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The ‘Stonewall’ brouhaha
Director says he’s proud of film, despite activist backlash
Jeremy Irvine as Danny in ‘Stonewall,’ throws the first brick. The filmmakers have drawn considerable ire for centering the action around Danny, a fictional character. (Photo courtesy Roadside Attractions)
When the world got its first look at the “Stonewall” trailer in August, reaction was swift and withering with some even calling for LGBT people to boycott the film, a dramatization of the 1969 New York riots that were a turning point for gay rights.
The film was assailed, from snarky social media posts (“Ah yes! That wonderful point in gay history where super models got really angry”) to outright vitriol. Pat Cordova-Goff, who identifies as a “transwomyn of color” is calling for a boycott with the Gay-Straight Alliance Network. “Do not throw money at the capitalistic industry that fails to recognize true s/heros. Do not support a film that erases our history. Do not watch ‘Stonewall,’” she writes.
The beefs are essentially that historical events have been “whitewashed,” that trans characters are pushed to the sidelines and played by non-trans actors and that, as Tim Teeman wrote for the Daily Beast, “everyone appears to have been bused in from laughably predictable central casting.” The events are centered around a fictional character named Danny, a white Midwestern teen kicked out of his home for being gay. Ironically, few have pointed out that Jeremy Irvine, the 25-year-old “War Horse” actor who plays him, is straight.
Irvine, director Roland Emmerich and writer Jon Robin Baitz (all white, the latter two gay) have defended the film, which opens on Friday, Sept. 25 (it’s screening at area theaters such as Landmark E Street Cinema, ArcLight Bethesda, Angelika Film Center and more). They counter that most of the criticism is based on the trailer, not the film itself, that the true events of the riots are shrouded in myth and that any dramatization uses artistic license to varying degrees. Legendary gay writer Larry Kramer defended the filmmakers.
Emmerich, widely known for helming major films like “Independence Day” (1996), “Godzilla” (1998) and the Mel Gibson vehicle “The Patriot” (2000), is already at work on his next project. The German-born auteur spoke to the Blade by phone from his Los Angeles home. His comments have been slightly edited for length.
Jonny Beauchamp, left, as Ray, and Vlad Alexis as Cong in ‘Stonewall.’ Although the filmmakers have been accused of ‘whitewashing’ history, it does include several Latino and African-American gender-nonconforming characters. (Photo courtesy Roadside Attractions)
WASHINGTON BLADE: What was the genesis of “Stonewall”?
ROLAND EMMERICH: Actually a producer friend of mine, Michael Fossat, proposed it to me. I was kind of like, “I don’t know, with so many great gay directors, why should I do a gay movie?” But then I started checking it out and read a lot and at the same time I took a tour of the Los Angeles Gay & Lesbian Center and saw the homeless youth program and I realized that 40 percent of homeless youth are LGBT. Compared to the overall population, that’s actually quite a big number and so slowly I kind of started thinking that maybe this is something for me. We started looking for a writer and I read this terrific play by Robbie Baitz and it kind of came together. First we wrote a script and then we took it from there.
BLADE: The trailer got a lot of criticism. Did it give the wrong impression of the film or were people too quick to judge the film based on it?
EMMERICH: I like the trailer. We premiered it at the GLAAD awards and it got a standing ovation. Nobody had any criticism of it there. It’s very unfortunate that some people kind of felt it was kind of some sort of whitewashing, but it isn’t. The film itself uses a white character as a catalyst but the film itself is actually quite ethnically diverse. It has, you know, like all facets of the LGBT community both historic and invented. I didn’t comment on it much because I really felt I didn’t want to comment on criticism of the trailer.
BLADE: I’m not a filmmaker. What dramatic purpose does it serve to have a character such as Danny to center the action around? Why was that a device you wanted to utilize?
EMMERICH: Well, a friend of mine told me his story and that interested me a lot because it’s still a story that happens today with kids getting thrown out of their homes for being gay. These are often quaint kind of middle-class homes and then they end up on the street and I just felt that would be a unique approach because these stories show that you can be in that situation and hold on to your dignity and your dream and not lose them in the process. So it was a coming-of-age story with kids, which I could imagine very well. Also, the overall theme was one of unrequited love. When you look at the movie, it’s a lot about people who love somebody and it’s not that the other person doesn’t love them, but they cannot be together and yet at the end they all come together and create something great. That was overall, dramatically, I’d say, when I started with Robbie, you first talk about the approach you want to take. We are also big (J.D.) Salinger fans and he was a big writer in the ‘60s, you know. So that was a type of an influence, and it all came together from there. When you do your research on this, you realize there’s not really one standout character in these riots. I loved the idea that it was this group of homeless kids that we know about who were part of it. Just an overall riot of many people who had just had it. You know how riots happen. It was actually really sparked by a lesbian who resisted arrest. That’s what really threw everything into high gear.
