Arts & Entertainment

GLAAD Media Awards 2018 releases nominees

Netflix raked in the highest number of nominations for TV shows

Published

8 years ago

January 19, 2018

Mariah Cooper

(‘Call Me By Your Name.’ Screenshot via YouTube.)

The 29th annual GLAAD Media Awards announced its 2018 nominees at the Sundance Film Festival on Friday via Trace Lysette (“Transparent”) and Wilson Cruz (“Star Trek: Discovery”).

Netflix raked in the most nominations for television with seven nominations. ABC, CBS and NBC came in at a close second with six nominations. This was also the first time the category Outstanding Kids & Family Programming was introduced which recognizes “Andi Mack,” and “Doc McStuffins,” among others, for their LGBT inclusion.

Critically-acclaimed films “Call Me By Your Name,” “Lady Bird” and “The Shape of Water” also scored nominations.

For music, Miley Cyrus, Sam Smith, Halsey and Kesha all earned nominations for Outstanding Music Artist.

Special recognition was also given to the animated short film “In a Heartbeat,” written and directed by Esteban Bravo and Beth David, as well as Jay-Z’s track “Smile,” about his mother’s coming out, from his album “4:44.”

Check out the full list of nominees below.

OUTSTANDING FILM – WIDE RELEASE
“Battle of the Sexes” (Fox Searchlight)
“Call Me by Your Name” (Sony Pictures Classics)
“Lady Bird” (A24)
“Professor Marston and the Wonder Women” (Annapurna Pictures)
“The Shape of Water” (Fox Searchlight)

OUTSTANDING FILM – LIMITED RELEASE
“BPM” (The Orchard)
“A Fantastic Woman” (Sony Pictures Classics)
“God’s Own Country” (Samuel Goldwyn Films/Orion Pictures)
“Thelma” (The Orchard)
“The Wound” (Kino Lorber)

OUTSTANDING COMEDY SERIES
“The Bold Type” (Freeform)
“Brooklyn Nine-Nine” (FOX)
“Crazy Ex-Girlfriend” (The CW)
“Modern Family” (ABC)
“One Day at a Time” (Netflix)
“One Mississippi” (Amazon)
“Superstore” (NBC)
“Survivor’s Remorse” (Starz)
“Transparent” (Amazon)
“Will & Grace” (NBC)

OUTSTANDING DRAMA SERIES
“Billions” (Showtime)
“Doubt” (CBS)
“The Handmaid’s Tale” (Hulu)
“Nashville” (CMT)
“Sense8” (Netflix)
“Shadowhunters” (Freeform)
“Star” (FOX)
“Star Trek: Discovery” (CBS All Access)
“This Is Us” (NBC)
“Wynonna Earp” (Syfy)

OUTSTANDING INDIVIDUAL EPISODE (in a series without a regular LGBTQ character)
“Chapter 8”, “Legion” (FX)
“Grace”, “Pure Genius” (CBS)
“Lady Cha Cha”, “Easy” (Netflix)
“The Missionaries”, “Room 104” (HBO)
“Thanksgiving”, “Master of None” (Netflix)

OUTSTANDING TV MOVIE OR LIMITED SERIES
“American Horror Story: Cult” (FX)
“Feud: Bette and Joan” (FX)
“Godless” (Netflix)
“Queers” (BBC America)
“When We Rise” (ABC)

OUTSTANDING KIDS & FAMILY PROGRAMMING
“Andi Mack” (Disney Channel)
“Chosen Family”, “Danger & Eggs” (Amazon)
“The Emergency Plan”, “Doc McStuffins” (Disney Channel)
“The Loud House” (Nickelodeon)
“Steven Universe” (Cartoon Network)

OUTSTANDING DOCUMENTARY
“Chavela” (Music Box Films)
“Gender Revolution: A Journey with Katie Couric” (National Geographic)
“Kiki” (Sundance Selects)
“Real Boy”- “Independent Lens” (PBS)
“This is Everything: Gigi Gorgeous” (YouTube Red)

