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Arts & Entertainment

Summer sizzle

Gay pop culture offerings abound in region and beyond

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Dave Koz, Saxophone, Gay News, Washington Blade

Openly gay saxophonist Dave Koz plays Wolf Trap Aug. 22. (Photo by Greg Allen; courtesy Wolf Trap)

Summer has officially started and there is so much to do. Here’s a preview of things to come during these hot months.

MUSIC

July 4th brings the annual National Symphony Orchestra concert “A Capitol Fourth” at 8 p.m. on the West Lawn of the U.S. Capitol. The broadcast will have a new host, Tom Bergeron, and will feature performances by Matthew Broderick, Megan Hilty, Kool & the Gang and more. There will also be a special tribute to Team USA, hosted by Apolo Anton Ohno. Gates open at 3 p.m. for this free event.

The 9:30 Club (815 V St., N.W.) has several concerts coming up this summer. The Scissor Sisters will be there on July 2-3. Tickets are $40. The Mighty Mighty Bosstones will be there on Aug. 7. Tickets are $30. Bob Mould performs on Sep. 8. Tickets are $25. Tickets to all shows are available online at 930.com.

The National Symphony Orchestra has several concerts happening this season at Wolf Trap (1645 Trap Rd., Vienna). On July 6, the Orchestra will be performing “Broadway ROCKS!” at 8:15 p.m. The show will feature Rob Evan, Morgan James, LaKisha Jones and Doug LaBrecque singing Broadway showstoppers from musicals such as “Mamma Mia!,” “Hairspray” and more. Tickets for this concert range from $20 to $52.

On July 14, NSO will be playing the score to “The Wizard of Oz” as the movie is shown on the huge screens in-house and on the lawn. Tickets for this concert range from $20 to $52. On Aug. 3, NSO will be backing of Broadway star Idina Menzel in a one-night-only exclusive performance with Steven Reineke conducting. The show is at 8:15 p.m. and tickets range from $20-$55.

Wolf Trap will be hosting a bevy of other concerts as well.

The B-52s return to the area on July 19 at 8 p.m. Tickets range from $25-$42. Rufus Wainwright and Ingrid Michaelson perform back-to-back on July 24 at 8 p.m. Tickets range from $30-$40. On Aug. 22 at 8 p.m., Dave Koz, who’s openly gay, will be performing with BeBe Winans and special guest Average White Band. Tickets range from $25 to $42.

Tickets for Wolf Trap events are available online at wolftrap.org.

Shawn Colvin plays the Birchmere (3701 Mount Vernon Ave., Alexandria) with Kat Edmonson on July 19 and 20. Ticket are $49.50 and available online at birchmere.com. Kenny Loggins plays there July 26. Tickets are $79.50. Melissa Ferrick will also be playing Birchmere on Sept. 8 with special guest Astra via. Tickets are $25. These concerts are all at 7:30 p.m.

Indie band “Girl in a Coma,” featuring two openly lesbian members, play the Red Palace (1212 H St., N.E.) on July 13 at 8 p.m. Tickets are $10 in advance and $12 day of show. Doors open at 7 p.m.

Don’t forget the pop music icon Madonna is coming to the D.C. area on Sept. 23-24 for two concerts at the Verizon Center (601 F St., N.W.) at 8 p.m. Tickets range from $93-$358 and can be purchased online at ticketmaster.com.

Concerts are always fun, but sometimes its nice to just sit at home and listen to some new music.

Maroon 5’s newest album, “Overexposed,” with the single “Payphone,” is slated to be released June 26.

Chris Brown has a new album, “Fortune,” coming out July 3. Passion Pit’s “Gossamer” is schedule to be released July 24 and Deadmau5’s “The Veldt” will be released July 25.

MOVIES

There are some big movies coming out this summer.

Channing Tatum’s “Magic Mike,” based on his brief stint as a stripper before getting into acting, opens June 29. The movie also stars Matt Bomer, who recently came out.

