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Remembering a queer visionary

New force/collision work celebrates iconic late filmmaker

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Jarman, gay news, Washington Blade
Jarman, gay news, Washington Blade

A scene from ‘Jarman.’ (Photo by Benjamin Carver)

‘Jarman (all this maddening beauty)’

Through April 27

Atlas Performing Arts Center

1333 H Street N.E.

$10-20

202-399-7993

Force-collision.org

Iconoclastic ‘80s filmmaker Derek Jarman was a standout among his peers. Gay and fearless, Jarman eschewed traditional movie making methods for more experimental, semi-narrative forms. His films like “Sebastiane” and the “Caravaggio” are deeply personal, wildly inventive and strongly homoerotic. He’s best remembered as one of the founding fathers of new queer cinema.

This year marks the 20th anniversary of Jarman’s death from AIDS complications. In commemoration there are myriad salutes and retrospectives, mostly in London. Washington-based theater company force/collision is celebrating the artist with its latest offering “Jarman (all this maddening beauty).”

Acted and staged by the company’s founding director John Moletress and written by Obie Award-winning playwright Caridad Svich with filmed footage by talented local filmmaker Ben Carver, “Jarman” combines theater and film to create a glorious mishmash of sound, images and live performance.

“In making the project,” says Moletress who identifies as queer, “We sought inspiration from Jarman’s work. We weren’t attempting to recreate or make a comment. We approached it from a contemporary point of view keeping in mind how we’re making art today. You’ll see images of the left’s then-nemesis Margaret Thatcher, but you’ll also see images of Putin as well.”

At 80 minutes, “Jarman” is a solo show staged on a spare set, reminiscent of the filmmaker’s bare-bones studio. Moletress plays both the title character and a young artist from today. And while he’s the only actor onstage, 50 other actors contribute performances through voiceover and film projection.

“Jarman’s work is beautiful and rageful,” Moletress says. “As a filmmaker, he cared about community, queer identity and ensemble work. So does force/collision. Company members are involved in all facets of the production, but our intent has always been to tour ‘Jarman’ (it’s slated to play in England in the fall) and from a financial perspective it’s more feasible with a cast of one.”

The show’s footage was shot by Carver on locations throughout D.C., including the Arboretum and the shuttered, historic Washington Coliseum (located near Union Station) where the company staged a decadent end-of-the-world party.

“It was sort of an apoplectic tea dance,” Moletress says. “We had fog machines, a DJ, cheap Champagne and lots of actors drawn from D.C.’s mainly underground performance art scene. Ben (Carver) was instrumental in accessing unique locations and some interesting and well-built actors.”

In keeping with Jarman’s aesthetic, the production is homoerotic and there’s nudity.

“I’m naked onstage — that’s something I haven’t done since I was a twink. But I’m not nervous. I’m more concerned about dressing as Margaret Thatcher and dancing around violently with a butcher knife while giving the audience lap dances … and remembering my lines.”

As a 16-year-old video store clerk, Moletress, 35, saw his first Jarman film “Aria” (’87) featuring the filmmaker’s career-long muse Tilda Swinton. He was smitten. Moletress became further intrigued as an undergrad at Muhlenberg College in Pennsylvania when one of his English classes screened Jarman’s “Tempest” (’79).

Then last year, while doing “Gun Control Action Theatre” with playwright Caridad Svich, the pair agreed to collaborative on a project involving Jarman. “It was then that I really began watching all of his films and reading everything I could find about him. In my research, I learned that Jarman was a charming and determined man. Still, the deeper I delved, there was always more to know about him.”

Jarman arrived at filmmaking via art school. His early works include the sexy “Sebastiane” (‘76), about the martyred gay saint, and “Jubilee” (’78) featuring punk star Adam Ant. His best known film is “Caravaggio” (’86), in which the filmmaker celebrates the painter’s obsession with his thuggish studio model.

After being diagnosed with HIV while filming “The Last of England” (’86), Jarman continued to work, staging the Pet Shop Boys’ 1989 tour and making more films, working with big names like Judi Dench and Laurence Olivier. He spoke publicly about his illness and became increasingly active in the gay rights movement. Jarman died in London in 1994 at 52.

