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No LGBTQ role or film winners at 75th Golden Globes, despite multiple nominations

But thanks to Oprah, #metoo movement soars

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Start of the 75th Golden Globes live from the Beverly Hilton Jan. 7, 2018.

The 75th anniversary Golden Globes featured Hollywood actors donning all-black gowns and suits, and wearing #TimesUp pins in support in of those who have spoken out about sexual harassment and to protest gender inequality. It was a hugely important night celebrating women and women’s stories.

But many in the LGBTQ community were left puzzled by the lack of representation among the acting, directing and screenwriting category nominees and winners, even though #TimesUp resonates against homophobia too.

Gay men Benji Pasek, Justin Paul won for Best Original Song, with “This Is Me” in “The Greatest Showman. (Photo courtesy Golden Globe Winners Stage)

While “Handmaid’s Tale” and “Lady Bird” (both LGBTQ-themed projects) picked up awards, and there was a big win for Benji Pasek for Best Original Song, with “This Is Me” in “The Greatest Showman,” the night was entirely bereft of awards for LGBT roles, themed films or out actors.

D.C.-based film critic and the founder of Cinema Siren, Leslie Combemale says the omission of out lesbian, gay and trans actors among the nominations is not unlike the traditional silencing of women in the industry that led to the current crisis.

“It’s just a group of underrepresented people in the entertainment world that Hollywood doesn’t believe is capable of performing on that level… which is crazy,” Combemale told the Los Angeles Blade.

“Look at the film, ‘Fantastic Woman,’” she says. “Here’s an example of a great transgender actor [Daniela Vega] with an amazing performance who wasn’t even nominated.”

Combemale went on to step to tread delicate waters, pointing out that many in Hollywood have remained closeted and that they are at fault here.

“Until more gay roles become available to openly gay actors, then that’s going to continue to be part of the problem — people not feeling confident about being their true selves in that environment,” she says.

John Paul King, Los Angeles Blade film critic says, “There were a lot of excellent and diverse films nominated this year, and of course all the winners deserved to take home their prizes. And I think the fact that both Best Picture winners were very muchdriven by a female perspective – even though “Three Billboards” was written and directed by a man – was very telling.”

Beyond LGBT issues, it was not an entirely challenged event on the diversity front, however.

In a historic moment, actor Sterling K. Brown, star of the TV series “This is Us,” won for Best Lead Actor in a TV Drama. He was the first Black actor to win in this category. Last year, he won Best Supporting Actor in a TV Drama for his role in “The People v. O. J. Simpson: American Crime Story.”

But it was Oprah Winfrey’s speech that was the highlight of the evening. The media mogul, actress, and producer, was honored with the Cecil B. DeMille award. She is the first black woman to win.

Doing what she does best — inspiring and empowering — Winfrey talked about her own inspiration remembering when Sydney Poitier become the first Black man to win an Oscar in 1964 for “Lilies of the Field.” And what it meant to her as a little girl.

“Up on the stage came the most elegant man I had ever seen,” she recalled. “I had never seen a black man recognized like that before. What a moment like that means to a little girl, a kid watching from the cheap seats, as my mom came through the door, bone-tired from cleaning other people’s houses,” Oprah said in her acceptance speech.

“There are some little girls watching as I become the first black woman to be given this award,” she went on.

Winfrey recalled the story of Recy Taylor, a black woman whose 1944 rape by six white men did not lead to any convictions. Taylor passed away last month at the age of 97.

“She lived — as we all have lived — in a culture broken by brutally powerful men,” Winfrey said. “For too long, women have not been heard or believed if they dared to speak their truth to the power of those men, but their time is up.”

But Oprah brought Hollywood to its feet when she talked about the future of women in a world without discrimination and harassment. She gave a full-throated clarion call for change that could resonate beyond Hollywood.

“I want all of the girls watching here now to know, that a new day is on the horizon. And when that new day finally dawns, it will be because of a lot of magnificent women, many of whom are right here in this room tonight, and some pretty phenomenal men, fighting hard to make sure that they become the leaders who take us to the time when nobody ever has to say, ‘me too’ again.”

There were several straight actors nominated for playing gay roles, but none took home the gold.

Armie Hammer, Actor in a Supporting Role, for “Call Me by Your Name,” [Sam Rockwell won for “Three Billboards Outside Ebbing, Missouri”] and Timothée Chalamet, Actor in a Motion Picture, Drama, also for “Call Me by Your Name” [Gary Oldman, won for “Darkest Hour”]. Emma Stone, Actress in a Motion Picture, Comedy, for her role as Billie Jean King in “Battle of the Sexes,” [Saoirse Ronan, won for “Lady Bird”]. In television, Eric McCormack nabbed a nomination for his role as Will in NBC’s revived “Will & Grace,” [Aziz Ansari “Master of None”].

“When someone who’s gay comes out as gay, everyone’s like ‘oh my God, I can’t believe it.’ But, when a straight actor plays gay, everyone says, ‘oh, he or she is so brave.’ That’s ridiculous. It does piss me off. Just like when a Jewish character is played by a Greek,” standup comedian, actress, Emmy award winning television writer, and producer Judy Gold told the Los Angeles Blade.

Combemale says the Globes missed the boat on a quiet a few films with LGBTQ actors and creative.

She says “Mudbound,” Dee Reese, the director and half of the screenwriting team, who is Black and a lesbian. “She’s a star. Eventually it will happen. It’s a great movie and that’s a big miss,” Combemale says.

Also, she cites writer-Director Angela Robinson for “Professor Marston and the Wonder Women” who seemed to disappear from the radar.