OUTSTANDING REALITY PROGRAM
“Gaycation with Ellen Page” (Viceland)
“I Am Jazz” (TLC)
“RuPaul’s Drag Race” (VH1)
“Survivor: Game Changers” (CBS)
“The Voice” (NBC)

OUTSTANDING MUSIC ARTIST
Miley Cyrus, “Younger Now” (RCA Records)
Halsey, “Hopeless Fountain Kingdom” (Astralwerks Records)
Honey Dijon, “The Best of Both Worlds” (Classic Music Company)
Kehlani, “SweetSexySavage” (TSNMI/Atlantic Records)
Kelela, “Take Me Apart” (Warp Records)
Kesha, “Rainbow” (Kemosabe/RCA Records)
Perfume Genius, “No Shape” (Matador Records)
Sam Smith, “The Thrill of It All” (Capitol Records)
St. Vincent, “MASSEDUCTION” (Loma Vista Recordings)
Wrabel, “We Could Be Beautiful” (Epic/Sony Records)

OUTSTANDING COMIC BOOK
“America,” written by Gabby Rivera (Marvel Comics)
“The Backstagers,” written by James Tynion IV (BOOM! Studios)
“Batwoman,” written by Marguerite Bennett, James Tynion IV (DC Comics)
“Black Panther: World of Wakanda,” written by Roxane Gay, Ta-Nehisi Coates, Yona Harvey, Rembert “Browne” (Marvel Comics)
“Deadman: Dark Mansion of Forbidden Love,” written by Sarah Vaughn (DC Comics)
“Goldie Vance,” written by Hope Larson, Jackie Ball (BOOM! Studios)
“Iceman,” written by Sina Grace (Marvel Comics)
“Lumberjanes,” written by Kat Leyh, Shannon Watters (BOOM! Studios)
“Quantum Teens are Go,” written by Magdalene Visaggio (Black Mask Comics)
“The Woods,” written by James Tynion IV (BOOM! Studios)

OUTSTANDING DAILY DRAMA
“The Bold and The Beautiful” (CBS)
“Days of Our Lives” (NBC)
“The Young & the Restless” (CBS)

OUTSTANDING TALK SHOW EPISODE
“Australia Marriage Equality”, “Last Week Tonight with John Oliver” (HBO)
“Danica Roem”, “The Opposition with Jordan Klepper” (Comedy Central)
“Laila and Logan Ireland, Transgender Military Couple”, “The Ellen DeGeneres Show” (syndicated)
“Laverne Cox and Gavin Grimm”, “The View” (ABC)
“Trans Veterans React to Ban”, “The Daily Show with Trevor Noah” (Comedy Central)

OUTSTANDING TV JOURNALISM – NEWSMAGAZINE
“A Boy Named Lucas”, “20/20” (ABC)
“China Queer”, “The Naked Truth” (Fusion)
“Gay Purge?”, “Nightline” (ABC)
“The Pulse of Orlando: Terror at the Nightclub”, “Anderson Cooper 360” (CNN)
“Trans Youth”, “VICE on HBO” (HBO)

OUTSTANDING TV JOURNALISM SEGMENT
“The Abolitionists Face the Love Army” KAPP-KVEW Local News (KAPP-35/KVEW-42 [Tri Cities/Yakima, Wash.])
“DJ Zeke Thomas Goes Public”, “Good Morning America” (ABC)
“Murders Raise Alarm for Transgender Community”, “NBC Nightly News with Lester Holt” (NBC)
“Transgender Murders in Louisiana Part of Disturbing Trend”, “CBS Evening News” (CBS)
“Transgender Rights under Fire in Trump Era”, “AM Joy” (MSNBC)

OUTSTANDING NEWSPAPER ARTICLE
“Fearfully and Wonderfully Made: The Journey of a Transgender Man” by Lauren McGaughy (The Dallas Morning News)
“Lesbian College Coaches Still Face Difficult Atmosphere to Come Out” by Shannon Ryan (Chicago Tribune)
“Pulse Victims’ Families in Puerto Rico: ‘We Have to Cry Alone'” by Jennifer A. Marcial Ocasio (Orlando Sentinel)
“Revised Guidance on HIV Proves Life-Transforming” by Lenny Bernstein (The Washington Post)
“The Silent Epidemic: Black Gay Men and HIV” [series] (The Atlanta Journal-Constitution)

