Arts & Entertainment
Sophie’s choice
‘90s hitmaker returns after seven years with new album
Sophie B. Hawkins released her first studio album in seven years last week. (Photos courtesy Trumpet Swan Entertainment)
How hard is it in this day and age to bounce back from a pop music career misstep? One likes to think pop culture — America ultimately voting with its pocketbook of course — eventually rewards and rediscovers the deserving.
One thinks of Kelly Clarkson who managed a comeback after the ill-advised downer (though it still went Platinum) 2007 album “My December.” And love her or hate her, Mariah Carey beat the odds with the monster-selling “Emancipation of Mimi” after her epic “Glitter” failure (both film and soundtrack).
But what if your supposed misstep isn’t even a bad album? Sophie B. Hawkins was well on her way to establishing distinguished career by the end of the ‘90s. She was red hot right out of the gate — “Damn I Wish I Was Your Lover,” which hit No. 5 on the Billboard Hot 100 in 1992, is a defining song of the era. She was nominated for the Best New Artist Grammy that year (co-nominated with Billy Ray Cyrus, Kriss Kross and Jon Secada; Arrested Development won). She survived the sophomore jinx with another mammoth hit “As I Lay Me Down,” a VH-1 staple from her second album “Whaler” that peaked at No. 6 during a 44-week run on the Hot 100 and a whopping 67 weeks (six at No. 1) on the AC chart. Unless you were in a convent that year, you heard it many, many times.
With that kind of start, the sky was conceivably the limit and expectations ran extremely high for her 1999 follow-up, “Timbre.” But trouble loomed — it’s a famous story, actually: Hawkins’ then label (Sony) only reluctantly released first single “Lose Your Way” with a banjo accompaniment. They argued it was poison for pop radio. Hawkins said it was essential. Though re-released independently in 2001 and followed by an indie follow-up called “Wilderness” in 2004, Hawkins lost her commercial, but not her artistic, footing. “Wilderness” turned out to be an unfortunately apt title — she spent years wandering.
Perhaps this wasn’t a total surprise, though. Anybody who’d paid attention knew Hawkins had a wild streak. She shimmied and writhed like a woman possessed on her duet with Melissa Etheridge on the latter’s VH-1 special in 1995 with a slate of then-hot female singer/songwriters like Joan Osborne, Jewel and Paula Cole. Those who caught Hawkins in concert knew of her penchant for the unconventional. As her audiences got smaller, her jeans got more shredded, her stream-of-consciousness stage meanderings more fluid. She wrangled memorably with Howard Stern about why she doesn’t shave her legs.
Though she’s long shunned labels for sexual orientation, the fact that she’s been in a same-sex relationship with filmmaker Gigi Gaston for several years (Gaston’s “The Cream Will Rise” follows Hawkins on an early tour) is one of the more conventional aspects of her persona. And it’s easy to forget that her wildly eclectic albums are full of intricately crafted and sometimes epic, sometimes disarming power pop that at times rivals Joni Mitchell’s best stuff for complexity and lyrical depth — check out “Mysteries We Understand,” “Only Love” “Help Me Breathe” and “I Need Nothing Else” especially.
Her hit singles are only part of the story. An early MusicHound review said, “Dig (further) than (the hits) and her abilities to seamlessly weave in and out of jazz, folk and dance, all driven by a kind of tribal percussion sensibility (emerge).”
But Hawkins, now 44, is starting to sound her age. Not vocally — her singing still has the luster that struck her chart gold all those years ago, but her insights during an hour-long phone chat last week show a woman who’s thought long and hard about life, pop culture popularity cycles, music making in the Internet age and much more. With no apparent time constraints, Hawkins gamely goes anywhere the questions take her and beyond, from hair tips and why she’s a dog person to the deeper story behind the banjo battles and her still-complicated relationship with her mother (explored memorably in “Cream”). The impetus for all this is her interminably delayed new album “The Crossing,” her first collection of new material in seven years, which dropped last week.
“People were always telling me, ‘Oh, you sold out with ‘Tongues and Tales,’ or, ‘Oh, you sold out with ‘Whaler.’ I’m not saying ‘Tongues and Tales’ was just art for art’s sake, but that was really the best I could to try and reach people,” Hawkins says. “Those albums were the least weird I could possibly be. You want your music to reach people, you want it to get out there to as many as possible, otherwise it’s too isolating. It’s like masturbation, you’re not doing it with anybody.”
