Arts & Entertainment
Coming attractions
Gay themes in both indie and mainstream fall film fare
Nicole Kidman as Charlotte Bless in Lee Daniel’s steamy ‘The Paperboy.’ (Photo courtesy the Karpel Group)
The LGBT fall film calendar gets off to an exciting start with the D.C. release of “How to Survive A Plague” on Sept. 28.
The inspirational documentary by first–time filmmaker David France tells the story of two coalitions — ACT UP (the AIDS Coalition to Unleash Power) and TAG (the Treatment Action Group) — and how they changed medical and political history. France, a journalist who has been covering the AIDS crisis for 30 years, draws on archival footage, much of it shot by the activists themselves, to tell the stories of the brave men and women who banded together to fight the plague.
The film examines how they saved the lives of millions of people by battling apathetic government bureaucrats and politicians, developing shocking outreach strategies to spur a complacent media into action, exposing greedy pharmaceutical companies and educating a scared and ignorant populace.
Lee Daniels, the openly gay director of “Precious,” returns to the big screen with “The Paperboy.” Based on the novel by Pete Dexter and set in the swamplands of Florida in 1969, The Paperboy offers a provocative, sexually charged tale of desire, ambition, prejudice and crime.
The film centers on two brothers returning to their hometown. Jack Jansen (Zac Efron) has been kicked out of college and is now working as a paperboy for his father, the local newspaper publisher. Miami journalist Ward Jansen (Matthew McConaughey) comes home to prove the innocence of death row inmate Hillary Van Welter (John Cusack). Ward’s investigation reveals of tangled web of sexual tension, mixed motives and shadowy facts.
The cast is rounded out by Nicole Kidman as vampy death-row groupie Charlotte Bless, David Oyelowo as Ward’s hotshot writing partner Yardley Acheman, and Macy Gray as Anita, the family maid. The film’s producers hint that a central plot twist involves a character’s emerging sexuality, but are tight-lipped about which character comes out. They do, however, confirm the tabloid rumors that Zac Efron dances in his underwear and frequently appears shirtless. It opens Oct. 5.
On a lighter note, “For a Good Time, Call …,” helmed by openly gay director Jamie Travis, is a comic look at two Manhattan women who get involved in the phone sex industry. Estranged college friends Katie Steele (Ari Graynor) and Lauren Powell (Lauren Miller, who also co-wrote the script with Katie Anne Nayton) are reintroduced by their gay mutual friend Jesse (Justin Long) when both face a housing emergency.
Katie is initially shocked when she overhears her new roommate talking to one of her clients, but quickly sees dollar signs. The two establish their own company, and are quickly raking in the cash as they resume their friendship — and possibly more. The film includes cameos by Seth Rogan, Ken Marino and Kevin Smith as three clients. It’s in theaters now.
“Keep the Lights On” is a drama about a closeted lawyer (Zachary Booth) and a documentary filmmaker (Thure Lindhardt) and their mercurial relationship. It opens Sept. 21 in D.C. at West End Cinema.
“Diana Vreeland: the Eye Has to Travel” is a documentary about the former Vogue editor. It opens Sept. 21.
And speaking of documentaries, details are still be worked out, but former Log Cabin president-turned-documentarian Patrick Sammon is finalizing details for a screening of his first film about the life of Alan Turing (called “Codebreaker”), the gay World War II-era legend. It’s tentatively slated for an October opening and a November wider release in 20-30 U.S. cities.
Other LGBT releases expected this fall include:
- “Pitch Perfect,” a battle-of-the-sexes comedy about the rivalry between two college a cappella singing groups (Oct. 5).
- “Bear City 2,” a sequel to the popular movie that takes the cast of bears and chasers from their New York City lairs to the wilds of Provincetown. It will be screened as part of Reel Affirmations in D.C. on Nov. 4.
- “Gayby,” about the problems that ensue when frustrated single Jenn asks her gay best friend Matt to help her conceive a child the old-fashioned way. It’s also in Reel Affirmations. Look for it Nov. 3.
Speaking of Reel Affirmations, D.C.’s annual international LGBT film festival, the 21st festival is scheduled for Nov. 1-4 and the selection committee is currently hard at work finalizing the schedule. In the meantime, RA XTRA offers monthly film screenings. September’s screening, a double feature of “Cloudburst” and “Men To Kiss,” will be held on Sept. 20 at the Carnegie Institute for Science.
“Cloudburst” is a romantic road movie about two lesbians (played by Oscar winners Olympia Dukakis and Brenda Fricker) who flee their nursing home in Maine and drive to Nova Scotia in an attempt to be legally married. “Men To Kiss” is about Ernst and Tobias, a gay couple in Berlin whose lives are upset when Ernst’s old friend Uta draws them into her schemes.
The Chesapeake Film Festival in nearby Easton and Oxford, Md., is Sept. 21-23 and includes two LGBT-themed films — “Trans” and “Queen of Country” (both screening Sept. 22 at the Academy Art Museum). Visit chesapeakefilmfestival.com for details.
The D.C. Shorts Film Festival continues through this weekend. It, too, has LGBT content in several films. Visit dcshorts.com for details.
The fall film season comes to a spectacular close with the much-anticipated release of the cinematic adaptation of the hit Broadway musical “Les Miserables” (Dec. 14). Based on the classic Victor Hugo novel with music by Claude-Michel Schonberg, lyrics by Alain Boublil and screenplay by William Nicholson, the epic movie traces the decades-long battle between escaped convict Jean Valjean and obsessed police inspector Javert. The all-star cast includes Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Sacha Baron Cohen and Helena Bonham Carter.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
