Arts & Entertainment
Welcoming the world
Activists, filmmakers prepare for Int’l AIDS Conference with busy lineup of local events
Members of the World AIDS Institute team (l-r): Chad Johnson, Diego Alves, Noel Short, David Miller, Angela Kelly, Kevin Maloney, Dave Purdy and Mariel Selbovitz. (Washington Blade photo by Michael Key)
As Washington gears up to host the International AIDS Conference for the first time in 22 years, local organizations have planned a bounty of free or independent events for those who could not afford the $150-$1,045 registration fee.
Global Village, an international organization that brings together leaders, researchers and performers from all over the world to increase awareness of HIV/AIDS, is hosting several sessions within the conference ranging from video screenings and art exhibitions to networking zones and meeting rooms. Everything the Global Village is hosting is free and open to delegates and locals.
“We are trying to connect science, research and community,” coordinator Joseph Elias says. “It is important that the D.C. community participates to get a grasp of what is happening locally and globally.”
Several of the events will be geared toward youth under the age of 30 dealing with HIV/AIDS.
Emily Carson, youth program coordinator at Global Village, says the focus on youth has been in demand.
“Young people are disproportionally affected by HIV,” she says. “In the conference in 2000, there were only 50 young people, and they said this is a severe problem, no one is speaking for us.”
Among the many attractions in the Global Village area, there will be an interactive story telling booth called, “Generations HIV.” The booth looks like a photo booth, but it records video instead.
The booth was created by Marc Smolowitz and Jörg Fockele, both San Francisco-based filmmakers, as part of their HIV Story Project. The booth has been featured three times in the San Francisco Bay area and has so far collected about 250 clips. The HIV Story Project is a non-profit organization that compiles multi-platform story telling and short films about living with HIV/AIDS.
“The booth is a conversation starter,” Smolowitz says. “It is to connect different generations of people living with HIV. You can ask questions of different generations, answer questions or record your personal story.”
Smolowitz and Fockele are currently trying to start an archive online where all the videos will be posted.
A still from ‘Ours,’ one of the films being screened July 24-25 in the AIDS Film Festival. (Image courtesy the Festival)
Along with the booth, the HIV Story Project team also has a movie screening at the International AIDS Film Festival, which is occurring in conjunction with the conference from July 24-25. The film is titled, “Still Around,” and is a compilation of 15 short films portraying different people living with HIV/AIDS in the San Francisco area. The people were paired with 16 different directors and had direct say in their own films. The films vary, and include stories about how people are thriving with the disease. One subject is a man who copes with his HIV-positive status through a hooking ritual. Another is a couple that marries, has a daughter and faces HIV/AIDS together.
Fockele says the film is an update of what the face of HIV/AIDS looks like in the U.S. and in Europe today.
“In Europe and the U.S. there are mostly historic films about HIV and AIDS,” he says. “What we went out to do is to get a film that is right here, right now.”
The movie is opening the festival on July 24 at 7 p.m. Tickets are $10, and a pass for all four films is $25. For more information about the International AIDS Film Festival 2012, visit internationalaidsfilmfestival.org.
The film festival and several other community events are a part of the AIDS2012 Reunion, a resource for conference attendees to see what local events are taking place outside the main conference.
“The one thing we are doing is we are allowing anyone to participate,” managing director David Purdy says. “Low-income people are one group that needs support and to get educated about HIV/AIDS.”
Some of the events in the AIDS2012 Reunion as well as other community events include:
• On July 20-21, the DC Center, National Coalition of LGBT Health, Whitman-Walker Health and Us Helping Us at George Washington University (2029 G St., N.W.) are hosting the Gay Men’s Health Summit. Registration is $85, $65 for students.
• On July 21, Jay Brannan is playing at the U Street Music Hall (1115A U St., N.W.) at 7 p.m. Tickets are $20.
• From July 21-27, the Textile Museum (2320 S St., N.W.) is showing a special display of one panel from the AIDS Quilt. An $8 donation is suggested.
• On July 22, there’s a March on Washington involving several different local organizations from noon to 2 p.m.
