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Fall Arts Preview 2017: Something old, something new on TV

‘Dynasty’ reboot, scary clowns and ‘70s porn among fall TV highlights

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Fall LGBT TV season, Narcos, gay news, washington blade

’Narcos’ season three on Netflix features Alberto Ammann (right) as a gay drug lord. (Photo by Juan Pablo Gutierrez; courtesy Netflix)

The fall LGBT TV season got off to an explosive start with the return of “Narcos” to Netflix on Sept. 1. Based on the violent history of the Cali Cartel in Colombia, season three picks up after the death of Pablo Escobar. Gay hitman Pacho Herrera (Alberto Ammann) rises to the top ranks of the cocaine cartel; the flamboyant character is featured in steamy sex scenes and has quickly become a fan favorite.

The first new show of the LGBT TV season was “American Horror Story: Cult” on FX. Set in a small Michigan town, season seven of the popular anthology series is the first major scripted show to deal directly with the political and social aftermath of the 2016 presidential election.

The cast is led by Ryan Murphy regulars Sarah Paulson and Evan Peters. Paulson and Alison Pill play Ally and Ivy Mayfair-Richards, Clinton supporters who are terrified by the outcome of the election and who begin to see evil clowns everywhere. Peters plays Kai Anderson, a Trump supporter who is energized by the outcome of the election.

Other new shows include:

“The Deuce” looks back at the 1970s porn industry in New York City. James Franco stars as the twin Mancini brothers, Vinnie (good) and Frankie (bad); Maggie Gyllenhaal plays porn actress Eileen “Candy” Merrill. Currently running on HBO, the series includes plenty of queer content, including Chris Coy as gay bartender Paul Hendrickson.

LogoTV.com is streaming “Made to Model: Trans Beauty in Fashion,” a celebration of the diverse models who are transforming the runways at New York Fashion Week.

“Star Trek: Discovery” boldly goes where no other “Star Trek” television series has gone before: it includes openly gay characters. Out actor Anthony Rapp (“Rent”) plays Lieutenant Paul Stamets, an astromycologist (fungus expert) and Starfleet science officer aboard the Starship Discovery. Out actor Wilson Cruz (“Rent” and “My So-Called Life”) plays his partner, Dr. Hugh Culber. The new series blasts off on CBS All-Access on Sept. 25.

The most highly anticipated television show of the fall season may be the return of “Will & Grace.” The queer quartet will resume their shenanigans on NBC on Sept. 28. Season nine will ignore the dreary series finale which aired on May 18, 2006 and give the returning characters a fresh start. Based on the enthusiastic response from dedicated fans, the new “Will & Grace” has already been renewed for a second season.

The campy 1980s nighttime soap “Dynasty” is perhaps best remembered for its vicious cat fights, glamorous gowns and conspicuous consumption, but it made television history with its ground-breaking portrayal of mature women who were powerful and sexy and for the inclusion of a gay male character. While the cast of the reboot, which premieres on Oct. 11 on the CW, is noticeably younger than the original cast, it is also noticeably more diverse.

The series returns to familiar story lines about the Carringtons and the Colbys, two rich Colorado families battling over business empires and family loyalties. Grant Show (“Melrose Place”) plays patriarch Blake Carrington and James Mackay (“The Dressmaker”) plays his openly gay son Stephen. Their love interests are Cristal Flores and her nephew Sammy Joe (played by Hispanic actors Nathalie Kelley and Rafael de la Fuente); in the original series Sammy Jo was played by Heather Locklear. In the early episodes of the reboot, the Colbys are represented by African-American actors Sam Adegoke as Jeff and Wakeema Hollis as Monique.

To commemorate the 50th anniversary of the decriminalization of gay sex in the United Kingdom, the BBC has commissioned a series of eight monologues about LGBT life. The writers include Jackie Clune, Mark Gatiss and Brian Fillis; the actors include Alan Cummings, Russell Tovey, Ben Whishaw, Gemma Whalen and Rebecca Front.  “Queers”premieres on BBC America on Oct. 14.

Queer director Bryan Singer is using his artistic superpowers to help move Marvel’s X-Men franchise to the small screen. He served as director and executive producer for the pilot episode of “The Gifted” which airs on Oct. 2 on Fox. Marvel is also represented on television this fall by “Runaways.” Starting Nov. 21 on Hulu, the series about teens fleeing their extra-terrestrial parents includes lesbian Karolina Dean (played by Virginia Gardner) in the diverse cast.

