Arts & Entertainment
Oscar announcement brings LGBT surprises
Nominations abound but will any of them take home the gold?
(Photo courtesy AMPAS)
By JOHN PAUL KING
The Oscar nominations for 2017 have been announced, and while there are, as usual, a few surprises as to who has been included and who has been left out, most savvy film aficionados will find the list of competitors a close match to their expectations.
It’s been an unusually rich year for “award bait” movies. In many (if not most) past Oscar races, there have been one or two clearly worthy front-runners and the rest of the crop has seemed like filler.
Even so, the Oscars have never been about quality alone; politics have always played a part in determining nominations and especially winners. In this year’s contest, not surprisingly in a cultural context rife with polarizing controversy, that observation may be truer than ever.
Categories that are traditionally all-male include women. Greta Gerwig received a nod for her direction of “Lady Bird” and “Mudbound” garnered a nomination for its cinematographer, Rachel Morrison, the first female to be so-recognized.
Black talent has also been acknowledged. Jordan Peele earned well-deserved (and pleasantly surprising) nominations for both directing and writing his brilliant blend of horror and social satire “Get Out,” which was also included as a Best Picture contender. That movie’s star, Daniel Kaluuya, is also a nominee for Best Actor as is Denzel Washington, for his work in “Roman J. Israel, Esq.,” a rare instance of two black performers included in the running for that prize.
The most obvious area of improvement this time out, however, is the amount of recognition the Academy has given to LGBT-themed movies and performances.
Most prominent, of course, is “Call Me By Your Name.” This gay coming-of-age story may have generated some controversy over the age gap between its two protagonists (especially after the revelations about Kevin Spacey’s long history of age-inappropriate sexual advances), but it overcame such concerns to become one of the best received and most recognized films of the year. Its nomination for Best Picture is no surprise, nor is its presence in the categories of Best Actor and Best Adapted Screenplay, though its nod for Sufjan Stevens’ “Mystery of Love” in the Best Original Song category may have raised some eyebrows.
What’s disappointing and telling is the exclusion of co-star Armie Hammer (considered as a likely bet for a Best Supporting Actor bid) and, even more shocking, Luca Guadagnino for the Best Director prize. The latter snub seems particularly pointed, considering that Guadagnino is one of the film’s few openly gay contributors, underscoring the not-unfair criticism that, though “Call Me” is an LGBT-themed movie, its participants (including both lead actors) are straight.
On the other hand, James Ivory, who is also an out gay man, was nominated for his adaptation of André Aciman’s book; no stranger to Oscar attention (“A Room With A View,” “The Remains of the Day” and “Howard’s End”), he is considered a front-runner to take home the statuette.
Unfortunately for fans of Timothée Chalamet, his chances of a win are far less likely. Though he grabbed some trophies early in this year’s awards season, he has since been eclipsed by Gary Oldman’s powerhouse turn as Winston Churchill in “The Darkest Hour,” which has dominated the Best Actor category at most of the recent ceremonies. Oldman is a well-loved performer who has been passed over several times for past work; on top of that, “Darkest Hour” proved its popularity among industry insiders by making a surprising show in the Oscar list, even grabbing an unexpected slot in the Best Picture roster. Both of those factors make it impossible to doubt that Chalamet, despite giving us one of the most unforgettable film performances in recent memory, will be going home empty-handed.
There are other LGBT-relevant films singled out in this year’s nominations.
Though not explicitly gay-themed, Gerwig’s “Lady Bird” does feature a tenderly handled subplot involving a gay character. That film is well-represented in the competition, and stands a reasonable chance of winning any of its nods for Best Picture, Director, Original Screenplay, Actress (Saorise Ronen) or Supporting Actress (Laurie Metcalf).
Likewise, Guillermo Del Toro’s “The Shape of Water,” which leads the nomination tally with a total of 13, is not an LGBT movie but an exploration of “otherness” in a world dominated by straight, white, cis-gendered male identity. It also prominently features a gay character, an older commercial artist whose happiness is blocked at every turn by homophobia and the psychology of the closet, played by actor Richard Jenkins.
For his likable performance, he has been nominated for Best Supporting Actor; like Chalamet, though, his chances are overshadowed by a powerhouse front-runner — Sam Rockwell, whose work as an evolving racist cop in “Three Billboards Outside Ebbing, Missouri” is considered the clear favorite for the win.
