Arts & Entertainment
Logo broadens programming
MTV-owned brand keeps Ru shows but gets less LGBT specific
Drag ‘professor’ Tyra Sanchez gives a facial on Logo’s ‘Drag U’ in episode 209 with guest star Raven-Symone. (Photo by Aaron Young, courtesy Logo)
Logo, the gay and lesbian-themed cable channel launched by MTV in 2005, has announced a new programming slate that is already causing some controversy.
A February press release said “Logo is evolving its programming focus with new series and development deals that reflect gays and lesbians’ increasing integration into mainstream culture today and their desire for shows that appeal to their multiple interests. In the six years since Logo launched, there has been a seismic shift in culture and the network’s new programming slate reflects that.”
Logo has worked with the Starcom Mediavest Group to study the programming interests of the LGBT community. “The gay community continues to evolve in size, influence and identity,” said Esther Franklin, head of SMG Americas Experience Strategy. She notes that their research allows them “to understand the needs of this critical community as they emerge and to paint a clearer, more specific picture of what’s meaningful and relevant in their lives.”
Based on that research, Logo executives have concluded that while most gays and lesbians do not hide their sexuality (52 percent), most also do not prefer living and socializing in exclusively gay and lesbian communities. “Culturally, we’re past the tipping point. For gays and lesbians, it’s part of who they are, but they don’t lead with it, because many are leading fully integrated, mainstream lives,” said Lisa Sherman, executive vice president of Logo. “Our goal at Logo has always been to honestly reflect our viewers’ lives. We’re now reinforcing our commitment to them with programming that truly mirrors how many of them are living and want to be entertained today.”
The evolution of Logo programming starts with a tweaking of one of the network’s flagship shows, “RuPaul’s Drag U” which will be back for an even “draggier” third season. The show currently features RuPaul and her drag queen assistants giving “diva makeovers” to “fashion-challenged” women. Just like the popular “RuPaul’s Drag Race,” these makeovers include sequins, wigs and coaching for the lip-synch performance of a lifetime (“Lip Synch for your life!”). The new season will also include practical tips on hair, makeup and wardrobe so that the “draguates” can apply their new-found style and confidence to their everyday lives.
The evolution continues with the other shows on Logo’s development slate. “Eden Wood’s World” (already in production) will feature even more sequins and tiaras than “RuPaul’s Drag U.” At the age of 6, Eden, who was featured on TLC’s “Toddlers and Tiaras,” has already retired from the junior competition pageant circuit after winning more than 300 crowns. Now she will travel the country with her mother, her manager and her publicist to help other girls achieve their dreams of stardom while she pursues her own dream of becoming an actress/singer/model/
Another show already in production is “The Baby Wait.” Developed by the ream behind such hit shows as “Teen Mom” and “Pregnant at Sixteen,” the series will chronicle the process of open adoption and the real “modern family” that’s formed. The show will follow not only the adoptive parents, but also the biological mother after her child is adopted, and will include straight couples, gay and lesbian couples and single parents.
Other shows on Logo’s development slate include:
“Scandalicious,” a countdown show with flair.
“Wiseguys,” a screwball comedy about Michel Verdi and her crazy Italian family: her long-suffering husband Jay, her Mafioso father (newly released from prison), her mother and new step-father, her gay brother and her zany, boy-crazy cousin.
“Design My Dog,” where teams of dog owners and fashion designers compete for prizes for the finest in doggie couture.
“Love Lockdown,” which features an unorthodox therapist who leads a variety of couples through an intensive 24-hour therapy session.
And, “Outrageous,” a fresh look at the most intriguing and shocking stories in pop culture (like gay Republicans and Kim Kardashian’s expensive wedding and brief marriage).
Not surprisingly, LGBT critics are already looking askance at the shift in Logo’s programming. For starters, the network is belatedly following the broader trend in favor of reality shows and against scripted shows. More seriously, however, none of the new shows has an LGBT lead or are even strictly LGBT themed.
Writing in The Bilerico Project, television critic Victor Kerney expresses his confusion about the programming shift. He writes, “I can’t understand why the execs would take this route. If they wanted to reach a broader audience, they could start with a few scripted shows that showcase different aspects of our community, reality shows that go beyond gossip and sex and a serious news show … It feels like Logo is selling us out. Everything they stood for is being replaced to fit a more mainstream format. Yes, we want more diverse views of our community, but instead of giving us any positive images of LGBT people, we get ‘Design My Dog’?”
Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.
(Washington Blade photos by Michael Key)
Arts & Entertainment
Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week
Pride on the Pier officially launches Pride Week in D.C.
The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.
Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.
“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”
Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.
Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.
Event Details:
📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026
⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP
Theater
National tour of ‘Gatsby’ comes to National Theatre
Out actor Edward Staudenmayer talks playing the show’s gangster
‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com
Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.
Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.
It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”
Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).
While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.
WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?
EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].
There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.
BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.
STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].
BLADE: When did the 1925 novel first surface on your radar?
STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.
Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.
BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?
STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.
Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.
BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?
STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.
BLADE: Have you had to do that in your career?
STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.
It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.
BLADE: What was your coming of age like?
STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.
BLADE: Did he live to see your success in theater?
STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.
BLADE: Looking ahead, is there a part you’d especially like to play?
STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.
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