BLADE: Theoretically could the film have worked with somebody like Marsha P. Johnson as the protagonist? Could you have gotten a green light with that approach?
EMMERICH: Well we never did get a green light. I gave my own green light. I love the Marsha P. Johnson character. I have friends who are trans women, but it felt to me like I’m a white male, I’m openly gay and we can have all forms of sexuality in this film, but I think it’s good to use somebody very close to yourself, you know, and find truth in that. We also didn’t want to make the Jonny Beauchamp character (Ray, a composite) as just Sylvia Rivera because she was the one who said she was at the Stonewall that night. I didn’t want to invent stuff around Sylvia. She was not a club kid and didn’t really have any relationship like that. So all this kind of came together through discussions and we used a lot of historical characters but also with these invented characters. I thought it was a better approach, at least for me, to show the feel this time had. We talked to some Stonewall veterans and we only found white guys, you know? I think actually there was one who wanted to call me but then this person died shortly after.
Director Roland Emmerich says ‘Stonewall,’ despite its relatively small budget, was a tough film to get made. (Photo courtesy Roadside Attractions)
BLADE: How was the shoot?
EMMERICH: Well it was odd because we wanted to make it first on location in New York but it was too expensive and we found they’d never let us do what we wanted to do there. … New York is a very expensive town. So we ended up doing it in Montreal where we were able to use some Canadian actors and get a huge tax rebate. Once we decided to film it there, everything came together nicely. We had a very nice shoot, like 42 days, and it was one, big, happy family.
BLADE: Was it hard to get it financed?
EMMERICH: It was about $17 million and we got like $4 million back in tax rebates and the rest we did as a pre-sale to Germany and other countries. A friend of mine and I put in the rest. We went to all my usual contacts and they all said, “Oh, this is too niche, there’s no real big name in it,” and blah, blah, blah.
BLADE: Are the Hollywood bean counters squeamish about gay themes or is there a legit point in the math?
EMMERICH: No, they’re not. When somebody like, you know, Sean Penn takes on Harvey Milk, they’re all there because they know that’s an actor who can win an Oscar. So there’s more incentive to do films like that where the actor can be the incentive. They also say things like, “Why is he making a movie like that, why is he not making one of his big movies where we can make a lot of money?” And I’m saying, “I will make those movies, but I want to make other movies too.” I like these smaller projects sometimes, like “Anonymous.” Nobody wanted me to do that one either, but it’s fine.
BLADE: What’s it like making a small film like “Stonewall” versus a big-budget action spectacle like “Independence Day?” Do the headaches increase with the scope as one might expect or not necessarily?
EMMERICH: I think it is more complex making a film like “Independence Day” because you’re dealing with a little bit more complex techniques, like shooting half the movie on bluescreen, where it’s very, very tough to keep the actors involved. “Stonewall” was a very different method, a very old-fashioned method actually, where we actually built the street and everything, then in the back we had some photographic backgrounds and maybe only one or two scenes were bluescreen, the march and one other scene. It was a very gritty atmosphere on the set and I think the actors get something out of that. … I got a lot of knowledge working on those big movies that I could use in “Stonewall,” you know? I just kind of know how to make things realistic looking when they’re not.
BLADE: Sometimes controversy works in your favor. Will it help you here?
EMMERICH: Maybe it brought more attention to the film. I don’t know if people would have known about it otherwise. Now at least the gay people know. Sometimes a controversy works against you and sometimes it works for you. We won’t know till it comes out. It’s an interesting dynamic. Nobody knows what will happen but you never know this with any movie what will happen. I’m quite content. I’m already making my next movie. I’m very proud of the movie we did and everybody who was involved.
BLADE: How much straight support will the movie need to be successful?
EMMERICH: That will be a very interesting thing. … When we tested the movie, it actually tested better with straight people than gay because straight people don’t have all this sense of they think they know what it was about. Gay people think, “Oh, it was because Judy Garland died,” and they think they know the story, where as straight audiences don’t think like that. They think, “What was the story like and how did I get into the story and what did I learn?” They were actually amazed at how emotional they got in the story. I hope for a wider audience but it’s also not a big release. It’s like a 100-print release, so it’s perfect for me. We’ll see what happens.
BLADE: Have you been out your entire career?
