it becomes obvious that none of them are capable of recognizing how much influence their lust for victory has over their relationships with each other. To put it bluntly, in an era when polyamory has gained traction as a legitimate variation on the spectrum of human commitment, “Challengers” reads a little bit like a primer on how NOT to do it right.

That might, of course, be a big part of the point. In a story about professional athletes driven by the urge for victory trying to negotiate the delicate balance of self-respect and selflessness required to maintain a successful romantic partnership – no matter how many partners may be involved – it’s probably an inescapable element of the plot that there would be a struggle to reconcile those two conflicting impulses. The trouble is that, here, the three characters involved are so far removed from typical human experience that it becomes difficult to relate to any of them. They operate within a privileged world that is out of reach for most of us, and the conflicts that arise in their triad dynamic mostly arise from pure ego. It’s hard to feel empathy for such individuals, frankly, especially when it’s clear that their own mindset is the greatest obstacle to fulfillment in their lives, both professionally and personally. They’re all spoiled brats, and unrepentantly so.

It’s because of this that “Challengers” comes off as the kind of glossy, old-Hollywood fantasy that is more about wish fulfillment than anything else. Each of its protagonists is impossibly attractive; fit, sexy, and living an enviable life even when they’re struggling just to get by. They are the kind of people many of us wish we could be – and that, ironically, perhaps makes us dislike them all the more.

None of this is the fault of the players, who uniformly give the kind of fully invested performance that illuminates the humanity of their characters beyond negative cliches. Zendaya, never shying from her role as master manipulator in the film’s twisted “long con” romance, makes us feel the visceral need for competition that eclipses her less imperative impulses toward personal connection. O’Connor (“God’s Own Country,” “The Crown”) and Faist (Broadway’s “Dear Evan Hansen,” Spielberg’s “West Side Story”) are not only eminently likable, but present an unvarnished and completely believable chemistry as would-be-lovers who can’t quite get past their self-judgment to embrace the obvious feelings they have for each other. The fact that we believe equally in their impulse toward the dazzlingly self-actualized Zendaya makes their performances all the more stellar. Unfortunately, within the larger context of the film, their appeal is tarnished by our ambivalence toward the dynamic the characters perpetuate between themselves.

And what of their sexuality? Is “Challengers” that rare mainstream movie that vaults over the film industry’s long-lamented “bi erasure” to present a bisexual love story for the ages? Not quite. Even if its ending (spoiler alert!) suggests that the entire movie has been about two men getting over their toxic masculinity to embrace their true feelings for each other, the fact that it never defines that relationship as a queer one and chooses instead to leave it up to our individual interpretation feels like something of a cop out. In the long run, perhaps, it’s a better tactic to avoid labeling its relationships in terms of sexuality, since the cultural “endgame” at stake has arguably more to do with normalizing diversity than amplifying an individual sense of identity – but even so, it can’t be denied that, when “Challengers” reaches its final moment, we’re left with a sense of ambiguity that feels far too “safe,” too much a capitulation to the fragile mainstream sensibility, to advance a sense of acceptance for the “B” in “LGBTQ.” In the end, it’s a movie that stops short of the mark for the sake of the lowest common comfort zone.

Which is why, sadly, we have to set “Challengers” aside as a failed – if well-meaning – attempt at providing visibility for the most traditionally invisible faction of the queer community, instead of the unequivocal validation of bisexual attraction we’re still waiting to see.

By JOEY AMATO | Las Vegas, known for its vibrant and inclusive atmosphere, embraces LGBTQ culture with open arms, making it a thriving hub for the community. Iconic events like the annual Las Vegas Pride Parade and Festival bring together people from all walks of life to celebrate diversity and unity. The 2024 Las Vegas Pride festival is scheduled for Oct. 12, so start planning now.

The city’s commitment to inclusivity is reflected in the diverse range of LGBTQ-friendly accommodations, ensuring that visitors feel welcome and respected. Beyond the nightlife, Las Vegas hosts a variety of LGBTQ-focused community organizations, support groups, and cultural events that contribute to the rich tapestry of the city’s inclusive ethos. Whether exploring the famous entertainment offerings or participating in community-driven initiatives, LGBTQ individuals and allies alike find a warm and accepting home in the vibrant tapestry of LGBTQ culture in Las Vegas.