OUTSTANDING MAGAZINE ARTICLE
“America’s Hidden H.I.V. Epidemic” by Linda Villarosa (The New York Times Magazine)
“Beyond ‘He’ or ‘She’: The Changing Meaning of Gender and Sexuality” by Katy Steinmetz (Time)
“Forbidden Lives: The Gay Men Who Fled Chechnya’s Purge” by Masha Gessen (The New Yorker)
“Free Radical” by Nathan Heller (Vogue)
“Trans, Teen, and Homeless” by Laura Rena Murray (Rolling Stone)

OUTSTANDING MAGAZINE OVERALL COVERAGE
The Advocate
Billboard
People
Teen Vogue
Time

OUTSTANDING DIGITAL JOURNALISM ARTICLE
“The Ballad of Bobby Brooks, the First Gay Student-Body President of Texas A&M” by Lauren Larson (GQ.com)
“For Those We Lost and Those Who Survived: The Pulse Massacre One Year Later” by James Michael Nichols (HuffPost Queer Voices)
“‘I Am a Girl Now,’ Sage Smith Wrote. Then She Went Missing.” by Emma Eisenberg (Splinter)
“Meet the Transgender Student Who Fought Discrimination at His Maryland High School (and Won)” by Nico Lang (INTO)
“Why Bisexual Men Are Still Fighting to Convince Us They Exist” by Samantha Allen (Splinter)

OUTSTANDING DIGITAL JOURNALISM – MULTIMEDIA
“Former Patriots and Chiefs Tackle Ryan O’Callaghan Comes Out as Gay” by Cyd Zeigler (Outsports/SB Nation)
“Made to Model: Trans Beauty in Fashion” (LogoTV.com)
“‘This Is How We Win’: Inside Danica Roem’s Historic Victory” by Diana Tourjée (Broadly.Vice.com)
“Transgender Day of Remembrance” by Saeed Jones (AM to DM, BuzzFeed News)
“US Travel Ban Leaves LGBT Refugees in Limbo” by Nina dos Santos (CNN.com)

OUTSTANDING BLOG
Autostraddle
Gays With Kids
My Fabulous Disease
Pittsburgh Lesbian Correspondents
Transgriot

OUTSTANDING SCRIPTED TELEVISION SERIES
“Las chicas del cable” (Netflix)
“La doble vida de Estela Carrillo” (Univision)
“Ingobernable” (Netflix)

OUTSTANDING TV JOURNALISM – NEWSMAGAZINE (Spanish Language)
“Así viven los estudiantes transgénero después de que Trump anulara la ley de baños de Obama para escuela públicas” , “Primer Impacto” (Univision)
“Pulse, huellas de la masacre”, “Docufilms” (CNN en Español)
“Ser transgénero en Latinoamérica: sus experiencias y crecimiento”, “Vive la Salud” (CNN en Español)

OUTSTANDING TV JOURNALISM SEGMENT (Spanish Language)
“Comunidad LGBTQ vulnerable bajo nuevo gobierno”, “Perspectiva Nacional” (Entravision)
“Entrevista con Daniela Vega”, “Showbiz” (CNN en Español)
“Joven transgénero tiene un mensaje para las familias: ‘Acepten a sus hijos'”, “Al Punto” (Univision)
“El triunfo de una diseñadora mexicana transgénero en Nueva York”, “Noticias Telemundo” (Telemundo)
“Unidos contra la discriminación y el acoso contra la comunidad LGBT”, “Despierta América” (Univision)

