Arts & Entertainment
Drama queens
Logo’s ‘A-List’ returns Monday; cast dishes on Reichen’s full-frontal pics, ‘evil’ Austin; Crews follow cast six days per week


The cast of Logo’s ‘A List: New York’s’ second season, which returns Monday night. From left are Rodiney Santiago, Mike Ruiz, Ryan Nickulas, Austin Armacost, Reichen Lehmkuhl, Nyasha Zimucha, Derek Saathoff and TJ Kelly. (Photo courtesy of Logo)
It’s the show gays love — and love to hate. But many, of course, end up watching anyway.
TV’s gayest, guiltiest pleasure — even its creators embrace the “guilty pleasure” label — is back. “A List: New York’s” second season debuts Monday at 10 p.m. on Logo. The entire season one cast returns for 11 new episodes, this time with a gal pal in tow. The Blade spoke with the cast and crew to get the lowdown on the new season, find out what it’s like shooting the controversial series and ponder the show’s appeal.
The reality show, from the same people (True Entertainment) who brought “Real Housewives of Atlanta” to the air, debuted last October and follows the lives of five gay (and one bi; six total) men in New York who claim they’re at the top of the Manhattan social totem pole through their lives, loves and career ventures. Reality show vet Reichen Lehmkuhl (he won the fourth season of “Amazing Race” and formerly dated Lance Bass) unofficially heads the cast. A central theme of the first season was his tempestuous relationship with Brazilian model Rodiney Santiago, with troublemaker Austin Armacost never missing an opportunity to keep their social pot stirred.
It was a hit and helped, along with “RuPaul’s Drag Race,” put Logo, which debuted in 2005, on the pop culture map. The channel, owned by Viacom’s MTV Networks, won’t release ratings for the show but says it’s the second-highest rated show in the gay channel’s history (after “Drag Race”). A Dallas-based spin-off is planned for a fall debut.
The show’s reception has been wildly mixed. Some reviewers and fans say it’s great to see a gay-centric reality show instead of a mainstream show with token gay characters. Others have been appalled at what they say is a superficial and stereotype-laden cringe fest. Still others agree with that assessment but admit it’s well constructed and addictive.
Executive producer Dominic Pupa, who’s gay, says the show is “absolutely” a guilty pleasure and says the critical drubbing doesn’t mean it’s not successful at what its creators are aiming for.
“People roll their eyes all the time, but it captures people’s attention because it’s three things — people with means and access who live in New York. That trifecta of factors means it’s fascinating to watch. There’s something fun about people who are of means and do have access and discovering their lives can be just as exciting, dramatic and disappointing as yours. Plus it’s an ensemble show and people love ensembles because they can pick their favorite and tune in to see how they’re faring. Even the ones people hate — I hate to say character because it’s reality, but in the sense of being a dramatic narrative, they do sort of become characters — you still love to watch the ones you hate.”
Reichen, during a gym break (it’s legs-and-shoulders day; he goes seven days a week), says he learned early on to let go of the naysayers. It was also hard, he says, watching the first season and seeing how much was left out that would have added context to some of the less-flattering scenes.
“I used to read the blogs but then half way through, I stopped. I got rid of my Google alert and I have become a much happier person,” he says. “I kind of live in my own world. There were so many comments about my relationship with Rodiney, they said I didn’t care about him, I just brought him here and dropped him, but the truth is I made sure he had everything he needed and every opportunity he wanted and you know got him on his feet so he could pursue the stuff he wanted to do. It was such a slap in the face to watch this kind of play out in a very one-sided way … Rodiney knew it too. He was like, ‘Oh my god, he tried his best and Reichen’s not like that with me at all.’”
Letting go of the negative energy has centered Reichen in other ways, he says. It helped him shrug off the full frontal nude photos that surfaced recently of him. He admitted the photos — shot from the neck down — are of him.
“If that had happened five years ago, I think I would have shut myself into a mental institution,” he says. “But now my skin is so thick, I knew as soon as they surfaced, there would be every possible reaction. People would make fun of me, they would hate me, some people would like them — you just get to a point where you can deal with it whether it’s good or bad. It totally sucks that they surfaced without my permission — it was supposed to be a private thing, not something I broadcast for the whole world … but I wasn’t gonna pull an Anthony Wiener and lie about it. I was like, ‘Yeah, it’s me, go ahead and start shooting your arrows and let’s get it over with.’ I did mention that a lot of gay men do this kind of thing. I don’t feel I did anything immoral or illegal. It just so happens that because it was me, people cared.”
Rodiney agrees the show complicated their dating life and admits he was naïve about what he was getting into when he signed on.
“Last year was not easy for me,” he says. “It was very intense. It’s like I do the show and I forget I have the cameras with me but it’s who I am and they’re shooting me. There were a lot of difficult people who liked to create drama in my life. I’m the kind of person who just wants to live my life and not worry about somebody else’s life.”