Ever since I was young, I have always wanted to stay at Bellagio. Its iconic foundations have fascinated me for decades. The hotel stands as an epitome of luxury and sophistication, offering an unparalleled experience that seamlessly blends opulence, entertainment, and fine dining. From the moment you step into the grand lobby, it’s evident that Bellagio is committed to providing a world-class stay, especially when you glance at the ceiling adorned with Chihuly glass sculptures.

I stayed in a recently renovated room in the Spa Tower with an unobstructed view of the Vegas Strip and the fountains. The attention to detail is evident in the tasteful decor, plush furnishings, and modern amenities. Beginning at 3 p.m. on weekdays and noon on weekends, the choreographed water show set against the backdrop of the Las Vegas Strip is a mesmerizing display of artistry, combining music, light, and water in perfect harmony. It sets the tone for the exquisite experiences that await within Bellagio.

Bellagio is also home to the famous Conservatory and Botanical Gardens, a lush oasis that undergoes seasonal transformations, displaying stunning floral displays and thematic installations. This botanical escape provides a serene contrast to the lively atmosphere of the casino and the bustling Strip. During our stay, the staff were completing the new springtime exhibition, which gave us Alice in Wonderland vibes. 

For those seeking entertainment, Bellagio offers the spectacular “O” by Cirque du Soleil, a water-themed extravaganza that complements the hotel’s overall theme. Bellagio Gallery of Fine Art is another cultural gem within the hotel, featuring rotating exhibitions that display masterpieces from around the world.

Although it is possible to never leave the hotel, we wanted to experience other MGM Resorts properties, so we headed to LPM at the Cosmopolitan of Las Vegas for dinner. LPM offers an exquisite dining experience that effortlessly marries Mediterranean charm with the vibrant energy of the Strip. From the moment you step through the entrance, you are greeted by an ambiance that strikes a perfect balance between sophistication and conviviality.

LPM’s interior is a visual feast, adorned with chic decor, warm lighting, and an intimate atmosphere. The combination of contemporary design elements and classic French accents creates a welcoming space that feels both elegant and comfortable. Whether you’re celebrating a special occasion or seeking a romantic dinner, LPM’s ambiance sets the stage for an unforgettable dining experience.

LPM’s menu is a culinary triumph, highlighting the rich and diverse flavors of the French Riviera. The emphasis on fresh, high-quality ingredients is evident in every dish. We began our meal with a variety of appetizers, including the Yellowtail Carpaccio, Escargots, and their signature Burrata prepared with heritage tomatoes and basil and topped with white truffles. For our main courses, we decided to focus on seafood entrees, so we tried the Lobster Risotto and grilled Chilean Bass. Both were prepared to perfection and paired very well together if you are looking to share entrees.

Of course, one of the biggest attractions of Las Vegas is the Strip itself. Spend a few hours meandering through each hotel and taking in the Vegas vibe. There is no other place in the world quite like it.

If you are in the mood for a little adventure, head to Area15, located about 10 minutes from the strip. Area15 is an immersive entertainment complex that blends art, technology, and entertainment in a unique and captivating way. Boasting an otherworldly exterior and a dynamic interior, Area15 is home to a variety of innovative experiences, including interactive art installations and virtual reality adventures. Its anchor tenant, the Meow Wolf’s Omega Mart, is a surreal supermarket-like environment filled with mind-bending art and hidden mysteries. The venue also hosts concerts and live events including Beyond Brunch, a variety show hosted by drag queen extraordinaire Andrew Ryan. The two-hour spectacle includes a wonderful buffet and performances by talented acts ranging from hoop dancers to Cirque-style entertainers. The show is well worth the price of admission; it is not your typical drag brunch.

Spend the afternoon touring Area15 or head to The Sphere, Las Vegas’s newest concert venue. Rock icons U2 opened the venue with a 40-night run, but guests can purchase tickets to Darren Aronofsky’s multi-sensory film “Postcard from Earth.”