Finally, in the category of Best Foreign Language Film, the Chilean/German co-production, “A Fantastic Woman,” secured a nomination. The story of a transgender woman fighting transphobia for the right to mourn after the death of her lover, it should also have gotten recognition for its star, trans actress Daniela Vega, who gave one of the strongest performances of the year, by any standard. As a foreign performer, and a relatively inexperienced and unknown one, she didn’t stand much of a chance. But the Academy missed a chance to show support and solidarity with the trans community by giving her a nod. Even so, the film’s nomination is a major step, although the omission of “BPM (Beats per Minute)” within the same category, is a disappointment.
It’s too early in the race to make predictions. Though “Three Billboards” is currently considered the favorite to win (along with its star Frances McDormand and the previously mentioned Rockwell), controversy over its handling of racist themes (as well as some critical backlash over the contrivances of its story) may lower its chances as the big night draws nearer and “Shape of Water” made such a strong showing in the nominations that its popularity among Academy voters is impossible to ignore.
Even given such causes for doubt, however, it seems certain that Oscar will not be duplicating the triumphant validation it delivered for queer awareness with its selection of “Moonlight” for Best Picture.
This year, it looks like the LGBT community will be an also-ran.
Celebrity News
Fashion icon Bob Mackie dead at 87
Designing legend to all the divas, gone but not forgotten
To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion.
The news broke on his Instagram account Monday, Sept. 14, with the message:
“It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a fashion and costume designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs, Calif., due to pneumonia.
At 87, Mackie is the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbara Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.
His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on “The Judy Garland Show.” The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.
Mackie then went on to do all of the costumes for “The Carol Burnett Show,” creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market.
He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including “The Sonny and Cher Show.” He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.”
Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the “Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of “Hacks.”
Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for “Lady Sings the Blues.” He won a Tony Award for “The Cher Show.” He won nine Emmy Awards and received 30 nominations for his prolific television work.
Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving “RuPaul’s Drag Race”‘s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series.
It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.
The 29th annual SMYAL Fall Brunch was held at the Marriott Marquis on Sunday, Sept. 13.
(Washington Blade photos by Michael Key)
Books
Dolly Parton biography puts her hardships into context
‘Ain’t Nobody’s Fool’ a highly researched tome not to be missed
‘Ain’t Nobody’s Fool: The Life and Times of Dolly Parton’
By Martha Ackmann
c.2026, St. Martin’s Press
$30/304 pages
Not too bright.
That’s what people once thought about you. Your language didn’t conform, you had your own sense of style, and you were ignorant about modern things and places and foods. But you were no dummy. You were different, and you had a secret: as in the new biography, “Ain’t Nobody’s Fool: The Life and Times of Dolly Parton” by Martha Ackmann, you knew exactly where you were going.
When Avie Lee Owens and Lee Parton first married, they had the very basics: “two knives, two forks, two spoons, a skillet, a butcher knife, and an old iron kettle.” He was 17; she was 15. Babies came quick. The fourth one was named Dolly, after two great-aunts.
Almost from the time she could walk, Dolly sang. Before she was old enough to attend school, she wrote poetry, and she’d begun to notice rhythms and beats she could make with her fingers. As a schoolchild, she created her own musical instruments out of scraps, and she was eager to perform whenever anyone asked her – and they asked often, because Dolly Parton was a nice girl, and her sense of humor conveyed a warmth that drew people in.
Growing up in the Tennessee mountains, Parton was independent, shunning marriage and child-raising, instead focusing on a dream of being a star. By the time she was in high school, she’d had a regular gig on local television but she recognized that there were few opportunities for fame in the mountains, so she left for Nashville the day after high school graduation, with the snickers of naysayers ringing in her ears.
She stayed with an aunt and uncle there, and she beat the streets, dined on grocery store samples to get by, and missed her family and friends. And they worried about her, but they knew nothing would derail her plans. They knew Dolly would be fine.
As a friend said, “’She had her head on pretty good.’”
Chances are that if you’ve listened to music any time in the last 60 years, you’ve heard Dolly Parton through her words or her music or both. Now you need to learn more about her, and “Ain’t Nobody’s Fool” is where to do it.
Here’s a biography that grabs you on the first page with the tiniest bit of family tree, but not so much that you get bored with it. Author Martha Ackmann writes about Dolly Parton’s early life, putting hardships and experiences in context, both personally and historically. There are name-drops, but not overly so, as Ackmann takes you through Parton’s career, her heartbreaks, her marriage, and her years with Porter Wagoner, in detail but not dramatically embellished or outrageously told. It’s a biography that’s just right, sourced well and written with a fresh take that, like its subject, tells a good story.
Fans, of course, will want this highly researched book but music lovers of any age or type will eat it up. That means you, so use up that Christmas gift certificate. “Ain’t Nobody’s Fool” just shines.
The Blade may receive commissions from qualifying purchases made via this post.
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Historiography with heart