OUTSTANDING DIGITAL JOURNALISM (Spanish Language)
“La compleja realidad de ser gay en América Latina” (cnnespanol.cnn.com)
“‘No aprobar el Dream Act significaría una sentencia de muerte’, jóvenes LGBT y DACA” (laopinion.com)
“Padres de familia de Dallas luchan por los derechos de su hija transgénero” (aldiadallas.com)
“Primera senadora trans aspira a impulsar medidas para sectores discriminados” (efe.com)
“Tres hermanitos para dos papás” (laopinion.com)

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Photos

PHOTOS: The Bonnet Ball

Annual celebration held at JR.’s

Published

14 hours ago

April 5, 2026

Michael Key

Sirene Noir Sidora Jackson dances at The Bonnet Ball at JR.'s Bar on Sunday, April 5. (Washington Blade photo by Michael Key)

The Bonnet Ball was held at JR.’s Bar (1519 17th St., N.W.) on Sunday.

(Washington Blade photos and video by Michael Key)

Books

Risking it all for love during World War II

New book follows story of Black, gay expat in Paris

Published

17 hours ago

April 5, 2026

Terri Schlichenmeyer

(Book cover image courtesy Viking)

‘The Remarkable Life of Reed Peggram’
By Ethelene Whitmire
c.2026, Viking
$30/308 pages

You couldn’t escape it.

When you fell in love, that was it: you were there for good. Leaving your amour’s side was unthinkable, turning away was impossible. You’d do anything for that person you loved – even, as in the new biography, “The Remarkable Life of Reed Peggram” by Ethelene Whitmire, you’d escape toward danger.

On Aug. 28, 1938, Reed Peggram boarded a ship from Hoboken, N.J., hoping to “become a proper gentleman” and fulfill his dreams. A prolific writer and Harvard scholar of comparative literature, he’d recently been awarded the Rosenwald Fellowship, which put him in the company of literary stars like Du Bois, Hurston, and Hughes.

Both Peggram’s mother and grandmother were then domestic workers, and they had big expectations for him. Reed himself was eager to study abroad, for professional and personal reasons; he was “determined to become a French professor and an accomplished linguist” and “He also hoped to find love.”

What better place to do it than in Paris?

Outgoing and confident, Peggram made friends easily and had no trouble moving “through the world of his white male peers.” Where he faltered was in his lack of funds. He relied on the kindness of his many friends – one of whom introduced Peggram to a “man who would become so pivotal in his life,” a Danish man named Arne.

Peggram and Arne had a lot in common, and they began to enmesh their lives and dreams of living in the United States. But there were complications: homosexuality was largely forbidden, World War II was in its early stages, and it quickly became apparent that it was dangerous to stay in Europe.

And yet, Peggram loved Arne. He refused to leave without him and so, while most visiting Black Americans fled the war in Europe, “Reed was trying to stay.”

There’s so much more to the story inside “The Remarkable Life of Reed Peggram,” so much to know about Reed himself. Problem is, it’s a long haul to get to the good stuff.

In her introduction, author Ethelene Whitmire explains how she came to this tale and yes, it needs telling but probably not with the staggering number of inconsequential details here. Peggram moved homes a lot, and many people were involved in keeping him in Europe. That alone can be overwhelming; add the fact that costs and other monetary issues are mentioned in what seems like nearly every page, and you may wonder if you’ll ever find the reason for the book’s subtitle.

It’s there, nearly halfway through the book, which is when the tale takes a tender, urgent turn — albeit one with determination, rashness, and a dash of faux nonchalance. Also, if you’re expecting an unhappily-ever-after because, after all, it’s a World War II tale, don’t assume anything.

Reading this book will take a certain amount of patience, so skip it if you don’t have that fortitude. If you’re OK with minuscule details and want a heart-pounder, though, “The Remarkable Life of Reed Peggram” might be a good escape.

The Blade may receive commissions from qualifying purchases made via this post.

Theater

Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’

Energized take on role offers accessible way to enjoy Shakespeare

Published

2 days ago

April 4, 2026

Patrick Folliard

Eddie Izzard in ‘The Tragedy of Hamlet.’ (Photo by Carol Rosegg)

‘The Tragedy of Hamlet’
Through April 11
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Tickets start at $90
Shakespearetheatre.org

Eddie Izzard is an icon.

