a&e features
Natalie Merchant goes deep
Former 10,000 Maniacs front woman curates solo career with new box set
When working on her new box set, Natalie Merchant says it was important to her to maintain a high quality throughout. (Photo by Jacob Blickenstaff; courtesy Nonesuch Records)
Natalie Merchant
Summer Tour 2017
‘3 Decades of Song’
Thursday, July 6
8 p.m.
Wolf Trap
Filene Center
1551 Trap Rd.
Vienna, Va.
$30-75
Natalie Merchant, a ‘90s radio mainstay and former lead singer of 10,000 Maniacs, is sort of “bookending,” as she puts it, her solo material with the release of a new box set.
Out July 14 (postponed from a planned June release), “The Natalie Merchant Collection” is a deluxe, 10-CD box set that features her eight solo albums, a new studio disc called “Butterfly” that features four new songs and six catalogue tracks re-recorded with a string quartet, as well as a full disc of rarities and outtakes.
Merchant brings her summer tour to Wolf Trap on Thursday, July 6. She spoke to the Blade by phone last week from her home in upstate New York.
WASHINGTON BLADE: Why did you feel now was the right time for such a lavish box set?
NATALIE MERCHANT: It was a combination of factors. I feel that we’re definitely in the twilight moments of recorded music in the physical realm. As much as people talk about the resurgence of an interest in vinyl, I think that’s a small cult. So I felt like if I didn’t do it soon, there might not be an audience for it. I’ve also been steadily making records since the late ‘90s that have been a bit under the radar and I thought this would be an opportunity to combine all the work in one place for people who might have been familiar with what I was doing 20 years ago to see what I’m doing today.
BLADE: Was it hard to find a deal for it?
MERCHANT: Actually the suggestion came from Nonesuch a couple years ago because Nonesuch is owned by the same parent company as (her former label home) Elektra, so this idea of consolidating the whole catalogue under one roof was suggested and I thought that was a great idea. Elektra kind of folded for several years and I did feel like a lot of the records had gone out of print. Even my independent release, “The House Carpenter’s Daughter,” copies of it sell for like $50 online, which seemed silly to me because it’s really not worth that (laughs). It just felt like there were so many different factors. And also, when I did “Paradise is Here,” (a 2015 re-recording of breakthrough album “Tigerlily”), I went through all my archives, all the music, all the video, all the photography, so I had all these assets and I’d recently sort of curated them all, so this gave me an opportunity to put the book together. I just got it in the mail today.
BLADE: Oh wow, how does it feel to have it in your hands?
MERCHANT: It’s heavy! It feels very substantial. That’s my first impression. And my second impression is that it’s really so different from looking at a group of virtual files on a computer screen to have this whole thing in your hand and this 100-page book. It feels like a substantial amount of work that I think can get really distorted when you’re looking at it digitally. … It feels great.
BLADE: Did you have all this stuff yourself or did you have to round it up from various sources?
MERCHANT: It was interesting. One thing people might notice when they get the box set, is that it’s a different cover for (second solo album) “Ophelia” because the original photo was lost. Even Warner Bros. didn’t have it in their archives. I event went back to the original photographer, I went back to the original art director. I was the only person who had a lot of these assets. Also, I don’t want to sound morbid, but some day I’ll be dead and I wanted to make sure the material was presented in a way that I wanted it to be presented. I found it kind of shocking that they’d lost my art work but luckily I’m a bit of a pack rat, so I had many of the things that were necessary for this package in my basement including all the rarities which were in my own files at home.
BLADE: Do you feel a little more freedom to go deeper with your set list on your summer tour since you’re essentially touring this box set?
MERCHANT: If you include the 10,000 Maniacs songs, I’ve probably written about 250 songs. So yeah, it’s difficult to put together a set list of 26 or even 30 songs that are going to make everyone happy. But I think it’s going to be a really interesting set. I’m carrying a string quartet, piano, guitar, bass and drummer. It’s a big band and I think people will be pleasantly surprised by the arrangement of the material they know and to also hear some things they may not be familiar with.
BLADE: You sang at an anti-Trump rally earlier this year and have always been politically active. Why was that event important to you?
MERCHANT: It’s very disturbing what’s happening in our country right now. I believe that rally was on the even of the inauguration and I was in New York near Trump Tower. It was announced, I think, just two or three days before and we had 30,000 people there. That was encouraging and the next day was the women’s march and that was further confirmation that those of us who really sensed that the election of this man was extremely dangerous, you know, to have that many people show up in Washington the day after and protest was really encouraging. I’m hoping that we win back the House in 2018 at the very least. That would be a step forward. I don’t know about impeachment. I don’t know if that’s going to happen or how much things would improve if we have President Pence. So it’s frightening, really frightening, especially when he stepped away from the Paris accord. We don’t have time to mess around at this point. We have to transition from being a fossil fuel-based, energy-consuming country or we will not survive. It’s just really horrifying to think that we now have a president, whether he thinks global climate change exists or not, who would do that. That, to me, is the most important issue. But there’s women’s issues, there’s the health care issue, it’s overwhelming that there’s so many different fronts now and that we have to be fighting on. But I think without stabilizing the environment, or at least severely reducing the negative impact we’re having on the environment, we’re all fucked.
BLADE: Tell me more about the “Butterfly” disc. Of all the new material you might have recorded, why did you go with the string quartet approach?