Hawkins considers herself part of a group of ‘90s women singer/songwriters — she mentions Paula Cole and Tori Amos as peers — who barely “squeezed through” the music industry gate before the doors shut altogether, from the advent of file sharing to endless label buyouts that left precious few major players in the game. Yes, there are still women hitmakers — Rihanna, Adele — but they’re few and far between and getting younger all the time.
“I think everybody knew what was going to happen, the chilly winds were already blowing,” she says. “I felt with the first album like, ‘Wow, I really got away with something’ in spite of all this. Then with ‘Whaler’ it felt like that again, although that was really the beginning of the fight. … In the ‘90s, it really started turning against the individual artist into this totally corporate thing in every way. It was like, ‘Oh, I’m with this group, I’m with that group, this is Sophie’s sound, this is the lesbian sound, the country artist, the right wing, the left wing — I feel like several of us just barely squeaked through in spite of all that.”
And yes, some of that line of thinking is what’s led Hawkins to shun traditional LGBT labels.
She admits she and Gaston have been in an exclusive relationship (Gaston is also her manager), but says a lack of general perception of nuance causes her to avoid certain language.
“It’s because nobody listens,” Hawkins says. “They just want to say it, and shut up and not hear any more about it. I love the word bisexual but it has such a negative connotation, I don’t know why. It’s like this big, scary thing for people so I’ve tried to come up with something that’s what I really think I am … I’m definitely not heterosexual or homosexual, I love men and women equally and passionately. I’m just having a relationship right now with a woman and I think there are very few men I could have a relationship with. I’m a very singular person. I’m committed to this woman, but if I were not, I’d probably be alone.”
The years since “Wilderness” have not been inactive for Hawkins. She became a mother — her son with Gaston, Dashiell, is 3. She popped up at the Grammys pre-show as a presenter, campaigned avidly for Hillary Clinton’s presidential campaign, released several singles along the way including one (“The Land, the Sea and the Sky”) as a benefit for the Waterkeeper Alliance, an environmental group.
She released a live album and her song “Life is a Bomb” was on the soundtrack for the 2011 Garry Marshall film “New Year’s Eve,” a feat Hawkins says was wildly against the odds. She also tweaked “The Crossing” endlessly as the years went by and various proposed release dates came and went. Hawkins says it’s “a miracle” the album came out at all.
She also worked with Gaston on a musical for Kristin Chenoweth that’s on hold until Chenoweth’s producer of choice is available and she has high hopes for an October musical in Los Angeles (Hawkins lives in Venice, Calif., and has been on the West Coast for more than a decade) in which she’ll star as Janis Joplin.
Hawkins says she knew instinctively, she was supposed to do the Joplin piece.
“My reaction was just, ‘Yes,’ and I never say yes to anything right away. I just think there’s something I can do with Janis that will speak to every creative person out there who feels overlooked or treated in a way that’s not fair. … If we can get this ball in the basket, I have a good feeling about this, I think it could be a slam dunk. It will be so relevant to now, it really gives me a freedom I cannot even tell you.”
Hawkins guesses, counting the Chenoweth musical and “The Crossing” material, she’s written about 300 songs in the last seven years. The album will include acoustic remakes of “Damn” and “As I Lay Me Down.” Hawkins has a distribution deal with EMI for the release.
Hawkins says she’s a huge dog lover because she could never have one as a kid. She loves them because there’s “no barrier” to their affection and presence.
Of her trademark abundant tresses, Hawkins says her only hair care tip is to avoid washing it as much as possible. She insists hers looks best when it’s been weeks since the last shampoo.
“That’s when I always get the most compliments, people saying ‘Oh, you have such great hair.’”
She’s also realistic about “The Crossings” commercial prospects. She says she’ll never stoop to giving her music away but realizes the chances of duplicating her early chart success are practically nil.
On one hand, Hawkins says her art (she paints too) is something she “couldn’t not do.” Conversely, she says it’s Gaston who has urged her to continue against increasingly difficult industry and commercial odds.
“She’s so much more than a manager,” Hawkins says. “Things bother her more than they bother me. Oh, believe me, I would have just gone away by now and written and painted by myself if it weren’t for her. I don’t think I could have survived but she tells me, ‘You’re not giving up, you’re a great artist, it kills me that people don’t see this.’ She really takes it on as one of her missions.”