Reichen Lehmkuh (left) and his then-boyfriend Rodiney Santiago in a scene from the show’s first season. (Photo courtesy of Logo)
The couple broke up in November, shortly after the first season started airing. Rodiney admits the show was a factor. Might they still be together without “A-List”?
“I’d say it was half and half,” he says. “The show helped us to break up. We started to date and moved to New York together just six months into the relationship. It was very stressful for us. I can’t handle that.”
Reichen says he and Rodiney are now “friends in the best way possible” and says the second season has been much easier to shoot since he’s not in a relationship.
“It’s been more focused on my business ventures,” he says. “When it comes to the drama, I’ve been off the pedestal in the best way possible.”
New this season is 25-year-old Nyasha Zimucha, a straight entrepreneur and mega-achiever who runs her own business, hair-and-wig shop Embrace Your Hair. She was previously a judge on Little Miss Perfect. She’s a native of South Africa and came to the United States in 2001. She’s been in New York three years and knew “A-List”-er Mike Ruiz before joining the cast.
She says her presence adds an interesting punch to the new season.
“I think you’re going to be very entertained at how some of these relationships develop, both positive and negative,” she says. “It’s an interesting mix. Here you have this straight black girl with these six white, very handsome, very accomplished gay men. I think it’s historic because there’s really been nothing like it on television. You’re going to see not just the fights but the fun too, and I think that will be fun for the audience.”
The second season is still taping even as its first episodes are set to air. Three are fully edited and in the can. Pupa says he doesn’t know how long they’ll shoot — until he feels they have enough footage to bring the storylines to a sensible conclusion.
So how organic or contrived are the scenarios and does editing, obviously a necessity, sometimes distort the narrative?
“Like on any show, we like there to be a beginning, a middle and an end,” Pupa says. “You want to see the cast members start somewhere and end somewhere else. For each one it’s different. Last season we were still shooting until 10 days before the last episode, which is really unusual for this type of show … but it’s a lot more real than people think. They think it’s all very planned out but it’s really not. We ended last season with an argument between Austin and Reichen. That happened less than two weeks before it aired.”
None of the participants were contractually obligated to return for the second season. And the producers don’t tell them they have to meet with certain people or attend certain events. They take suggestions, though, and say they want to do their part to make the show as compelling as possible.
“It’s a nice relationship with cast and production,” Reichen says. “We all understand the result is trying to create something that people will want to watch.”
Camera crews follow cast members six days per week for about 10 hours each day when the show is shooting. Pupa says the cast does its best to schedule things more likely to be interesting when the show is shooting and save the boring stuff — like meeting with lawyers for their business ventures — off-camera. Reichen, for instance, says he traveled much of the six months between the two seasons, though he did see all the cast members at least once during that time, most often at charity events, which he says draw little media attention. He guesses he was only in New York for about 60 days of that six months. He’s been busy prepping a new book and getting ready to launch a fragrance line.
Often the best moments happen when the full cast is together.
“That’s when we have the greatest dynamic,” Pupa says. “Everybody loves Ryan. If he’s throwing a party, you know the whole cast will be there. If Austin throws a party, we don’t know who will walk through the door.”
And what about Austin — is he really the troublemaker he seemed to be from season one?
Reichen says there’s “some stuff” between them that goes down in season two. “You’ll just have to watch,” he says.
Rodiney has a tougher assessment.
“I don’t trust him and we cannot be friends,” he says. “He’s the kind of person I want him far away from my life. He’s evil and he does crazy stuff and I don’t want him part of my life.”
Pupa says Austin is reality’s answer to characters like Alexis and J.R.
“The golden rule of docu soap TV is that just because someone is hated doesn’t mean they’re not watchable,” he says. “It’s a Joan Collins thing for sure. Sometimes you don’t want to admit to liking Austin, but you love watching him.”
Nyasha says the title is a bit of a misnomer and says the show ultimately works because it’s real and people from all walks of life can relate.
“What it’s really about is interesting, dynamic people living in New York,” she says. “Some have great careers and some ain’t doing nothing, but it unfolds as great TV because it’s honest. Even a young straight woman can relate to this or that. Some might think, ‘I don’t relate, what the hell am I doing watching this crap?’ but any level of negative is part of the drama of any relationship and there’s not one person who doesn’t have some level of drama. If there is, give me their number. … It’s just heightened because it’s on TV.”
Sports
English soccer bans transgender women from women’s teams
British Supreme Court last month ruled legal definition of woman limited to ‘biological women’

The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.
The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.
“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”
“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.
The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”
“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.
The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.
The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.
Theater
Theatre Prometheus spreads queer joy with ‘Galatea’
Two girls dressed as boys who find love despite the odds

‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org
In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them.
Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.
Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair.
Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.
“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.”
Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.
“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”
Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time.
There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.
She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.
“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”
Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it.
And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.”
And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”
Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.
In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.
With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”
Movies
Jacob Elordi rides high in ‘On Swift Horses’
Sony Pictures’ promotions avoid referencing queer sexuality of main characters

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.
Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.
Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.
Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.
Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it
That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.
Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.
As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.
But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.
Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.
That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.
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