“And ‘BPM (beats per minute)’ a French film was a huge miss. Internationally, it might be that gay and lesbian actors are playing gay characters and not in the U.S.,” she says.

Combemale says she believes there were several options for lesbian actresses who could have played the Billie Jean Smith role in “Battle of the Sexes,” outside of Emma Smith. “I don’t believe the movie wouldn’t have gotten films without her.”

Although “Call Me by Your Name” was nominated for Best Motion Picture Drama, it has a gay director, Luca Guadagnino, and screenwriter James Ivory, neither of whom were nominated. Many were rooting for the film as it has several queer producers, including Guadagnino and Ivory, who would take home gold if the film won. “Three Billboards Outside Ebbing, Missouri” won the award.

“It’s important for the LGBTQ community to continue to speak up, especially in the current cultural and political climate, about being included. That doesn’t mean we’re less than one-hundred percent supportive of the women’s movement, but we must make sure our voices are heard, too,” says Los Angeles Blade’s King. “Movies are a big part of how people’s attitudes change, and when Hollywood send the message that we matter, too, it’s a huge step forward in our struggle to be recognized as equal’”

We can only hope that the new culture Oprah says has been ushered in will be one in which gay and lesbian actors can be considered for gay or lesbian roles and where there is no penalty for being out.

Times up for all that, too.

For the complete list of winners go here.

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Theater

‘Octet’ explores the depths of digital addiction

Habits not easily shaken in Studio Theatre chamber musical

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The cast of Octet (left to right): Aidan Joyce, Jimmy Kieffer, Chelsea Williams, Tracy Lynn Olivera, Amelia Aguilar (sitting upright), Ana MarcuAngelo Harrington II, and David Toshiro Crane. (Photo by Margot Schulman) 

‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org

David Malloy’s “Octet” delves deep into the depths of digital addiction. 

Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed. 

Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat. 

The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.

“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”

Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.

Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”

The group’s unseen founder Saul is absent, per usual.

In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”

After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God. 

Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.

Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something. 

And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration. 

An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety. 

At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.

In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.” 

Habits aren’t easily shaken.

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Sports

Blade, Pride House LA announce 2028 Olympics partnership

Media sponsorship to amplify stories of LGBTQ athletes

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(Photo by Chaay Tee via Bigstock)

The Los Angeles Blade and Washington Blade on Friday announced a media partnership with the Out Athlete Fund, which will produce Pride House LA for the 2028 Summer Olympics.

Pride House is the home for LGBTQ fans and athletes that will become a destination during the L.A. Summer Games in West Hollywood in partnership with the City of WeHo. This 17-day celebration for LGBTQ athletes and fans will include medal ceremonies for out athletes, interactive installations, speakers, concerts, and more.

The Los Angeles Blade will serve as the exclusive L.A.-area queer media sponsor for Pride House LA and the Washington Blade will support the efforts and amplify coverage of the 2028 Games.

The Blade will provide exclusive coverage of Pride House plans, including interviews with queer athletes and more. The parties will share content and social media posts raising awareness of the Blade and Out Athlete Fund. The Blade will have media credentials and VIP access for related events. 

“We are excited to partner with the Washington Blade, the oldest LGBTQ newspaper in the United States and the Los Angeles Blade, already a strong supporter of Out Athlete Fund and Pride House LA/West Hollywood,” said Michael Ferrera, CEO of Pride House LA. “Our mission is about increasing the visibility of LGBTQ+ athletes and fans to challenge the historical hostility toward our community in the sports world. Visibility is what publications like the Washington and Los Angeles publications are all about. We know they will play a key part in our success.”

“LGBTQ visibility has never been more important and we are thrilled to work with Out Athlete Fund and Pride House LA to tell the stories of queer athletes and ensure the 2028 Summer Games are inclusive and affirming for everyone,” said Blade Editor Kevin Naff.

Out Athlete Fund is a 501(c)3 designed to raise money to offset the training cost of out LGBTQ athletes in need of funding for training. The Washington Blade is the nation’s oldest LGBTQ news outlet; the Los Angeles Blade is its sister publication founded nine years ago.

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Out & About

Celebrate Black History Month

LGBTQ+ Community Center to host series of events

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‘Paris is Burning’ is screening as part of Black History Month commemorations at the DC Center. (File photo courtesy of Reel Affirmations)

In honor of Black History Month, the DC LGBTQ+ Community Center will host a series of events uplifting the histories, artistry, and resilience of Black LGBTQ+ communities through dialogue, film, and intentional gathering.

The series begins with “Ballroom Culture: Rhythms of Resilience,” a panel discussion on Tuesday, Feb. 10, 2026 at 7 p.m. Artists, activists, and leaders from the ballroom community will explore ballroom’s historical, cultural, and political significance as a site of resistance, kinship, creative expression, and social justice within Black, Latinx, and LGBTQ+ communities. 

On Friday, Feb. 13 at 12:30 p.m., the Center will host a screening of the groundbreaking documentary “Paris is Burning,” which chronicles New York City’s ballroom scene and house culture while examining themes of race, class, identity, and survival through the voices of legendary performers including Willi Ninja, Pepper LaBeija, and Dorian Corey.

The month will conclude with “Soul Centered: A Black LGBTQ+ Gathering” on Saturday, Feb. 21, 2026 at 3:30 p.m. This free, RSVP-required event invites Black LGBTQ+ community members into a space of rest, connection, and reflection centered on love in all its forms. The gathering will feature a panel conversation with Black LGBTQ+ creatives, healers, and community members, followed by intentional speed connections and a closing social mixer. 

For more details and to RSVP, visit the Center’s website.

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