EMMERICH: At the beginning in Germany I wasn’t out because I never wanted to become the gay director and it was kind of a typical thing in Germany, if you were out it was like you were a gay director and you only did gay movies, so I didn’t think it was good to come out. It was also a different time. Then I came to America and, of course, my friends knew, but at a certain point I realized I’m making big movies, I can be out, so I came out. This was like maybe 20 years ago, which was a bit late. I’m 59 turning 60, so it was a little different time. For me, “Stonewall” represents this mythical moment. I went to Christopher Street the first time I was in New York and stood in front of the Stonewall and it was always kind of like Germany to me. A little bit of this coming out, this proud moment because of what happened there.
Otoja Abit as Marsha P. Johnson in ‘Stonewall.’ (Photo by Philippe Bossé; courtesy of Roadside Attractions)
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MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
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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Visible and unapologetic: MAL brings the kink this weekend
Busy lineup includes dances, pups, super heroes, and more
MLK Weekend in D.C. brings the annual Mid-Atlantic Leather (MAL) Weekend. Just a short walk from where Congress has been attacking queer Americans this year, MAL takes place at the Hyatt Regency Washington for several days of intrigue, excitement, leather, and kink.
The Centaur Motorcycle Club — one of several similar groups dedicated to leather in the country — has been hosting MAL in its current form for more than 40 years. Originally a small gathering of like-minded people interested in the leather lifestyle, MAL has grown to include a full four days of events, taking place onsite at the Hyatt Regency Washington (400 New Jersey Ave., N.W.). Select partner happenings take place each night, and many more non-affiliated events are scattered across the DMV in honor of and inspired by MAL.
MAL Weekend has become an internationally renowned event that celebrates fetish culture, yet it also raises funds for LGBTQ organizations, “reinforcing its legacy as both a cultural and philanthropic cornerstone of the global leather community,” according to MAL organizers.
During the day, MAL events at the Hyatt include workshops, social gatherings, shopping, and other in-person engagements for the community.
“The Hyatt underwent an extensive top to bottom renovation after last year’s event,” says Jeffrey LeGrand-Douglass, the event chair. The lobby, meeting spaces, guest rooms, and other areas have been updated, he notes, “so I am very excited for our guests to experience the new design and layout for the first time. And of course as with every year, we look forward to the contest on Sunday afternoon and seeing who will become our new Mr. MAL.”
In the evening, MAL hands the reins to partner KINETIC Presents, the D.C.-based nightlife production company. KINETIC will host four consecutive nights of high-production events that fuse cutting-edge music, immersive environments, and performance. This year, KINETIC is popping open doors to new-to-MAL venues, international collabs, play zones, and a diverse lineup.
According to KINETIC managing partner Zach Renovátes, 2026 is the most extensive MAL production to date. “The talent lineup is unreal: an all-star roster of international DJs, plus drag superstar performances at the Saturday main event,” he says.
Renovátes added that he’s “most excited about the collaborations happening all weekend — from bringing in MACHO from WE Party Madrid, to teaming up with local leather groups, to nonprofit partners, and Masc Diva [a queer nightlife collective].”
Official MAL events begin on Thursday with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. at the Hyatt.
Thursday night is also the KINETIC kickoff party, called LUST. Running 10 p.m. – 3 a.m., it’s being held at District Eagle. DJ Jay Garcia holds it down on the first floor, while DJ Mitch Ferrino spins in the expansive upstairs. LUST features special performances from the performers including Serg Shepard, Arrow, Chase, and Masterpiece.
Renovátes notes that the LUST opening party at District Eagle coincides with the bar’s grand re-opening weekend. The bar will unveil its new permanent home on the renovated second floor. “it felt like the perfect place to start Mid-Atlantic Leather weekend — right in D.C.’s only dedicated home for kink communities,” he says.
After Thursday night, Friday is when daytime events begin at the Hyatt. The Exhibit Hall, on the ballroom level below the lobby, hosts upwards of 30 vendors, exhibitors, and booths with leather goods, fetish wear, clothes, toys, other accessories, providing hours of time to shop and connect with attendees and business owners. The Exhibit Hall will be open on Friday from 4-10 p.m., as well as on Saturday and Sunday afternoons.
DC Health is once again back at MAL, to provide preventative health services. In the past, DC Health has provided MPox vaccines, Doxy PEP, HIV testing, Narcan kits, and fentanyl test strips. This booth will be open on Friday 4-10 p.m.
Later, at 6 p.m., the Centaur MC is holding its welcome reception on the ballroom floor. After the Centaur’s Welcome Reception, the MIR Rubber Social is 8-11 p.m. A Recovery Meeting is scheduled at 10 p.m.
Many attendees enjoy visiting the guest room levels of the hotel. Note that to get in an elevator up to a hotel room, a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.