For a trip down memory lane, especially if you are in you were born in the ‘70s or ‘80s, check out Retro by Voltaggio at Mandalay Bay. The restaurant owned by Top Chef stars, Bryan and Michael Voltaggio, takes diners on a nostalgic journey through time, blending modern culinary techniques with comforting flavors reminiscent of classic American dishes set in a retro-chic environment. The space is adorned with quirky memorabilia, neon accents, and a colorful palette that captures a sense of nostalgia without feeling overly kitschy, creating a welcoming environment for diners to unwind and enjoy the culinary adventure.

Retro by Voltaggio’s menu is a playful exploration of classic American favorites. We started our dinner with the deviled eggs with smoked trout roe along with the beet steak tartare, which was incredible. Next came the bluefin tuna ceviche served over coconut crushed ice. For our entrees we tried the trout meuniere, which was served in a lemon and caper sauce, as well as the lobster thermidor with lobster waffles — yes, you read that correctly. It was as delicious as it sounds.

Save room for the dessert cart, which contains innovative creations that satisfy the sweet tooth. Whether you’re a fan of nostalgic flavors or simply seeking a unique and enjoyable meal, Retro by Voltaggio is worth the visit.

After dinner, catch a performance of Michael Jackson “ONE” by Cirque du Soleil also at Mandalay Bay. The show is a captivating tribute to the King of Pop that seamlessly blends the magic of Cirque du Soleil with the timeless music and iconic choreography of Michael Jackson. From the moment the lights dim to the final bow, the show is a high-energy, emotionally charged celebration of the legendary entertainer’s life and legacy. This isn’t your typical Cirque du Soleil show and is more like a concert featuring all of Michael’s greatest hits, memorable dance moves, and state-of-the-art production. I felt like “ONE” is the type of concert Michael would have wanted to perform if he were still with us.

The thing I like most about Vegas is it is always evolving. Every time you visit, there is something new to see or do. Viva Las Vegas!

WASHINGTON – Sitting among a diverse and venerable group of Americans from every walk of life on the dais in the East Room of the White House on Friday was out lesbian and NASA astrophysicist Jane Rigby, awaiting her turn to be honored by President Joe Biden who would bestow the Presidential Medal of Freedom, the nation’s highest civilian honor, on her.

Rigby, an astronomer who grew up in Delaware, is the chief scientist of the world’s most powerful telescope who alongside her team operating NASA’s James Webb Space Telescope, studies every phase in the history of the Universe, ranging from the first luminous glows after the Big Bang, to the formation of solar systems capable of supporting life on planets like Earth, to the evolution of the Solar System. 

A member of Penn State’s Class of 2000, Rigby graduated with a bachelor’s degrees in Physics and Astronomy. She also holds a master’s degree and a PhD in Astronomy from at The University of Arizona. Her work as the senior project scientist for NASA’s Webb Telescope includes studies on how galaxies evolve over cosmic time and she has published more than 140 peer-reviewed scientific papers.

Rigby was named to Nature.com’s 2022 list of 10 individuals who shaped science and to the BBC’s list of 100 inspiring and influential women in the same year. Rigby had postdoctoral fellowships at Carnegie Observatories in Pasadena CA before landing her job at Goddard. In 2013 Dr Rigby was awarded the Robert H. Goddard Award for Exceptional Achievement for Science.

A founding member of the American Astronomical Society’s Working Group on LGBTQ Equality (WGLE) in January 2012, now called the Committee for Sexual-Orientation & Gender Minorities in Astronomy (SGMA), Rigby serves as its Board Liaison until her term expires this June.

The out lesbian astrophysicist in an interview for SGMA’s website spoke about her experiences including coming out:

“I’ve been out since 2000. My story’s simple — I fell in love with a fellow grad student in the department. It was a close-knit department, so hiding would have been ludicrous. Nor did I want to hide the best thing in my life! So, we were out as grad students. I certainly heard people say awful homophobic things at work there. They weren’t directed at me, and they weren’t said by people with power over me. If I recall, I was much less afraid of homophobic discrimination at work, than I was afraid of the two-body problem, and the lack of support we would receive as a same-sex couple in astronomy. That fear turned out to be justified. I’ve seen numerous different-sex couples get a wide range of support in solving the two-body problem, which was never offered to us,” she told the interviewer.