MERCHANT: Since 2008 I’ve been doing orchestral shows and quartet shows almost exclusively so when it came time to make this record, I think there are about 40 songs now that I have string arrangements for. I had the entire “Paradise is There” album, celebrating the 20th anniversary of “Tigerlily,” so I’d used several of the arrangements on that record, so this was an opportunity to do that with some of those other songs in the new arrangements that had never been recorded.
BLADE: Sometimes long-time fans balk at these kinds of sets and say, “Oh, she’s making us buy all this stuff we already have just to get the new material.” Was that a concern?
MERCHANT: I think the fan that has every single thing I’ve ever released is rare. I think most people will be kind of grateful, at least I am when there’s an artist I’m interested in, I may not have everything they’ve ever released. I buy a lot of box sets because I’ve missed some of the pieces and I guess I’m kind of the personality who’s a completist. I like to have complete sets. And people will be able to digitally access the two new (discs) if they want. There’s also talk of a vinyl version (of the new material) coming out in the fall, so that’s another opportunity, but I don’t know. We’ll have to see. I also insisted it be very reasonably priced. I wanted it to be $50 or less.
BLADE: That’s certainly fair for a 10-disc set.
MERCHANT: And I think Amazon will be selling it for $40-something.
BLADE: Did you have any creative battles at Elektra or did they pretty much let you do your thing?
MERCHANT: Well, two interesting things happened. When I went solo, Bob Krasnow, who’d been the chairman of the company the entire time I’d been on Elektra, I can’t remember under what circumstances he departed, but he was gone and Sylvia Rhone came in and I think Sylvia was eager to prove herself and she really liked the song, “Carnival.” She’d been responsible for breaking a lot of African-American bands and artists but not a white artist and and I think that was her challenge and she loved that song so that was a stroke of luck. And I heard that Jon Landeau, who’d been executive managing Bruce Springsteen since the beginning of his career, Bruce was taking a hiatus so Jon started managing me, so I had this encouraging situation at the company and had great management, so I felt protected and respected. I didn’t feel it was an antagonistic relationship with Elektra at that point. I think I’d proven myself with three platinum records with 10,000 Maniacs.
BLADE: Did you choose the singles or the label on your first few albums?
MERCHANT: I think it was pretty obvious what the singles were on the first record. I don’t remember there being any discussion of that. I think with (third album) “Motherland” (2001), I wasn’t happy with a couple of the choices, but the first couple albums, it was fine. At that point, I was 30 years old, I’d been with the label since I was 19 and to be honest with you, I’d outlives just about everybody who worked at the label except the woman who ran the publicity department. I think we were the last two standing by the time it folded (laughs). … As people started doing more and more file sharing, the art department disappeared, the video department, it felt like departments were disappearing weekly until eventually the label just folded.
BLADE: Will you keep making records or is this set a sort of a bookend for you?
MERCHANT: It’s a little bit of a bookend because I’ll never be able to make records the way I did before. That leisurely two months in the studio, that’s just unheard of. “Leave Your Sleep” (2010) was the final project that I did on that scale and it took a full year to make that record. I employed, I think, 135 different musicians and it was folly in a way, but it was a beautiful folly. I still haven’t recouped and that was seven years ago (laughs). I felt like Orson Welles making “Citizen Kane” or David Lean making “Bridge on the River Kwai.” It felt like I had to make it even though it made absolutely no sense financially. But I learned so much from it and it still sold a quarter of a million copies which is still kind of unheard of in today’s market.
BLADE: You wouldn’t be happy doing something on a smaller scale? I saw Sheryl Crow last night and she has this great new album out that she made in her home studio while her kids were at school and it’s this really fun little album. You wouldn’t want to do something like that?
MERCHANT: I have two projects I’d like to do. One is to make an online database of folk music for children, performed by children. The other is a children’s theater company. I feel compulsive about creativity and there are so many different aspects to it. I’d love to do costume design, I would love to hire a choreographer and do some dance, or maybe research folk tales from other lands and other music. There are so many other things I want to do with music that don’t involve going into a studio, recording a pop record and going on tour. It used to be that years ago you’d get to a certain point in your career and then you’d start producing other artists. I think I would have done that more if the industry hadn’t collapsed.
BLADE: Did you have a lot of stuff to pull from for the rarities disc? Did you ever toy with the idea of doing a two- or three-disc set of all rarities?
MERCHANT: Well, for the rarities I wanted to put out music of high quality. I didn’t want it to just be all home demos and bad outtakes. It really is a combination of little-known tracks, like the collaboration I did with David Byrne for “Here Lies Love” or the track I did with the Chieftains, which I really loved going to Ireland and recording with them, that were really special moments in my career. And there was other unknown stuff that I’d been holding on to like “The Village Green” and “Too Long at the Fair” that were all recorded by great musicians in world-class studios under different circumstances. I did a session back in 2008 when I was looking for a label to put out “Leave Your Sleep” and I recorded a group of demos and we recorded some covers that were lovely covers, they just never belonged on a record. I wanted to put out only rare tracks that were of great quality.
Natalie Merchant says her self-described ‘pack rat’ tendencies came in handy when putting together her lavish new, 10-disc box set. (Photo by Jacob Blickenstaff; courtesy Nonesuch Records)
a&e features
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.
a&e features
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.
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.
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