• On July 19 and 23, Arena Stage (1101 6th St., S.W.) hosts a benefit performance of its current production, the Larry Kramer-penned AIDS classic “The Normal Heart” at 8 p.m. Tickets are $65.
• On July 24, “Return to Lisner: A Forum on the State of HIV/AIDS,” is taking place at the Lisner Auditorium at George Washington University (2029 G St., N.W.). Registration is required.
For more events, visit the AIDS2012 Reunion website aids2012reunion.org.
These events are only a fraction of what will be occurring throughout the D.C. Metropolitan area.
Chris Dyer, organizer for the Gay Men’s Health Summit, says by hosting separate events from the conference, organizations can make them more focused on certain groups.
“Gay men’s health issues are unique,” he says. “The main conference deals with a variety of issues, but we are providing a safe place for gay, bisexual or trans men to talk about their specific issues in a safe place.”
Purdy also says that organizations like AIDS2012 Reunion bring the focus back to what is happening locally and connecting people to services they may not be aware of.
“We’re providing an opportunity to participate and win this war against AIDS,” he says.
Bringing the spotlight back to Washington, local filmmakers Art Jones and Pam Bailey are also presenting their documentary “13 Percent,” which is about how the African-American population in Washington and other metropolitan areas has been affected by HIV/AIDS in the past 10 years. The movie will be screening at Bloombars (3222 11th St., N.W.) on July 24 at 7 p.m. RSVP and $10 donation is suggested.
The film is intermixed with interviews from medical professionals, political leaders, religious leaders and those living with the virus. They showcase a variety of people affected by the disease and their stories, one of the most compelling being a young woman named Raven.
Raven was born with HIV and when her mother informed the Catholic school she was attending, Raven began facing daily discrimination from teachers and students. She describes how one teacher put garbage bags around her and would bar her from going on class trips. All of this occurred well after it was known how the virus is spread.
“I am hoping [the audience] take away the recognition that we are a community that is really threatened,” Jones says. “This film should be a call to action.”
He hopes this would lead to more exposure of how much of a threat HIV remains.
Purdy wishes similar things for attendees of the conference and the different community events.
“Really, I hope people have a new commitment or a recommitment to work together in this fight,” he says. “I would like them to share stories and remember the 30 million who have died from AIDS worldwide. There is a lot of work that needs to be done.”
The LGBTQ+ Victory Fund National Champagne Brunch was held at Salamander Washington DC on Sunday, April 19. Gov. Andy Beshear (D-Ky.) was presented with the Allyship Award.
(Washington Blade photos by Michael Key)
The umbrella LGBTQ sports organization Team D.C. held its annual Night of Champions Gala at the Georgetown Marriott on Saturday, April 18. Team D.C. presented scholarships to local student athletes and presented awards to Adam Peck, Manuel Montelongo (a.k.a. Mari Con Carne), Dr. Sara Varghai, Dan Martin and the Centaur Motorcycle Club. Sean Bartel was posthumously honored with the Most Valuable Person Award.
(Washington Blade photos by Michael Key)
Television
‘Big Mistakes’ an uneven – but worthy – comedic showcase
In the years since “Schitt’s Creek” wrapped up its six season Emmy-winning run, nostalgia for it has grown deep – especially since the still painfully recent loss of its iconic leading lady, Catherine O’Hara, whose sudden passing prompted a social media wave of clips and tributes featuring her fan-favorite performance as the deliciously daft Moira Rose. Revisiting so many favorite scenes and funny moments from the show naturally reminded us of just how much we loved it, even needed it during the time it was on the air; it also reminded us of how much we miss it, and how much it feels now like something we need more than ever.
That, perhaps more than anything else, is why the arrival of “Big Mistakes” – the new Netflix series starring, co-created and co-written by Dan Levy – felt so welcome. We knew it wouldn’t be the Roses, but it seemed cut from the same cloth, and it had David Rose (or at least someone who seemed a lot like him) in the middle of a comically dysfunctional family dynamic, complete with a mother who gets involved in town politics and a catty sibling rivalry with his sister, and still nebbish-ly uncomfortable in his own gay shoes. Only this time, instead of running a charmingly pretentious boutique, he’s the pastor of the local church, and instead of a collection of kooky small town neighbors to contend with, there are gangsters.
