Arts & Entertainment
TV ready to unleash array of LGBT themes, characters
Prominent critics on their most-anticipated new shows


Several new gay-friendly television shows are on the way.
At the recent television critics press tour, there were many new gay-friendly television shows intriguing critics. The Los Angeles Blade’s Susan Hornik talked with LGBT journalists about their take on the new shows.
Trish Bendix, managing editor at INTO
Most excited about “VIDA,” from queer Latinx playwright-turned-TV writer Tanya Saracho. Not only does the show have an all Latinx writers room and Latinx actors, but the plotline and several major characters are LGBTQ. Rarely do we see Latinx leads on TV, and this is a Starz show which means it will be gritty, sexy and boundary-pushing.
Also, Alan Cumming-starrer “Instinct” will also be of interest, though I’m concerned with CBS’s not-so-great track record on LGBTQ inclusion. Still, having an out bisexual man playing a gay lead on a primetime network show is pretty exciting.
Jim Colucci, author of the 2016 New York Times best-seller ‘Golden Girls Forever’
The depictions of LGBT characters are more plentiful and more well-rounded than the days of “The Golden Girls,” which was a LGBT favorite at that time. Back then, the occasional guest character would be gay or lesbian or there would be a gay-themed joke — and certainly there was a gay sensibility about any show that starred a Broadway legend like Bea Arthur.
FX’s’ “Pose” is a recreation of the late ’80s Harlem drag ball era from the prolific gay TV mogul, Ryan Murphy. Trans portrayals are still in short supply on TV, but “Pose” brings us a wide variety of queer characters and it’s both fun and fearless.
Even on network TV, the most mainstream you can get in America’s entertainment universe, gay characters are now not just being accepted, but are featured as lead characters. I’m particularly looking forward to seeing more of NBC’s “Champions,” about the philandering owner of a Brooklyn gym who is suddenly presented with the son — half Indian-American and all fabulously gay — he never knew he had.
Other shows have featured gay teens before — memorably, “Glee,” again from Ryan Murphy — but I love how “Champions” capitalizes on the fabulousness of its funny and appealing teen actor, J.J. Totah. NBC’s drama “Rise,” set in the drama department of a working-class Pennsylvania high school, is worth checking out. Although in adapting their source material, the book, “Drama High” by Michael Sokolove, “Rise’s producers changed Josh Radnor’s lead character of drama teacher Lou to be straight rather than gay, the series does feature several students facing issues with being trans and coming out.
Even though I’m still wary of the change, I realize this series, set in the gayest-friendly of places a high school can offer, its drama department — has the chance to say something really interesting, meaningful and ultimately, entertaining.
John Griffiths, executive director, GALECA: the Society of LGBTQ Entertainment Critics
“Instinct,” with Alan Cumming as network TV’s first gay character to top an hour drama, should be a kick, given the star’s unique charms (and he was more than good on “The Good Wife”). Should be a cheeky kick — he tracks serial killers, teaches at a university and writes books (Whoopi Goldberg plays his editor). He also rides a motorcycle. How butch.
Curious to see how the new Paramount Network’s reboot of the Winona Ryder/Christian Slater cult classic “Heathers” turns out. In this series version of the teen-horror comedy, one of the three titular cliquish high school meanies happens to be gay. The snark is played by out newcomer Brendan Scannell, who, judging by the witty banter he tossed at the show’s TCA panel, has a serious future in comedy. Another potential standout here: Lilli Birdsell, hilarious in clips as the super-pert white mom to a black Heather (Jasmine Mathews).
It’s not rife with LGBTQ characters, but “American Woman” (also on Paramount, formerly Spike TV) with Alicia Silverstone has lots of allure. Silverstone was adorable in “Clueless,” sure, but also terrifically weird in the recent Colin Farrell/Nicole Kidman thriller, “The Killing of a Sacred Deer.”
And her role here — a dutiful wife and mom who ditches her cad of a husband to belatedly join the feminist movement in the early ‘70s — is irresistible. Gay heartthrob Cheyenne Jackson (“30 Rock”) co-stars as the love interest of Silverstone’s BFF, played by Mena Suvari. The show comes with an authentic vibe and cinematic look, surprising considering it’s created by “Real Housewives” fixture, Kyle Richards (it’s based, in fact, on her mom’s own life trajectory).
Steve Gidlow, TV, MediaVillage
In an age where all that is old is new again, it’s refreshing to see the upcoming new installments of ABCs “Roseanne” tackling a sensitive issue like gender fluidity. With Darlene back at home caring for Dan and Roseanne, her parents are faced with Darlene’s young son Mark (Ames McNamara) who his experimenting with his fashion style and outward appearance — all much to grandpa Dan’s chagrin.
Even in its heyday, “Roseanne” was never a show that shied away from big social issues so it’s refreshing this reboot is tackling the issue of letting a young person explore what makes them happy head on, even though it might make those closest to them less than comfortable.
Malcolm Venable, TVGuide.com, senior editor, West Coast
“Pose” — Only Ryan Murphy could sell a network on a story that juxtaposes the New York City ‘80s ballroom scene with the uptown upper crust elite of the Reagan era, while hiring a record number of trans talent in front of and behind the camera. It looks gorgeous and the first footage we saw at TCA included scenes that looked like note-for-note recreations of moments from “Paris Is Burning,” which — no joke — made my heart flutter.
“9-1-1”— Angela Bassett’s husband coming out to her as gay (in the first episode) but the high camp that Murphy’s team, Brad Falcuck, Tim Minear and the uber fierce Alexis Martin Woodhall (seriously Google her) put together. That translates to seeing the emergency response team, which includes Peter Krause, Aisha Hinds and Kenneth Choi.
“Versace” is essential television. Lush, vivid, intensely terrifying and relevant for its messages. Great performances from Judith Light, Penelope Cruz and Edgar Ramirez but Darren Criss is life-changing. And, surprise: don’t expect much Versace. It’s about Andrew Cunanan.
“2 Dope Queens” — Jessica Williams and Phoebe Robinson take their podcast to the stage for a limited-episode run on HBO. They’re authentic and revelatory to their experience as black women, but as the packed multi-cultural New York City audiences show, their stories are universal covering nerd life, boy troubles and of course Beyonce. It’s hilarious and they represent hard for their LGBTQ fam.

WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)










































The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)



















































Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino

‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.