The Spider-Man series isn’t over yet. “The Amazing Spider-Man,” starring Andrew Garfield and Emma Stone, opens July 3.

Another comic book hero, Batman, also gets another movie with “The Dark Knight Rises,” starring Christian Bale and Anne Hathaway as Catwoman, opening July 20.

August 17 brings the opening of “Sparkle,” starring Jennifer Hudson and the late Whitney Houston.

Ellen DeGeneres may not be getting the sequel to “Finding Nemo” that she wanted, but the film is to be re-released in 3D on Sep. 14.

There’s also the Capital Fringe Festival coming up July 12-29. This year’s festival will feature films such as “Despertar,” “Bareback Ink,” “Stopgap” and more. For a complete list of films, venues and prices, visit capfringe.org.

TELEVISION

A few of the summer series have already started, like ABC Family’s “Pretty Little Liars,” TNT’s reboot of “Dallas” and HBO’s “True Blood,” but there are a few that have yet to premiere.

Eric McCormack of “Will & Grace,” takes on a new role as an eccentric professor helping the FBI in the new TNT series “Perception,” premiering July 9.

Bomer will also be on the small screen when the USA series “White Collar,” premieres July 10 as well as “Covert Affairs” starring Piper Perabo. USA also has a new series “Political Animals,” which premieres July 15 starring Sigourney Weaver playing a former first lady-turned-secretary of state.

Those with DirecTV can watch Chloe Sevigny play a transgender assassin in “Hit and Miss” starting July 11.

For those fans of science fiction, “Warehouse 13” and “Alphas” both premiere their new seasons on SyFy on July 23.

A few reality series also start up over the summer. CBS’s competition “Big Brother” premieres July 12, as does Showtime’s “The Real L Word.”

THEATER

The traveling production of “The Addams Family” comes to D.C. by way of the Kennedy Center (2700 F St., N.W.). The show will run from July 10-29, including a theater look-in on July 17 prior to that days performance. Tickets range from $39 to $115. Tickets are available online at kennedy-center.org.

Keegan Theatre (1742 Church St., N.W.) concludes its 2011-2012 season with “August: Osage County” directed by Mark A. Rhea and starring Stan Shulman, Rena Cherry Brown and more. The show runs from Aug. 3-26.

Signature Theatre (4200 Campbell Ave., Arlington) is putting on its own production of “The Best Little Whorehouse in Texas” opening Aug. 14 and running through Oct. 7.

Kathleen Turner brings her one-woman show “Red Hot Patriot: The Kick-Ass Wit of Molly Ivins” to Arena Stage (1101 6th St., S.W.) starting Aug. 23. The show will run through Oct. 28. This is the first show of Arena’s 2012/13 season. For more information, visit arenastage.org.

OTHERS

The Queer Queens of Qomedy will be at the Birchmere on Aug. 16 at 7:30 p.m. featuring Poppy Champlin, Zoe Lewis and Michele Balan. Tickets are $25 and available online at birchmere.com.

The D.C. Center’s (1318 U St., N.W.) OutWrite LGBT Book Fair will run Aug. 3-4 and will feature reading by Wayne Hoffman, David Pratt, Sampson McCormick and more. There will also be discussions on social justice and intersectional activism and gay pulp fiction. For more information and a complete schedule of events, visit outwritedc.org.

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Television

ICYMI: ‘Overcompensating’ a surprisingly sweet queer treat

A sweet, savvy show about breaking free to embrace your true self

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Holmes, Benito Skinner and Wally Baram in ‘Overcompensating.’ (Photo courtesy of MGM Amazon)

Pride month 2025 is now behind us, and while it’s safe to say that this year’s celebrations had a darker edge than usual, it’s also true that they came with a particularly rich bounty of new queer movies and shows to entertain us – so many, in fact, that even if we are facing a lull until the fall another harvest of fresh content, there are still plenty of titles – which, for whatever reason, were off your radar – for you to catch up on in the meantime.