So in hindsight, was the banjo battle worth it?
Hawkins says the story has gotten oversimplified as a kind of cautionary tale for supposedly overambitious pop singers — as in, “Remember Sophie B. Hawkins? Look what happened to her.”
She says it was more an issue of increasing pressure to write songs in huge groups of collaboration Hawkins found unwieldy and artistically stifling. She says she would have agreed to remove the banjo line for the radio version and kept it on a remix or B-side version (“Believe me, all those scenarios were discussed”), but push came to shove when label execs put their foot down over her using it for a live TV appearance.
“It was really the straw that broke the camel’s back,” she says. “It was such a clear thing to me. They were taking away my horse, in a way. I thought, ‘I can’t ride into battle without my horse. I can’t win without the horse.’ It just made me realize we weren’t on the same team anymore. … They were no longer rooting for me to win, they were trying to destroy me.”
Hawkins says she’s learned to find rewards in non-traditional places. Even though her relationship with her mother is still every bit as complicated as it was portrayed in “Cream,” Hawkins says there are sparks of healing and inspiration there too.
“There are artistic people out there struggling who never make at all,” she says. “So when somebody tells me they get it, it’s like winning an Oscar. My mother called me the other day and told me she’d listened to the new album. She said she’d felt it, whatever it was, this profound thing in the music. If your parents are alive and you get that, that’s my Grammy.”
Celebrity News
Housewives take Capitol Hill by storm
Bravolebrities promote expanded PrEP access, HIV/AIDS funding
Real Housewives from across the country took over Capitol Hill on Wednesdayto advocate for expanded PrEP access and to push for continued — if not increased — funding for HIV/AIDS research.
The event brought together Housewives from multiple franchises, including NeNe Leakes and Phaedra Parks from Atlanta; Candiace Dillard Bassett from Potomac; Erika Jayne from Beverly Hills; Luann de Lesseps from New York; Melissa Gorga from New Jersey; and Marysol Patton from Miami, alongside Tristan Schukraft, founder and CEO of MISTR, an online platform that connects people to HIV prevention tools and care.
MISTR, the nation’s largest telehealth platform for sexual health, brought stars from across Bravo’s Real Housewives franchise to Washington for Housewives on the Hill, a day of advocacy focused on expanding access to HIV prevention and treatment. During the event, the Housewives shared personal stories on how HIV has impacted their lives and the ongoing impact of HIV across communities in the U.S.
PrEP, the medication MISTR helps get out to the public, is a medication that can, if taken properly, reduce the risk of contracting HIV through sex by up to 99 percent, according to public health officials. Advocates say wider access to the medication — including through insurance coverage and telehealth services — is critical to reducing new HIV infections across the United States.
The day began with a panel in the ornate Kennedy Caucus Room of the Russell Senate Office Building, where the Housewives shared personal stories about the importance of HIV prevention.
Many of the Housewives offered personal accounts of why HIV prevention matters to them.
Bassett drew on her experience under the Obama-Biden administration in public affairs and spoke about how policy decisions can directly impact marginalized communities.
“Before my career in entertainment, I actually worked in the White House Offices of Public Engagement and Intergovernmental Affairs, and part of my job was to liaise between the White House and communities,” Bassett shared to the crowded room. “And so I got to see firsthand the effect that federal policy could have on those communities and the outcomes that could come out of that work, particularly marginalized communities.”
She then looked toward her fellow Housewives, pointing out that the issue does not affect all communities equally, with minority groups disproportionately impacted by HIV.
“And just what Phaedra said about this disease and HIV and AIDS, and how it disproportionately affects so many, particularly Black people — we make up, as you said, 12 percent of the population, and we are 40 percent of those affected by HIV. Just let that sink in. Let the walls hear that … It’s so important that we have these conversations, not just in forums like this, but around your kitchen tables, in your group chats, on the street — wherever we are. We need to be talking about what we can be doing as communities and as individuals to combat HIV and AIDS.”
After the panel, the group moved to the Lincoln Room, part of the Majority Whip’s office suite, where they continued conversations with lawmakers and staff about access to care, education, and prevention.
Bassett, fresh out of “The Traitors” castle, emphasized the need to humanize heavy topics like HIV.