She reflected on American astronaut and physicist Sally Ride, her childhood role model who had an impact on her career:

“One of my biggest role models when I was young was Dr. Sally Ride. A few years ago, on her deathbed, Dr. Ride chose to write in her obituary that her life partner had been a woman. Dr. Ride was the most influential woman scientist when I was growing up — the person that made me say, “I want to do THAT when I grow up.” It was because of her that I realized that astrophysics was a profession, that physics was a subject girls could study, that NASA needed astrophysicists. So I’m so… amused, I suppose, that Sally Ride was this influence on my life’s path, at a time when I was completely unaware that it was even possible to *be gay* — and at the same time, she was gay, in love, and deeply closeted to keep her job.”

The interviewer noted that “for some women being gay is a cause for concern at the work place. Some say they were unsure about how to turn their sexual orientation into a positive aspect of their work persona.” Then asked Rigby What is your view on this?

“My experience is that absolutely I am a *better* astronomer because I’m queer. For a few reasons. First, I see things different than my colleagues. On mission work, as we weigh a decision, my first thought is always the community impact: “If we do things this way, who benefits, and who gets left out in the cold?” Will this policy create inclusion, or marginalization? I think about science in terms of community-building. What team do we need to tackle a given science problem, with skills that are different from mine? Absolutely I think that way because I’m an outsider, because I’ve been marginalized. And because community-building is central to LGBTQ culture,” she said.

Editor’s note: You can read Rigby’s complete SGMA interview here: (Link)

Married to Dr. Andrea Leistra, Rigby, her wife and their young child reside in Maryland not far from her workplace at the NASA Goddard Space Flight Center in suburban Washington D.C. and when not studying the universe is often found on the neighboring Chesapeake Bay wind boarding, a favored pastime.

The nation’s highest honor & rightly so to a ‘Mom,’ Judy Shepard

Also honored in the ceremony Friday were a former U.S. Vice-President, a civil rights worker and martyr, two former cabinet secretaries- one a former U.S. Secretary of State, a speech writer for the late Dr. Martin Luther King Jr., an Olympian and gold medalist, and one of the most powerful woman political leaders and the Speaker Emeritus of the U.S. House of Representatives, among others, and LGBTQ+ advocate Judy Shepard.

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CONTENT WARNING: The following story discusses suicide ideation.

PHOENIX, Ariz. — Her first few weeks behind bars in a Russian prison took a terrible toll on Brittney Griner, the out lesbian WNBA star who is breaking her silence on the ten months she was held on drug-related charges. 

“I wanted to take my life more than once in the first weeks,” Griner told ABC’s Robin Roberts in a primetime interview Wednesday. “I felt like leaving here so badly.”

The two-time Olympic gold medalist and nine-time WNBA All-Star, who plays for the Phoenix Mercury, said she ultimately decided against suicide, partly because she feared Russian authorities would not release her body to her wife, Cherelle Griner. 

While Cherelle and the White House worked to gain her release, Brittney reflected on what she admitted was the “mistake” that landed her in Russian detention. 

“I could just visualize everything I worked so hard for just crumbling and going away,” Griner told Roberts, who is co-anchor at Good Morning America and is herself an out lesbian and former college basketball player.

Griner, 33, was arrested on Feb. 17, 2022, at Sheremetyevo International Airport in Khimki, a suburb of Moscow. Authorities said they found vape cartridges in her luggage containing cannabis oil, which is illegal in the country.

Griner told Roberts that was the result of a “mental lapse” on her part — packing the cannabis oil cartridges in her luggage, Griner said that she had overslept on the morning she was leaving for Russia to play during the WNBA’s off-season, which is how many of the league’s vastly underpaid players earn a living, compared to NBA players. 

So, she packed while she was “in panic mode,” Griner said. 

“My packing at that moment was just throwing all my stuff in there and zipping it up and saying, ‘OK, I’m ready,’” she told Roberts.

After landing in Russia, Griner realized that she had those two cannabis oil cartridges in her luggage as Russian security officers inspected her bag at the airport. She recalled the moment as a sinking feeling. 