One of the most notable of these –  the bingeworthy series “Overcompensating” (now streaming on Amazon Prime) – will most definitely have been ON the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok. For anyone else, it might have easily slipped through the cracks.

Created and written by Skinner as a loosely autobiographical “college comedy,” it aims for the kind of raucous, explicitly sexed-up tone one expects from the genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and “golden boy” at his midwestern high school, he’s the picture of idealized youthful masculinity; he’s also deep in the closet, struggling to keep his sexuality hidden and maintain his macho front under the intense scrutiny of the college’s social scene – and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.

In the first episode, Benny’s difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home marred by tragedy, she’s an outsider who feels like she’s putting on an act, too, and they click – giving him the convenient “cover” of female companionship while providing them both with much-needed support and encouragement. He’s also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring other kinds of feelings and possibly even reciprocating them. Meanwhile, he’s being courted by the school’s “exclusive secret society” – headed by his sister’s aggressively “alpha” boyfriend Pete (Adam DiMarco) – and trying to stay interested in his studies, despite a growing realization that a career in business doesn’t actually appeal to him all that much.

That’s a lot to juggle for anybody, even an overachiever like Benny – whose “lucky” life so far has largely been the result of playing a role he is finding harder and harder to maintain. As the series goes on through its eight-episode arc, it becomes clear that he’s not the only one who is “keeping up appearances,” and he, along with the other confused and damaged young people in his orbit, begins the painful (but often hilarious) process of evolution that is required in order to become truly oneself.

Directed toward appealing to a younger demographic, “Overcompensating” is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, it’s not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; there’s a nostalgic fun to it, made even more appealing, somehow, by the “political incorrectness” of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent “Animal House” for the Gen Z crowd.

By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves – and, as things draw toward a cliffhanger climax, the consequences of maintaining it – until it achieves a sense of empathy toward them all. There’s a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the “sexploitative” teen comedy of its surface into something deeper. To be sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the show’s “mature YA” appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.

As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an “ego project,” the internet-spawned sensation proves his talents quickly enough to get past such judgy suspicions, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned “lived authenticity” to his winning performance – after all, he’s essentially playing himself in a fictionalized version of his own life – while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective “closets,” too. It’s unavoidable to notice that – like most of his co-stars – he’s plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, we’ve become too engaged by him to care.

The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (“White Lotus”) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins unraveling around him. Other standouts include the mononymic actress Holmes as Carmen’s “wild child” roommate, solidly likable turns as Benny’s parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny “clocked” from the moment they meet. Finally, Lukas Gage makes a deep impression as a former high school teammate at the heart of Benny’s most haunting memory.

There’s no official word yet on whether “Overcompensating” will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinner’s large fanbase makes it likely that the story will continue. Even if it doesn’t, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.

As for us, we hope that won’t happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, it’s one of the sweetest, kindest, and most savvy shows we’ve seen about breaking free from conformity to embrace your true self – and that’s a message that applies whether you’re queer, straight, or anywhere in between.

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Photos

PHOTOS: Independence Day Weekend in Rehoboth

Wicked Green Pool Party, fireworks among festivities

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A fireworks show was held in Rehoboth Beach, Del. on Saturday, July 5. (Washington Blade photo by Daniel Truitt)

Vacationers and residents alike enjoyed Independence Day Weekend activities in Rehoboth Beach, Del. The Wicked Green Pool Party drew hundreds to the CAMP Rehoboth fundraiser on Saturday. That evening, revelers went to the rooftops to watch the fireworks display.

(Washington Blade photos by Daniel Truitt)

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Music & Concerts

Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July

The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.

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Beyoncé performs on July 7. (Washington Blade photo by Joe Reberkenny)

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.

The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.

Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.

The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:

“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”

Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.

The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.

One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.

A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.

It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.

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