Following on Hulu’s runaway success with “The Handmaid’s Tale,” Netflix brings Margaret Atwood’s novel “Alias Grace” to the small screen on Nov. 3. Loosely based on a true case, the six-hour mini-series tells the story of Grace Marks (Sara Gadon), who was convicted (and later exonerated) for the murders of her boss, Thomas Kinnear (Paul Gross), and his maid/mistress Nancy Montgomery (Anna Paquin) in Canada in 1843. Directed by Sarah Polley, this passionate tale of love and murder also tackles issues of class, gender and sexuality.

Lots of fan favorites with LGBT characters will also be returning this fall. Already back on the airwaves are Tig Notaro’s “One Mississippi” on Amazon, “Top of the Lake: China Girl” directed by Jane Campion and starring Nicole Kidman and Elisabeth Moss (the Sundance Channel); “Broad City” (Comedy Central); and “Better Things” (FX).

The dysfunctional clan of transwoman Maura Pfefferman (Jeffrey Tambor) has also returned to Amazon for season four of “Transparent.” The Lyons family returns to Fox on Sept. 27 for season four of “Empire.” Gay son Jamal (played by out actor Jussie Smollett) gets involved in a scandal; Cookie (award-winning actor Taraji P. Henson) stirs up more trouble; and, the entire cast helps to launch the second season of “Star” which returns on the same night.

Although it’s slipping in the ratings, “Modern Family” comes back to ABC on Sept. 27 for season nine. The award-winning show tracks the antics of the extended Pritchett family, including husbands Mitchell Pritchett and Cameron Tucker (Jesse Tyler Ferguson and Eric Stonestreet).

Although creator Shonda Rhimes is moving to Netflix, her queer-friendly series “How to Get Away with Murder” returns to ABC on Sept. 28. Season four will reportedly include the wedding of interracial gay couple Conner and Oliver (Jake Falahee and Conrad Ricamora).

As the fall TV season continues, a delightfully diverse crew of queer characters will reappear in such returning shows as “Supergirl,” “Riverdale,” “Crazy Ex-Girlfriend,” “Stranger Things,” “Shameless,” “The Girlfriend Experience,” “Search Party,” “The Walking Dead” and “The Shannara Chronicles.”

Fall LGBT TV season, Transparent, gay news, washington blade

The cast of ‘Transparent.’ Its fourth season premieres Sept. 22. (Photo courtesy Amazon)

 

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Will ‘Firebird’ focus attention on Eastern European homophobia?

New film reminds us that equality is still an aspiration for many

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‘Firebird’ is about a young soldier and fighter pilot who fall in love on a Soviet airbase in Estonia.

Retrospective queer films, such as “Milk” (2008), or old classics, such as “Torch Song Trilogy” (1988), share one thing in common: They depict a homophobic world in which queer love faced an iron wall of prejudice — that has largely dissipated in the United States and the West more broadly. Gay audiences can watch these films from a safe distance; we’re dismayed to see how cruel the world once was toward us but we’re relieved that progress has been made and we no longer have to live in secrecy and repression, which amounted to a life half-lived. 

That’s the comforting thought I could not indulge in watching the new Estonian gay love drama “Firebird,” which is currently making the rounds at film festivals and recently had its U.S. premiere in San Francisco. “Firebird” is a beautifully shot film about a young soldier and fighter pilot who fall in love on a Soviet airbase in Estonia. The affair naturally requires discretion (something true for U.S. service members until a decade ago) but even amid the fear that their careers and lives could be upended at any moment if the wrong person stumbled about their liaisons (close calls pop up throughout the film), the two men form a loving bond that stretches over years and long distances. It wouldn’t be unfair to call it a Soviet-era “Brokeback Mountain.” 

No spoilers here but the film does convey the sad fate many gay people suffer when homophobia is inescapable; when gay love and respectability in mainstream society conflict. The film conveys a common tragedy: Individuals compelled to live unfulfilling lives and sacrificing their happiness in order to appease the prejudice of others. A spirit of defiance has always existed alongside this tragedy. Many have opted to preserve their very being rather than conform, no matter the cost of social ostracism. But, if our own history is any guide, most will choose the closest rather than risk being an outcast. In the end, many queers simply lose their essence, and chance at lasting love, living a lie. It’s hard to tell this story (already related in many films and novels) without falling into cliches and a worn-out narrative. “Firebird” avoids those pitfalls and manages to keep its storytelling unique to its circumstances, which, in the end, gives the film an emotionally affecting quality. 