“I’m just like, ‘Oh, my God.’ Like, ‘How did I– how did I make this mistake?’” Griner said. “I could just visualize everything I worked so hard for just crumbling and going away.”

Russian authorities immediately arrested Griner, but her trial would not take place for five months. She described the horrible conditions of her imprisonment during that delay, saying that she didn’t always have toilet paper and that the toothpaste they gave her had expired about 15 years ago.

“That toothpaste was expired,” she said. “We used to put it on the black mold to kill the mold on the walls.”

“The mattress had a huge blood stain on it, and they give you these thin two sheets,” she added. “So you’re basically laying on bars.”

On July 7, 2022, Griner pleaded guilty at her trial to drug charges, admitting that she had the vape cartridges containing cannabis oil but stating she put them in her luggage unintentionally. She testified that she had packed the cartridges by accident, and had “no intention” to break Russian law.

Roberts pressed Griner on this point: “You know there are those who say, ‘Come on. How did you not know that you had cartridges in your luggage?’”

“It’s just so easy to have a mental lapse,” Griner replied. “Granted, my mental lapse was on a more grand scale. But it doesn’t take away from how that can happen,” she explained.

Griner was sentenced to nine years in prison on Aug. 4, 2022, and in October 2022, a judge denied the appeal filed by Griner’s attorneys.

The sentence landed Griner in a penal colony in the Russian region of Mordovia.

“It’s a work camp. You go there to work,” said Griner. “There’s no rest.” Her job was cutting fabric for Russian military uniforms.

“What were the conditions like there?” Roberts asked.

“Really cold,” Griner said. So cold that her health was impacted and she decided to chop off her long dreadlocks.

“What was that like losing that part of you, too?” Roberts asked Griner.

“Honestly, it just had to happen. We had spiders above my bed — making nests,” she said. “My dreads started to freeze,” she added. “They would just stay wet and cold and I was getting sick. You’ve gotta do what you’ve gotta do to survive.”

Her arrest came around the same time as Russia’s invasion of Ukraine, further increasing tensions between Russia and the U.S. But as the Los Angeles Blade reported on Dec, 8, 2022, Russia agreed to release Griner in exchange for Russian arms dealer Viktor Bout.

However, before winning her freedom, Griner revealed authorities forced her to write a letter to Russian President Vladimir Putin.

“They made me write this letter. It was in Russian,” she said. “I had to ask for forgiveness and thanks from their so-called great leader. I didn’t want to do it, but at the same time I wanted to come home.”

Griner said her heart sank upon boarding the plane to freedom and finding that Paul Whelan, another American the White House said was “wrongfully detained,” wasn’t leaving Russia with her.

“I walked on and didn’t see him, maybe he’s next. Maybe they will bring him next,” she said. “They closed the door, and I was like, are you serious? You’re not going to let this man come home now.”

Griner recounts on the experience in “Coming Home,” a memoir set to be released on May 7. 

988 is the National Suicide and Crisis Lifeline and is available 24/7 via phone, text or chat to everyone of all ages, orientations and identities. If you are a transgender, nonbinary or gender-nonconforming person considering suicide, Trans Lifeline can be reached at 877-565-8860. LGBTQ+ youth (ages 24 and younger) can reach the Trevor Project Lifeline at 1-866-488-7386. You can still also contact the National Suicide Prevention Lifeline at 1-800-273-8255 24 hours a day, and it’s available to people of all ages and identities.

Additional resources:

If you are in a life-threatening situation, please dial 911.

If you are in crisis, please dial 988 or contact Rainbow Youth Project directly at +1 (317) 643-4888

LAS VEGAS — Just three months ago, it seemed as if three-time WNBA champion and two-time Olympic gold medalist Candace Parker would play one more season with the Las Vegas Aces. But this week, the married mom of two — with a third child due this month — announced on Instagram that she has played her last game as a professional basketball player. 

“I promised I’d never cheat the game & that I’d leave it in a better place than I came into it. The competitor in me always wants 1 more, but it’s time,” Parker wrote. “My HEART & body knew, but I needed to give my mind time to accept it. I always wanted to walk off the court with no parade or tour, just privately with the ones I love. What now was to be my last game, I walked off the court with my daughter. I ended the journey just as I started it, with her.”