As it turns out, it really does feel cut from the same cloth, but the design is distinctly different. Set in a fictional New Jersey suburb, it centers on Nicky (Levy) and his sister Morgan (Taylor Ortega) – he openly gay with an adoring boyfriend (Jacob Gutierrez), yet still obsessive about keeping it all invisible to his congregation, and she drudging aimlessly through life as an underpaid schoolteacher after failing to achieve her New York dreams of show biz success – who inadvertently become enmeshed in a shady underworld when a gesture for their dead grandmother’s funeral goes horribly awry.
They’re surrounded by a crew of equally compromised characters. There’s their mother Linda (Laurie Metcalf), whose campaign to become the town’s mayor only intensifies her tendency to micromanage her children’s lives; Yusuf (Boran Kuzum), the Turkish-American mini-mart operator who pulls them into the criminal conspiracy yet is himself a victim of it; Max (Jack Innanen), Morgan’s live-in boyfriend, who pushes her for a deeper commitment and is willing to go to couples’ therapy to prove it; Annette, his mother (Elizabeth Perkins), who lends her society standing toward helping Linda’s campaign against a misogynistic opponent (Darren Goldstein); and Ivan (Mark Ivanir), the seemingly ruthless crime boss who enslaves the siblings into his network but may really be just another slave himself. It’s a well-fleshed out assortment of characters that helps our own loyalties shift and adapt, generating at least a degree of empathy – if not always sympathy – that keeps everyone from coming off as a merely “black-and-white” caricature of expectations and typecasting.
To be sure, it’s an entertaining binge-watch, full of distinctive characters – all inhabiting familiar, even stereotypical roles in the narrative – who are each given a degree of validation, both in writing and performance, as the show unspools its narrative. At the same time, it makes for a fairly bleak overall view of humanity, in which it’s difficult to place our loyalties with anyone without also embracing a kind of “dog eat dog” morality in which nobody is truly innocent – but nobody is completely to blame for their sins, anyway.
In this way, it’s a show that lets us off the hook in the sense that it places the idea of ethical guilt within a framework of relative evils, as it permits us to forgive our own trespasses by accepting its “lovably” amoral characters, each of whom has their own reasons and justifications for what they do. We relate, but we can’t quite shake the notion that, if all these people hadn’t been so caught up in their own personal dramas, none of them would have ended up in the compromised morality that they’re in.
However, it’s not some bleak morality play that Levy and crew undertake; rather, it’s more an egalitarian fantasy in which even “bad” choices feel justified by inevitability. Everybody’s motivations make enough sense to us that it’s hard to judge any of the characters for making the choices – however unwise – that they do. In a system where everyone is forced to compromise themselves in order to achieve whatever dream of self-fulfillment they may have, how can anybody really blame themselves for doing what they have to do to survive?
Of course, all things considered, this is more a relatable comedy than it is a morality play. As a comedy of errors, it all works well enough on its own without imposing an ideology on it, no matter how much we may be tempted to do so. Indeed, what is ultimately more to the point is how well this pseudo-cynical exercise in the normalization of corruption – for that is what it really about, in the end – succeeds in letting us all off the hook for our compromises.
In the end, of course, maybe all that analysis is too deep a dive for a show that feels, in the end, like it’s meant to be mostly for fun. Indeed, despite its focus on being dragged into the shady side of life, the arc of its messaging seems to be less about a moralistic urge toward making the “right” choice than it is a candid recognition that all of us are compromised from the outset, often by choices we only force upon ourselves, and that’s a refreshing enough bit of honesty that we can easily get on board.
It helps that the performances are on point, especially the loony and wide-eyed fanaticism of Metcalf – surely the MVP of any project in which she is involved – and the directly focused moral malleability of Ortega; Levy, of course, is Levy – a now-familiar persona that can exist within any milieu without further justification than its own queer relatability – and, in this case, at least, that’s both the icing on the cake and substance that defines it. That’s enough to make it an essential view for fans, queer or otherwise, of his distinctive “brand,” even if he – or the show itself – doesn’t quite satisfy in the way that “Schitt’s Creek” was able to do.
Seriously, though, how could it?
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