But “Firebird” is more than a beautiful film. It is politically relevant. This isn’t a film about the long-ago unjust reality gay lovers faced but a tale dramatizing the hatred, dilemma, and deep personal anguish that still haunt queer people today in many former Soviet bloc countries. Russia might be the most salient example. The nation’s law banning so-called gay propaganda has been infamous and, sadly, a model for other right-wing governments. Hungary recently passed a law prohibiting depictions of gay people for audiences under 18, precisely the young audiences that need positive gay role models. “LGBT-free” zones have popped up all over Poland, localities where homosexuality is ostensibly non-existent and unwelcome. 

The backsliding on human rights amongst EU member states and American allies cannot be divorced from former President Donald Trump’s devaluation of human rights. Fortunately, President Biden has spoken forcefully on human rights since his inauguration, and the words of the American president matter in those Eastern European countries dependent on American diplomatic and military support, such as Poland and Hungary (both NATO members). But the new administration faces many pressing concerns and gay rights can easily be forgotten. When Russia passed its anti-LGBTQ law in 2013, there was public mobilization in opposition. No similar outcry has greeted Hungary’s copycat law. Public attention needs to be refocused on the threat to LGBTQ+ individuals in Eastern Europe. 

Films have long played an essential role in raising awareness on issues that often seem too complex or too distant for concern. They can humanize injustice, underline the stakes, and present a vision for a better world. As Eastern European nations enact anti-LGBTQ+ laws, “Firebird” (a foreign film released in English) is a clarion call reminding us that for many gay people around the world, equality is still an aspiration. It would be a shame if we watched this film and walked out thinking that the past is past. The tragic love affair at the heart of the drama is the present, too.

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Wahlberg walks for redemption in disappointing ‘Joe Bell’

Bleak film’s tear-jerking tropes produce clunky results

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Reid Miller and Mark Wahlberg star in ‘Joe Bell.’ (Photo by Quantrell D. Colbert; courtesy Roadside Attractions)

If you’ve never heard of the real-life “Joe Bell,” you might spend the first third of the movie that bears his name thinking that you are watching an uplifting story about a father and son taking a marathon walk across America to raise awareness against bullying.

That’s not exactly what is happening, though.

Directed by Reinaldo Marcus Green, “Joe Bell” stars Mark Wahlberg as the title character, a rural Oregon dad who undertook a “Walk for Change” in 2013 after his teenage son Jadin was bullied at school for being gay. Intending to journey on foot from Oregon to New York City, Bell connected with people as he travelled, gaining a following on social media and speaking at schools, youth groups, and other community organizations about the devastating effects of bullying, as well as the need for parents to be unconditional in supporting their bullied children – something he himself had failed to do when Jadin’s ordeal was taking place.

Green’s movie puts that inner conflict in high focus by telling Joe and Jadin’s story in an intertwined narrative of past and present events. The domineering, short-tempered father we meet in flashbacks is contrasted with the humbler, gentler dad who engages in banter and sings Lady Gaga with his son on the road. It’s a structure that makes it clear that Joe, once a bit of a bully himself, is walking as much to make amends as to oppose intolerance.

Unfortunately, it’s also a cheat, because the real Jadin – spoiler alert – was never on that walk with his father. After being terrorized in the locker room shower by members of his school’s football team, Jadin ended his own life by hanging himself in an elementary school playground. Joe, who had never been willing to stand up publicly for his son while he was alive, walked alone.

To be clear, the movie does not try to rewrite the real story. Instead, it sets up an end-of-first-act plot twist where we find out that Joe has been talking to a figment of his imagination all along. We get clues, of course, like the fact that other people never seem to engage with Jadin, but these only become apparent in retrospect, after the big reveal.

It’s also after this too that the movie’s tone begins to change, rapidly. Gone is any pretense that we are seeing a feel-good story of family bonding and social advocacy, or that the grim tale of small-town bigotry being spun in the flashbacks is going to lead to a triumphant conclusion, and what we now get is a deeper dive into the soul-searching of a man who recognizes, too late, how his own attitudes and behavior may have played a part in his son’s decision to end his own life. Joe’s walk is a bid for personal redemption, and it’s a difficult journey in ways that are much more painful than the blisters on his feet.