That was July 2023. Parker then underwent surgery for a foot injury that caused her to miss the second half of the 2023 season — her tenth surgery in her stellar 16-year career with the WNBA. And it was the outcome of that surgery that Parker says prompted her to decide to not return to the hardwood. “This offseason hasn’t been fun on a foot that isn’t cooperating,” she wrote, adding that she can’t continue “playing in pain.”

“It’s no fun hearing ‘she isn’t the same’ when I know why,” said Parker in her post. “It’s no fun accepting the fact you need surgery AGAIN.”

Parker has two nicknames: “Ace,” which seemed most appropriate in her time with the Aces, and “Can do,” a play on her first name and short for “can do anything,” which pretty much sums up her post-retirement plans. 

“This is the beginning…I’m attacking business, private equity, ownership (I will own both a NBA & WNBA team), broadcasting, production, boardrooms, beach volleyball, dominoes (sorry babe it’s going to get more real) with the same intensity & focus I did basketball.” 

But all that is In addition to expecting a baby this month with her wife and former teammate Anna Petrakova. Parker made it clear that “being a wife & mom still remains priority #1.”

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A post shared by Candace Parker (@candaceparker)

Parker hadn’t publicly acknowledged she and Petrakova had married in 2019 until their second wedding anniversary in December 2021, which is also when she revealed to the world via a post on Instagram they were expecting their first child together. Airr Larry Petrakov Parker was born in February 2022. Parker’s oldest, Lailaa Nicole Williams, was born in 2009 when she was with the Sparks, during her first marriage. 

The couple announced Petrakova was expecting in a post on their fourth wedding anniversary last December. 

Parker, 38, is the only player in WNBA history to have been part of three championship teams. In January 2023, she left the Chicago Sky for Vegas after two years back in her native Illinois. The 6’4 forward/center was a legendary member of the Lady Vols who went on to play for the Los Angeles Sparks for 13 seasons, winning her first WNBA championship. 

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LONDON — A ground-breaking study, partly funded by the International Olympic Committee, found that transgender athletes could actually be disadvantaged in some competitive sports, contrary to claims by transphobic pundits, politicians and right-wing media.

Scientists found significant differences between trans women and male athletes who were not transgender, aka cisgender men, and noted how similar they were to cis women. 

“These differences underscore the inadequacy of using cisgender male athletes as proxies for transgender women athletes,” said the researchers. 

Their work was published this month in the British Journal of Sports Medicine. The researchers tested 23 trans women, 12 trans men, 21 cis women and 19 cis men. The trans athletes had all undergone more than one year of cross-sex hormone therapy. Those tests included cardiovascular, strength and lower-body power exercises. 

According to the research, trans women performed worse than cis women and cis men in certain cardiovascular tests and had less lower-body strength. But the bone density of the trans women was found to be similar to that of the cis female athletes. The trans women athletes also had decreased lung function compared to the cis women. 

🚨NEW #OriginalResearch

Strength, power and aerobic capacity of transgender athletes: a cross-sectional study

👉 A comparison of laboratory measures of transgender athletes to their cisgender counterparts

👉 What can we learn from this?#OpenAccess 👉 https://t.co/h2u05XymoZ pic.twitter.com/LfkcEkL9iM

— British Journal of Sports Medicine (BJSM) (@BJSM_BMJ) April 11, 2024

Right now, laws on the books in 24 states across the U.S. ban trans student-athletes from participating in school sports consistent with their gender identity, according to the Movement Advancement Project.

But the study’s authors concluded that their research indicates trans athletes could be disadvantaged, prompting them to warn sports governing bodies including the IOC that banning trans women from women’s sports should not be done without thorough research.

A “long-term longitudinal study” is now needed, the researchers say.

“The main takeaway message is the requirement of international federations… to treat trans women very differently to cis men,” lead researcher Prof. Yannis Pitsiladis told Outsports. “It follows that research comparing biological men to biological women is almost irrelevant in this debate, and evidence from such comparisons should not be used to inform policy as is the case by many ‘armchair professors’ advocating the default ban position.”