Best known for her innovative standup and film roles, the famed British performer is also a queer activist who over the years has good-naturedly shared details from her decades long trans journey. What’s more, Izzard has remarkably run 43 marathons in 51 days for charity.

And now, Izzard finds a towering new challenge with the worldwide tour of “The Tragedy of Hamlet” (at Shakespeare Theatre Company’s Klein Theatre through April 11), in which she plays 23 characters (Hamlet, King Claudius, Queen Gertrude, the ghost, etc.) in a solo performance running just over two hours.

At a recent performance, Izzard, before slipping into character, appeared on the unadorned stage to say that though infused with comedy, “Hamlet” is definitely a tragedy, a story of a family and country both tearing themselves apart. She also warns that there’ll be a lot of breaking the fourth wall. After all, it didn’t exist in 1600 around the time when “Hamlet” was written.

The play unfolds in flurry of movement and scandal as the Danish prince begins to plot revenge after learning that his father, the old king was conspired against and murdered.

While some of Izzard’s character shifts are shown only by a subtle change in stance or modulation of voice, others are more obviously displayed like court sycophant Polonius walking with a stiff leg and mimed cane, or his ill-fated daughter Ophelia trotting girlishly across the upstage platform.

Delivered downstage at the intimate Klein venue, Izzard’s Hamlet soliloquies are performed with striking clarity. The one actor play is adapted and edited by Mark Izzard (the star’s older brother) and directed by Selina Cadell who successfully fosters the visceral connection between the actor and the house. Directly addressing an audience is something Izzard does exceedingly well. You feel as if she’s looking at/speaking to only you.

Cuts and choices are made that might not please traditionalists. The stabbing of eavesdropping Polonius might prove disappointingly underplayed to some. Whereas, the subsequent satisfying dual/death scene is long and precisely choreographed. Fear not, Izzard doesn’t flag a bit, not even when battling a cough (as was the case on the night of No Kings Day).

Not surprisingly, Izzard leans into the comedy. Her deliciously placed pauses, lines read ironically, and double takes, all gifts of comedy sharpened to perfection over a long career that kicked off as a street performer in the early eighties in London’s Covent Garden.

The play within a play scene finds Hamlet slyly rattling the conscience of King Claudius. As played by Izzard, it’s wickedly delightful and especially good. And the back and forth between the grave diggers done as a clever Cockney and his green assistant is a master class in how to play a Shakespearean clown.

Kitted out in a black peplum jacket over leather leggings and boots, Izzard gives gender fluid shades of contemporary diehard scenester and a Renaissance courtier. (Design and styling by Tom Piper and Libby DaCosta)

Attention has been paid to the blonde high ponytail, crimson lips and matching lacquered nails. The hands are important. Whether balled into fists or fingers fluttering, they’re in use, especially when playing Hamlet’s ex-friends Rosencrantz and Guildenstern (a clever surprise that can’t be spoiled).

Tom Piper’s set is wonderfully minimal. It’s an empty white walled space with three narrow windows that appear cut deeply into stone like those of a castle. These white flats serve as the ideal canvas for lighting designer Tyler Elich’s looming shadows, ghostly green light, and other unexpected flourishes of drama.

Izzard fills the stage. Her presence is huge, and her acting first-rate. At times, you forget it’s a one-person show.

I’d like to say, prior knowledge of the Bard’s best tragedy isn’t necessary to enjoy this fast-paced production. Despite a halved runtime and obscure words replaced with modern equivalents (“tedious old git” Hamlet says of Polonius), familiarity with the play is helpful.

With “The Tragedy of Hamlet,” Izzard secures a place among fellow queer Brits like Miriam Margolyes (“Dickens’ Women”), Sir Ian Mckellan (“Ian McKellen on Stage”), and more recently Andrew Scott (“Vanya”) in the solo players’ pantheon.

Izzard’s energized take on Hamlet is terrific. The way her powerful public persona bleeds into the work without taking over is exciting, and a uniquely accessible way to enjoy Shakespeare.