Unfortunately, while it may make for an interesting narrative device, this sudden turn in the movie feels a little like a bait-and-switch. It doesn’t help that “Joe Bell” works overtime to tug our heartstrings with its swelling, elegiac score or its reliance on tear-jerking tropes, nor that the focus on Joe’s inner turmoil effectively upstages Jadin’s torment. Indeed, by making the teen into an otherworldly companion, the movie essentially turns him into a gay saint, cheerfully responsible for shepherding his father toward redemption. While it may not be an intentional effect, it can’t help but feel a little akin to the “magic Negro” cliché that has turned so many well-meaning movies into unintentionally offensive perpetuations of stereotype – to say nothing of begging the question of why the victims of cultural oppression should feel any responsibility at all for helping their oppressors forgive themselves.

Adding still another layer to the vaguely bad taste “Joe Bell” leaves in one’s mouth is the fact that its star once famously revealed in an interview that he had been considered for a role in “Brokeback Mountain” but was glad when he didn’t get it because he was “creeped out” when he read the script. Add to this Wahlberg’s history as a convicted perpetrator of racial violence when he was growing up in Boston – a record that has haunted him for his entire career and for which he has spent a great deal of time and energy trying to atone – and one can only wonder if the actor might be aiming for a bit of redemption himself.

Not that there’s anything wrong with that, and as far as his performance goes, Wahlberg certainly seems sincere. The famously conservative macho action star delves to a level of depth and vulnerability we haven’t seen from him since “Boogie Nights,” and it’s hard to imagine an actor who would be a better fit as the conservative, blue-collar Joe Bell. In charting the character’s evolution from toxic alpha masculinity toward a more compassionate world view, he is clearly guided by self-knowledge, and he deserves credit for his bravery in bringing that to the table.

There are other reasons to forgive “Joe Bell” for its clunky and vaguely tone-deaf presentation, most of which come from screenwriters Diana Ossana and Larry McMurtry – who also penned the script for “Brokeback Mountain,” ironically enough – and their keen understanding of human nature. They sculpt believable, identifiable characters with a few deft strokes of dialogue, which not only permits us to empathize with them but gives the cast a boost in making them all into fully formed, three-dimensional human beings.

Among the actors who benefit from this are Connie Britton, wearing the patiently weary wisdom of a long-term survivor as Joe’s wife and Jadin’s mother, and Gary Sinise (another actor known for his conservative offscreen views) as a local sheriff who forms a brief friendship with Joe in an intimate and touching scene that is one of the movie’s highlights. Most impressive of all, however, is young up-and-comer Reid Miller, who gives a charismatic and refreshingly unaffected performance as Jadin. It’s largely thanks to him, in fact, that the movie doesn’t come off as just another “gay issues” movie designed to make straight people feel more enlightened.

Yet even if “Joe Bell” avoids that trap, it doesn’t quite rise above the layers of Hollywood sentiment with which it drapes itself. Despite the many small moments of authenticity peppered throughout, there are too many others that are either too precious or too perfunctory, and that makes it hard to care as much about the ones that work. This is especially true in light of its bleakness. Like “Brokeback,” it’s a movie in which the tragedy is unrelenting, and we are left to find whatever scraps of happiness we can find in the ending – but while “Brokeback” had the beauty of an epic love story to transcend its sadness, “Joe Bell” can only leave us to contemplate a senseless waste of a human life.

Faced with that handicap, even with good writing and performances, it’s hard for a movie to be anything but a bummer.

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Dazzling dance doc celebrates legacy of AIDS-era masterpiece

Capturing the will to survive of a beleaguered generation

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‘Can You Bring It’ from co-directors Rosalynde LeBlanc and Tom Hurwitz captures the beauty of bodies in motion. (Photo courtesy Kino Lorber)

Once upon a time in New York City, Bill and Arnie formed a dance company.

They met each other in 1971, falling in love at first sight across a crowded room at SUNY, and spent the next decade exploring their lives and their art together. Arnie was a photographer, at first, but his fascination with the human body and its movement – stoked by his collaborations with Bill, a dancer who was his muse and favorite photographic subject – soon led him to become a dancer himself. Together they found acclaim as a team, creating their own works as part of the American Dance Asylum during a rise that culminated in the birth of the Bill T. Jones/Arnie Zane Company in 1982. What followed was a brilliant and prolific period in which the two partners were among the most celebrated dance artists in the New York scene.

It was also a period when AIDS was ravaging the dance community, decimating the ranks of companies all over the city and casting its dark shadow over much of the work being produced at the time. Bill and Arnie, charmed as their lives had been, could not escape that shadow, and Arnie Zane died of AIDS-related lymphoma, at the age of 39, in 1988.