Friday night, for the first time, KINETIC Presents is joining forces with WE Party to bring MACHO to Washington, D.C. This official MAL Friday event delivers two stages and two genres. On the UNCUT XXL stage, international Brazilian circuit superstars Erik Vilar and Anne Louise bring their signature high-energy sound. On the MACHO stage, Madrid’s Charly is joined by Chicago’s tech-house force, Karsten Sollors, for a blend of techno and tech house. UNCUT also features the XL Play Zone, a massive, immersive space exclusive to this event. The party takes place at the Berhta space from 10 p.m.-4 a.m..
“This year we’re bringing back the two-room format we debuted at WorldPride for both Friday and Saturday, so attendees can really tailor their experience — whether they’re in the mood for circuit or tech house.” says Renovátes.
Directly after Friday’s UNCUT XXL, UNDERWORLD Afters takes over District Eagle, from 3:30-8 a.m. International DJ Eliad Cohen commands the music.
Saturday, the Exhibit Hall opens earlier, at 11 a.m.. DC Health will also be back from 11 a.m. to 6 p.m.
Saturday is also time for one of the most anticipated events, the Puppy Mosh, running from 11 a.m. to 1 p.m. During the event, pup culture comes to life, when pups, handlers, and friends can enjoy an inclusive, safe pup zone. There is also a Recovery Meeting at 11 a.m., and the IML Judges Announcement takes place at noon.
The popular Super Hero Meet Up will be held 1:30 p.m. – 3 p.m., sponsored by One Magical Weekend, for cosplayers, comic enthusiasts, and their friends.
From 2-6 p.m., the Onyx Fashion Show will take place to showcase and highlight people of color in leather.
Finally, the Leather Cocktail Party – the original event of MAL – will be held 7-9 p.m. in the Ballroom. While this requires special tickets to attend, at 9 p.m. is the MAL cocktail party, which is open to wider attendees.
The last event of Saturday leaves the hotel, again a partnership with KINETIC. Kicking off at 10 p.m. and running until 4 a.m., it’s just the second time that KINETIC’s Saturday night party is an official MAL event and serves as the main weekend engagement.
Saturday night’s centerpiece is called KINK: Double Trouble. The night will feature a first-ever back-to-back set from international electronic music icons Nina Flowers and Alex Acosta on the Circuit/Tribal Stage. The other room – the Tech House Stage – curated by The Carry Nation and Rose, provides a darker, underground counterpoint, reinforcing the event’s musical depth and edge.
Beyond the DJs, KINETIC has called in the big shots for this party: “RuPaul’s Drag Race” legends Nymphia Wind and Plastique Tiara are set to headline. The party also takes place at Berhta.
Sunday, back at the hotel, there will be another Recovery Meeting at 10 a.m., and the Exhibit Hall opens again from 11 a.m.-5 p.m.
At 1 p.m., the anticipated and prestigious Mr. MAL Contest that celebrates the achievements of the leather community will be held in the Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. Sash and title winners must be (1) male, (2), a resident of North America, (3) At least 21 years of age; and (4) self-identify as gay. The first Mr. MAL was crowned in 1985. The Winner of Mr. MAL has the privilege of later competing in International Mr. Leather (IML) in Chicago on Memorial Day Weekend 2025.
From 4 p.m. to 12 a.m., MAL will hold its Game Night for the gaymers in attendance. There will also be a special screening of A24’s new film, “Pillion,” about a man who is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.
Sunday closes with a community partner event produced by Masc Diva, featuring Horse Meat Disco with support from Coach Chris, at A.I. Warehouse in the Union Market district. It’s the same team that produced HMD during WorldPride at A.I. Warehouse.
Note that there are several types of passes for attendance to the hotel and parties. KINK VIP Weekend Passes include express entry, VIP areas, and enhanced amenities throughout the weekend, while MAL Full Weekend Package holders receive access to the official Sunday closing event.
At last year’s MAL events, KINETIC Presents raised more $150,000 for LGBTQ charities, and expects to match or exceed that impact in 2026.
Renovátes stated that “now more than ever, it’s important to create safe, affirming spaces for our community — but it’s just as important to be visible and unapologetic. We want to make it clear that the LGBTQ+ and leather communities aren’t going anywhere. We’ve fought too long and too hard to ever feel like we have to shrink ourselves again, no matter what the political climate looks like.”
In addition to the KINETIC events, various LGBTQ bars will hold parties celebrating the theme of the weekend. For example, Kiki, located on U Street NW, is hosting a party called KINKI, hosted by DJ Dez, on Saturday night. Sister bar Shakiki, on 9th Street NW, is hosting a party called Railed Out, a fetish-inspired party that features a play zone, on Thursday night. Flash, on U Street NW, will hold its infamous Flashy Sunday party to close out the weekend.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
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