Moletress counts Jarman as a deserving member of the gay Pantheon: “There’s no shame in his work. Jarman didn’t pander. He made what he wanted to make. If it offended some people, he didn’t give a shit. Jarman never said no to his sexuality or to what he wanted to see on film.”

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Movies

Few openly queer nominees land Oscar nominations

‘Sinners’ and ‘One Battle After Another’ lead the pack

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This year’s Oscar nominees feature very few openly queer actors or creatives, with “KPop Demon Hunters,” “Come See Me in the Good Light,” and “Elio” bringing some much-needed representation to the field.

“KPop Demon Hunters,” which quickly became a worldwide sensation after releasing on Netflix last June, was nominated for best animated feature film and best original song for “Golden,” the chart-topping hit co-written by openly queer songwriter Mark Sonnenblick. “Come See Me in the Good Light,” a film following the late Andrea Gibson and their wife, Megan Falley, was nominated in the best documentary feature category. Finally, Pixar’s “Elio” (co-directed by openly queer filmmaker Adrian Molina) was nominated for best animated feature film alongside “Zootopia 2,” “Arco,” and “Little Amélie or the Character of Rain.”

Ethan Hawke did manage to land a best actor nomination for his work in Richard Linklater’s “Blue Moon,” a biopic that follows a fatal night in Lorenz Hart’s life as he reckons with losing his creative partner, Richard Rodgers. Robert Kaplow was also nominated for best original screenplay for penning the script. Amy Madigan, as expected, was recognized in the best supporting actress category for her work in “Weapons,” bringing celebrated gay icon Aunt Gladys to the Oscar stage.

While “Wicked: For Good” was significantly underperforming throughout the season, with Cynthia Erivo missing key nominations and the film falling squarely out of the best picture race early on, most pundits expected the film to still receive some recognition in craft categories. But in perhaps the biggest shock of Oscar nomination morning, “For Good” received zero nominations — not even for costume design or production design, the two categories in which the first film won just last year. Clearly, there was “Wicked” fatigue across the board.

There was also reasonable hope that Eva Victor’s acclaimed directorial debut, “Sorry, Baby,” would land a best original screenplay nod, especially after Julia Roberts shouted out Victor during the recent Golden Globes (which aired the day before Oscar voting started). A24, the studio that distributed “Sorry, Baby” in the U.S., clearly prioritized campaigns for “Marty Supreme” (to much success) and Rose Byrne in “If I Had Legs I’d Kick You,” leaving “Sorry, Baby” the indie darling that couldn’t quite crack the Oscar race.

However, with the Film Independent Spirit Awards taking place on Feb. 15, queer films like “Sorry, Baby,” “Peter Hujar’s Day,” and “Twinless” will finally get their time to shine. Maybe these films were just underseen, or not given a big enough PR push, but regardless, it’s unfortunate that the Academy couldn’t make room for just one of these when “Emilia Pérez” managed 13 nominations last year.

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a&e features

MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say,  celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond,  prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you? 

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for. 

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach? 

SCHUKRAFT: This year, we held the first-ever National PrEP Day.  Dua Lipa performed, and Cardi B was there.  After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.  

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.  

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years? 

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.  

For many sexually active gay men, taking PrEP is simply part of the gay experience.  For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door. 

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level? 

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance. 

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic? 

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States.  We have everything we need today.  All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years. 

HIV transmissions don’t pause because budgets change. 

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health? 

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding,  we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results. 

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.  

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs. 

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business. 

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening. 

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding? 

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care. 

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs? 

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together. 

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level? 

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP. 

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026? 

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal. 

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PHOTOS: Mr. Mid-Atlantic Leather 2026

Gage Ryder wins annual competition

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Gage Ryder, center, wins the title of Mr. Mid-Atlantic Leather 2026 in a competition at the Hyatt Regency Capitol Hill in Washington, D.C. on Sunday, Jan. 18. (Washington Blade photo by Michael Key)

The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.

(Washington Blade photo by Michael Key)

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