That bittersweet true-life love story would make for a profoundly moving documentary on its own strength alone, but the film delivered by co-directors Rosalynde LeBlanc and Tom Hurwitz has its sights on something bigger than that. “Can You Bring It: Bill T. Jones and D-Man in the Waters” is the story of what happened after Zane’s untimely passing, and it illuminates the way that art provides a channel for the personal to become universal and give expression to the shared trauma of an entire community.

The new documentary, which debuted at the DOC NYC film festival and opens in select theaters and virtual cinemas nationwide on July 16, is not about Bill and Arnie, nor even about Bill himself – though his name is in the title and he appears extensively onscreen, both in contemporary and archival footage – but about the seminal ballet that came in the wake of Arnie’s passing. “D-Man in the Waters” was mounted in 1989 by Jones and the company he and Zane had started, shaped by a creative process through which both he and his dancers found expression for the myriad emotions spawned by their loss. Set to Felix Mendelssohn’s soaring Octet for Strings, the piece captures the infectious energy, innocence and will to survive of a beleaguered generation, propelled by the non-stop momentum of dancers hurling across the stage in a whirlwind of leaps, rolls, and slides. Though it gives full weight to the inevitable sorrow at its core, it nevertheless maintains an attitude of defiant celebration, embodying strength and resilience over loss, and is widely acknowledged today as one of the most significant works of art to come out of the AIDS epidemic.

“Can You Bring It” utilizes extensive interviews and archival footage to chronicle the history of the original “D-Man” – the title referring to the nickname for Demian Acquavella, a beloved company member who struggled against the virus during its creation before himself dying in 1990 – while also following a contemporary remount of the production by students at Loyola Marymount University. Those students are led by none other than the film’s co-director, Rosalynde LeBlanc (herself a former member of the Jones/Zane Company and a leading figure in maintaining Jones’ legacy and pedagogy), and a large portion of the modern footage is centered around LeBlanc and Jones himself working with these young pre-professional dancers – most of them likely not even born when the AIDS crisis was raging – to help them find the personal connection required to unlock the power of the choreography. Through the juxtaposition of the two creative efforts, original and modern, the movie provides a thoughtful – and unexpectedly gripping – exploration of the process by which art can be adapted to the needs of a different era without losing the essence at its core.

From an intellectual or aesthetic perspective, it’s a rich and nuanced close-up look at the hard work – as much of it mental and emotional as physical – that is the art of dance. What makes “Can You Bring It” profound enough to be an extension of the very piece it documents, however, is the wider lens that allows us to the piece in the context of both periods at once. In 1989, Jones’ tour de force ballet gave physical manifestation to the fear, anger, grief, and hope for salvation that an emerging dance company felt as they were embattled by the AIDS epidemic – but for the group of young dancers tasked with re-interpreting the work three decades later, that experience is something from a history book. To commit to the piece and perform it successfully, they must deepen their understanding of its power – and that means exploring what is at stake in their own personal lives during a troubling time that presents a whole new set of challenges, struggles, and heartbreaks. Needless to say, it’s work not cut out for the faint of heart.

Of course, as any fan of dance documentaries can tell you, the real thrill of such films is the opportunity to see the beauty of bodies in motion, captured up-close on camera and overpowering all other concerns through the transcendent urgency of its perfection. “Can You Bring It” does not disappoint on this level, either.

That should be no surprise. Bill T. Jones, after all, has continued throughout the decades, as has the company he founded with Arnie, which still bears both of their names. He’s gone on to win Tony Awards (for choreographing “Spring Awakening” and “Fela!”), become a Kennedy Center Honoree, and be awarded a MacArthur Grant, over a long career in which he has choreographed more than 120 works, and the dancing we see onscreen all bears the pedigree of having been shaped, either directly or indirectly, by his influence. Add to that the presence of one co-director (LeBlanc) who has been intertwined with his work through most of her own career, and another (Hurwitz) who is one of the most honored documentary cinematographers working today, and you couldn’t ask for a better team to put together a great dance documentary.

Yet what makes a dance documentary truly great is its resonance within a larger world. Dance – and indeed, film, or any other form of art – is at its best when it serves to explore the experience of life itself, through all its levels and nuances. “Can You Bring It” does just that, offering up a lyrical and detailed portrait of artists and their work that is also rich in wisdom, compassion, empathy, diversity, and historical perspective – a testament to the power of art and the triumph of the human spirit.

In a world where the concept of community is often used more to divide us than to unite us, such ideas are a balm for the soul.

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