“While you may not have anyone in your direct family affected by HIV, six degrees of separation — everyone knows someone who has been affected,” Bassett told the Washington Blade. “If you can tie the nature of dealing with illness back to families, they have to hopefully see themselves in it. People want community. Social media has done a good job connecting us in that way.”
Bassett encouraged attendees to be brave, to educate themselves about preventive measures, and to take advantage of telemedicine through platforms like MISTR.
“Step out and have faith that the people who are supposed to bind you are supposed to help you,” she added.
Schukraft said the turnout reflected the public’s strong interest in HIV prevention and awareness.
“Over 400 people attended the panel, and we had to turn people away,” Schukraft told the Blade. “These are real communities across the country, sharing stories and emphasizing the importance of HIV prevention and long-term care. Telemedicine is key — it helps rural and urban communities, reduces stigma, and allows people to consult doctors from home. The more honest you are with the doctor, the better care you get.”
For Leakes, using her iconic voice to educate others was a natural extension of her platform.
“Talking about sex, HIV, those topics can be embarrassing,” she admitted. “Atlanta has a high HIV rate, particularly in the Black and gay communities. Confidence to speak and educate my community feels good. The number of people that came out to support us this morning — some were turned away — was amazing. It’s important to make the conversation fun and approachable for the younger generation.”
“Atlanta has a high HIV rate, particularly in the Black and gay communities,” Leakes added to the Blade. “The South, Miami, Houston — these areas remain high, and ignorance contributes. Confidence to speak and educate my community feels good.”
Parks echoed the sentiment, highlighting both the challenges and the resilience of the LGBTQ community.
“Many people need this incentive and don’t have a voice. Medical care is expensive and inaccessible for some, so MISTR provides resources and telemedicine access to PrEP,” Parks said. “The LGBTQ+ community fights battles daily; sometimes they lose, but they keep going. Housewives show that women can stay the course.”
The lawyer, who also teased some new and upcoming projects, highlighted Atlanta’s return to Bravo on April 5 with “two new peaches in the house,” which she assured would be must-see TV. She also mentioned her upcoming role in “Dancing with the Stars.”
Patton said that the atmosphere on the Hill was very welcoming (more so than Andy Cohen’s couch at reunion time, one might assume.) She also noted that by working with Schukraft and MISTR, she was able to see firsthand how technology and telehealth can remove barriers to care.
“Everyone’s been so friendly, enthusiastic, and encouraging,” said Patton. “I was impressed with MISTR — how they get medication to people who can’t see a doctor or don’t have funds. Telehealth and medication delivery reduce stigma and help prevent the spread of HIV. Access needs to be available for prevention to work.”
Jayne gave the Blade a more personal reflection, particularly touching on how much treatment has changed since the disease began in the 1980s.
“Growing up in the late ‘80s and early ‘90s, an HIV diagnosis meant death,” she said. “The stigma was terrible, and I lost many people in the arts community. Now, people live longer, but the disease remains. I think it’s important to use whatever influence I have to educate.”
U.S. Sen. Tammy Baldwin (D-Wis.), the first openly lesbian senator who has long advocated for HIV research and prevention, said the Housewives’ visit underscored the importance of public awareness and celebrity influence in the fight against HIV.
“When I first got involved, AIDS was a death sentence — no treatment, no cure. Now we know so much more due to public education and health research. Advocacy spreads awareness that PrEP exists, prevents transmission, and funds research toward a cure. Bipartisan pressure is needed to keep funding going.”
Baldwin continued, explaining that this is not a one-and-done effort. To end the epidemic, all of Congress must come together to fight a virus that does not recognize political party, class, sexuality, or gender.
“We have the end of this epidemic within our reach, but we have to keep focused on it. We have to keep investing. That’s why what we’re doing today, and why … the Real Housewives coming to Capitol Hill with their celebrity and pressing this topic is so important because we have seen this administration, the Trump administration, propose cuts globally, drastic cuts globally, to the fight against AIDS, but also locally. I’m in a position as a member of the Senate Appropriations Committee to fight back, to actually fund programs that they’re trying to cut, but that’s not a given, and we need to really keep the pressure up on a bipartisan basis to keep that funding going.”
Movies
‘It’s Dorothy’ traces lasting influence of a cultural icon
Thoughtful and scholarly with a celebratory tribute to the character
There was a time, according to queer lore, when gay men referred to themselves as a “Friend of Dorothy” as a coded way of communicating their sexual orientation to each other without fear of “the straights” catching on. The reference, of course, is a winking nod to the love and affinity felt by the community toward the main character of L. Frank Baum’s 1900 novel “The Wonderful Wizard of Oz” – especially as personified by Judy Garland in the classic 1939 big screen musical version from MGM.
