a&e features
‘Real O’Neals’ producer on new ABC comedy
Divorce, coming out, religion mix on new sitcom
Noah Galvin, left, as Kenny and Matt Shively as Jimmy on ‘The Real O’Neals.’ (Photo by Nicole Wilder; courtesy ABC)
ABC has struck ratings gold with quirky, off-beat family sitcoms dealing with serious issues in a comedic way such as “Modern Family,” “Blackish” and “Fresh Off the Boat.” Make way for “The Real O’Neals,” as it joins its fellow messed-up, yet endearing, families on the network.
From the outside, the O’Neals appear to be the perfect Irish Catholic family living in Chicago. But parents Eileen (Martha Plimpton) and Pat (Jay R. Ferguson) reveal they’re getting divorced, older brother Jimmy (Matt Shively) has anorexia, little sister Shannon (Bebe Wood) is a kleptomaniac questioning her faith in God and younger brother Kenny (Noah Galvin) drops the biggest bombshell of all — he’s gay. (The Blade interviews Galvin here.)
The show, which airs on Tuesdays at 8:30 p.m., is loosely based on sex columnist and It Gets Better founder Dan Savage’s life. The Blade spoke with producer Stacy Traub about Savage’s role as executive producer, casting the role of Kenny and toeing the line between Catholicism, gay identity and humor.
WASHINGTON BLADE: When casting for the character of Kenny, executive producer Todd Holland wanted the actor to be gay in real life. Why was that so integral to the show?
STACY TRAUB: I think it’s obviously better if the actor can bring their own personal experience to something. It was such a specific thing and a 15-year-old coming out in that way hadn’t been on TV. I think finding someone who was gay was very important to all of us. When you’re casting, you can’t ask somebody when they sit down. We really all loved Noah and he was cast because he was the best person for the role. The fact that he was gay, just for us, was an amazing bonus. He had his own story to share and it just brought an extra level of something. Like that kid on “Glee” who was in a wheelchair, but wasn’t really in a wheelchair. I understand that, but to have someone who has actually had that experience themselves just brings an extra layer to the role.
BLADE: How many episodes have been green lit and shot? How many scripts do you have written?
TRAUB: We’ve finished production for now. We did 13 episodes total, including our pilot. We’re waiting to hear about a potential next season.
BLADE: Kenny coming out to his conservative family is a big part of the show, but once he’s out, where is his character development going to go from there?
TRAUB: It’s kind of a coming-of-age story for the entire family because they’re all experiencing new things. We’re looking at it like he’s a 16-year-old kid dealing with the same things other 16-year-old kids are dealing with; he just happens to be gay. We’re trying to really normalize it. I think at home is where it’s most difficult because of his conservative family, and especially his mother, but at school we’re trying to tell stories about what kids go through at that age but with a twist.
BLADE: Like you said, the show is about the whole family and how they’re very religious and conservative, but have their faults. It’s very specific subject matter. Did you worry that having such a narrow focus, audiences might struggle to connect with it?
TRAUB: What I think ABC is really good at is the more specific the comedy, the funnier it is. Weirdly, I think it’s more universal because people can see themselves in these characters. Half of the country is divorced, or has had their parents divorce, so the fact that the parents are getting divorced is very relatable to people. So we just kind of come at it that way. I tweet and I watch along on Twitter and seeing the response is amazing. The amount of people who say “Oh my gosh, I’m Kenny” or “I have someone like Aunt Jodi in my life.” You realize it is specific but it’s somewhat universal.
BLADE: With Dan Savage as the executive producer, how involved was he creatively and were any of the storylines inspired by his real-life events?
TRAUB: It all kind of started with him and ABC wanting to do a story based on his childhood. Then when David (Windsor) and Casey (Johnson) came on, it became a step removed because anytime a new writer comes on they bring their own stuff to it. It is based on his coming out, but he came out 30 years ago, so it’s much different than today. But he lived in Chicago, his dad was a cop, so there are certain elements that are based on his life. Then there are a million things that all the writers we had on the show brought to it and made it their story as well. There’s one specific episode that was based on a story that he came to the room and told us. It was about a play that he was in. So we did a story that was specifically based on that. But then we have other stories that all the writers in the room share and then we have a bunch of gay writers, lesbian writers, people from Chicago, people who are Catholics, people who are divorced. So everyone adds their personal stories.
BLADE: Dan Savage has had some controversy over comments he’s made and some people have accused him of being transphobic. Was there a worry to have a family sitcom associated with him?
TRAUB: Most of that fear just had to do with his brand and “Savage Love” and we always knew that was not part of the show. We’re much more coming from the “It Gets Better” brand and I think people who don’t agree with Dan were immediately wanting to dismiss the show or say negative things about it, and those were people who hadn’t even watched the show. They’re talking about things he had said or things he had written. So I’d say across the board, the majority of people who watch the show are like, ‘Oh this isn’t the Dan Savage tone’ because he’s not a writer on the show in a day-to-day way.
BLADE: Given the show’s subject matter, it’s been called bigoted and anti-Catholic. How do you find the right tone? How do you know how far to take the jokes?
TRAUB: We think it’s a faith-affirming show. None of the stories are about the religion being silly or unnecessary. It is such a part of their lives. It’s the family grappling with how can we be Catholic and believe in these things and also accept Kenny and also get divorced. Many Americans today do have to struggle with those things. When you look at Jesus, we’re never making fun of Jesus. Jesus is someone Kenny turns toward to get advice from and we think that’s really a positive image of Jesus, not negative.
BLADE: With Kenny, part of the joke seems to be that he is a gay character. Was that a concern for you at all?
TRAUB: Because Kenny is so young, any kid that age is just trying to figure out who they are and how they’re going to represent themselves in the world. Girls go through it too. We weren’t looking at it thinking we want him to be distinctly gay. His coming out is a real coming out in that he’s trying to figure it out himself. What kind of person am I? How am I going to dress now that I’m out? Beforehand, when he was in the closet, nobody knew. It wasn’t like everyone thought he was gay and was waiting for him to come out. It was his own secret. So now that he is out, he is trying to figure out himself, how he’s going to be in the world and a lot of the episodes deal with that.
BLADE: Do you hope that this show can help a child growing up in a conservative household find a connection within the show?
TRAUB: That is really my greatest hope. That is what I truly love about the show. While we were making it we were trying to have fun and tell funny stories. It’s a comedy first and foremost. But the thought of a kid watching and seeing Kenny, relating to him and feeling heard or feeling brave enough to come out. Or a parent watching and recognizing their child in Kenny or recognizing themselves in the Eileen character and saying, “Wow maybe I’m being too close-minded” or “Look at how the family is handling all this crazy upheaval in their lives and they’re handling it with humor and underneath it all with love.” That is the most inspiring thing about the show, and really what I’m most proud of.
The cast of ‘The Real O’Neals’ from left are Noah Galvin, Bebe Wood, Martha Plimpton, Matt Shively and Jay R. Ferguson. (Photo by Nicole Wilder; courtesy ABC)
a&e features
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.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes
The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc
While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars
While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’
The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
a&e features
Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
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