Arts & Entertainment

Buckley vs. Vidal

New doc recalls seminal debates of 1968

Published

11 years ago

August 6, 2015

William F. Buckley Jr., left, with Gore Vidal in their 1968 summer showdown on ABC. (Photo courtesy Magnolia Pictures)

According to “Best of Enemies,” the excellent new documentary by Morgan Neville and Robert Gordon, television news coverage changed forever on the night of Aug. 28, 1968.

During a live television debate on ABC News, conservative icon William F. Buckley Jr. called liberal author Gore Vidal “a queer.”

Gordon explains, “A word like that was way across the line. It was so shocking that ABC pulled the broadcast from the West Coast. The task of this film, which opens on Friday, Aug. 7 at Landmark E Street and Bethesda Row Cinemas, was to put that moment in context.”

In the summer of 1968, there were only three major broadcast television networks. ABC was dead last in the ratings war with CBS and NBC. Executives at ABC News decided to take a desperate gamble. They replaced part of the traditional gavel-to-gavel coverage of the Republican and Democratic presidential nominating conventions with a series of live debates. They went all in by choosing two towering public intellectuals who were both ideological opposites and personal enemies.

On the right was Buckley, editor of the influential “National Review” and host of the popular television show “Firing Line.” A conservative Catholic, Buckley was instrumental in reshaping the Republican Party, ultimately helping to usher in the Reagan Revolution. As Gordon notes, “Buckley tried to make the party more reasonable and respectable.”

On the left was Gore Vidal, a prolific author and an estranged member of the Kennedy clan. Vidal’s groundbreaking 1948 novel “The City and the Pillar” dealt with male homosexuality in a forthright and positive manner and his satirical 1968 novel “Myra Breckinridge” skewered gender norms and conventional sexual practices.

Over the course of 10 nights, the two men sparred under the gentle watch of bemused anchorman Howard K. Smith. The debates were an amazing blend of erudite political commentary and barbed personal invective. This impassioned rhetoric was fueled by a fascinating undercurrent of gay baiting.

On the night of Aug. 28, Vidal upped the ante by calling Buckley a “crypto-Nazi.” Gordon notes that Vidal really hit Buckley “where it hurt. Buckley had gone to great lengths to rid the party of that rhetoric. Gore was trying to undermine all of Buckley’s work.”

Buckley lashed out at Vidal’s insult. Rising from his seat, he shouted, “Now listen, you queer, stop calling me a crypto-Nazi or I’ll sock you in your goddamn face and you’ll stay plastered.”

According to the filmmakers, that moment changed the lives of both men and the nature of political discourse in America. Neville says, “It got a lot of attention. People talked about it for years and they were asked about it for the rest of their lives. For Buckley, it was probably the moment he was most ashamed of. He had prided himself on a lifetime of creating difficult situations and maintaining his cool in them. His outburst meant he lost the debate. It certainly haunted him thereafter.”

The impact for ABC was much more positive. The debates were a hit. Before the broadcasts, Neville notes, “CBS and NBC each had around 300 affiliates and ABC only had 150. After the debates, ABC quickly caught up with its rivals and became the trendsetter in news coverage.” Neville and Gordon contend that a new era in television journalism was launched by the Buckley-Vidal debates.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

1 hour ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

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.

Published

7 hours ago

May 11, 2026

Staff reports

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

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘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.