It may be that the origins of this phrase have been mythologized, exaggerated and/or retro-fitted to convey the underground nature of the queer community – as, indeed, is suggested in “It’s Dorothy!” (the new documentary from filmmaker Jeffrey McHale, now streaming on Peacock), which concerns itself with the enduring cultural legacy of this quintessentially American fictional heroine. But regardless of whether it truly served as a sort of “secret password,” it has come to be embraced as a part of the LGBTQ lexicon. As “campy” as the reference may be, being a “Friend of Dorothy” is now a proudly held communal watchword not just for gay men, but for an entire rainbow community – and McHale’s fizzy-yet-reverential exploration taps into all the reasons how and why this fictional Kansas farm girl has come to be a touchstone for so many by tracking her journey across popular culture over the 125 years since she first sprung to life in the pages of Baum’s timeless literary fantasy.
Calling on the commentary of cultural figures – writers, performers, and other artists whose paths have been, by fate or by personal design, have become associated with Dorothy’s legacy across pop culture, as well as the observations of scholars and historians that provide insight on the appeal that has made her into a sort of avatar for anyone who feels marginalized in a wild and self-contradictory world – and enriched by a plentiful trove of clips from the myriad incarnations through which she has become embedded into the American pop culture imagination, it’s a documentary that leans heavily into the notion that Baum’s timeless heroine remains relevant through her relatability. Given a minimum of descriptors by the author who created her and portrayed in the public imagination through a widely divergent array of social viewpoints, she represents a kind of “blank page” on which we can imprint ourselves; but at the same time, there is something about her – her nebulous status as presumed orphan, raised by an aunt and uncle who don’t quite understand her and thrust without warning into a world of contradictory rules and unfair expectations – that speaks directly to those who feel like outsiders, or who dream of freedom, acceptance, and personal agency beyond the proverbial rainbow.
Naturally, McHale imprints on Dorothy’s most iconic incarnation off the pages of Baum’s books; the cultural legacy of Dorothy cannot be separated from that of her most iconic representative – Garland, of course – and his documentary easily makes the case that, through her association with the character, this beloved actress who was constantly judged and frequently stigmatized throughout a career that took her through the heights of public success to the depths of personal heartbreak, all while living under the constant scrutiny of Hollywood’s publicity-and-propaganda machine. As a result, she somehow merged identities with her most famous role: Judy was Dorothy, but Dorothy was Judy, too. “It’s Dorothy” takes advantage of this almost mystical transfiguration to reflect on the qualities that make this pairing of actress and character so deeply complementary, while also using it to illuminate why the empathy which binds her with the queer community is so tightly connected to the qualities she shared with the non-descript but unforgettable character that would make her into an undisputed icon.
As famous as Garland’s Dorothy is, however, it’s not the end-and-be-all of Baum’s beloved heroine, and much of McHale’s movie turns its attention to the numerous other performers who have taken on the role throughout the decades, in various incarnations of the “Wizard of Oz” mythos – particularly through “The Wiz,” the 1974 Broadway musical that reframes and remolds the story (and Dorothy) through the lens of Black culture and experience, and other iterations that have emerged throughout pop culture as a testament to her enduring appeal. Indeed, the movie brings illumination to the way that Dorothy – and the “Oz” mythos in general – has become a touchstone within Black community culture as well, and how artists (like musician Rufus Wainwright, gay counterculture icon John Waters, comedian/actor Margaret Cho, comedian/writer/director Lena Waithe, and “Wicked” author Gregory Maguire, all of whom participate in the film’s conversation) have found inspiration in the character and her story, which has helped to shape their own creative lives.
Thoughtful and scholarly while also delivering a celebratory tribute to the character (and the outsider qualities which make her beloved by so many who can relate to her sense of longing and the call she feels to journey “Somewhere Over the Rainbow”), “It’s Dorothy” provides a respectful yet candid examination of the lasting impact of Baum’s iconic character and the world he created around her in our popular imagination, not just as queer people but as a larger American community. It’s an entertaining journey into cultural history, which connects the dots to give us insight on why Dorothy and her adventures continue to speak to us with such profound resonance. It’s also entertaining in a way that feels like a “guilty pleasure” but is validated by the reverence it exudes for its subject, and loaded with memorably evocative clips from movies, shows, and performances from across the decades; and while it may begin to feel a bit repetitive, at points, as it examines the various actresses who have played Dorothy over the years (and the meaning they have found in her that connects her to their own lives), it nevertheless maintains a sincerity of feeling that keeps us invested.
And just in case you might feel like the times are too somber for a nostalgic stroll down the “yellow brick road” of cultural memories, be aware that McHale also explores the ominous presence of the Wizard himself in these tales, a phony who pretends at power while hiding behind a benevolent mask to maintain it.
As if the “Wicked” movies didn’t make the point clearly enough, we’re in a world that’s a lot more Oz-like than we would like to imagine, and it’s hard not to wish we had the ability to go “home” simply by tapping our heels together in fabulous footwear. “It’s Dorothy!” conveys that longing in a way that feels light-hearted and joyful, and reminds us why being a “friend of Dorothy” has been and continues to be a resonant way of identifying ourselves in a world full of wizards, witches, and “twisters” that can carry us far away from home.
And if you want to follow it up with an impromptu rewatch of the 1939 classic, we wouldn’t blame you. It’s a movie that feels, to so many of us, like home – and there’s no place like it.
Arts & Entertainment
The very few queer highlights of the Oscars
Streisand’s live performance, a shocking tie, and more
LOS ANGELES — While Sunday’s Academy Awards saw the expected winners “One Battle After Another” and “Sinners” nab a collective 10 Oscars throughout the evening, dominating most of the major categories, there were a few moments for queer film fans to celebrate.
During the ceremony’s prolonged and emotional In Memoriam segment, which paid tribute to Robert Redford, Rob Reiner, and Catherine O’Hara, queer icon Barbra Streisand went on stage and gave a rare live performance of “The Way We Were” as a tribute to Redford, who died last September at the age of 83. Before singing, Streisand said, “Now, Bob had real backbone on and off the screen. He spoke up to defend freedom of the press, protect the environment, and encouraged new voices at his Sundance Institute — some of whom are up for Oscars tonight, which is so great. He was thoughtful and bold.”
Both “I Lied to You” from “Sinners” and “Golden” from “KPop Demon Hunters” were performed live; Alabama Shakes front woman Brittany Howard performed during the evening’s powerful rendition of “Sinners’” “pierce the veil” scene. “Golden” ended up winning the Best Original Song award.
One of the most shocking moments of the night arrived early on when Kumail Nanjiani presented the Best Live Action short category, which was a tie between “The Singers” and “Two People Exchanging Saliva” — only the seventh tie in Oscars history (one of which involved Streisand’s 1969 win for “Funny Girl”). The latter short, which is currently streaming on The New Yorker, is described as “a dystopian version of Paris where kissing is forbidden and purchases are made through small acts of violence” and follows the unexpected connection between two women.
When accepting the award, “Two People Exchanging Saliva” director and producer Natalie Musteata said: “Thank you to the Academy for supporting a film that is weird, and that is queer, and that is made by a majority of women!”
“One Battle After Another’s” editor, Andy Jurgensen (who collaborated with Paul Thomas Anderson on “Licorice Pizza” and “Phantom Thread”), kissed his husband before going on stage to accept his award for film editing. He said, “To my partner, Bill, who brings so much joy to my life every day.”
Overall, the 2026 award season did not feature many queer films or actors in the lineup, and that was reflected in both the Oscar nominees and eventual winners. Smaller award shows like the Gotham Awards and the Film Independent Spirit Awards provided opportunities for indies like “Sorry, Baby,” “Twinless,” and “Lurker” to get proper recognition. “One Battle After Another” won Best Picture and Best Director for Paul Thomas Anderson; “Sinners” star Michael B. Jordan won Best Actor; and “Hamnet’s” Jessie Buckley won Best Actress.
Housewives take Capitol Hill by storm
Protesters say SAVE Act targets voters, transgender youth
‘It’s Dorothy’ traces lasting influence of a cultural icon
SAVE Act could silence millions of trans voters
The frightening rise of antisemitism, Islamophobia
Ensuring safer drinking water
A season of renewal for D.C. theater
PHOTOS: Awesome Con
Kennedy Center leadership changes as Trump ally Grenell departs
