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SPRING ARTS 2018 TV: Small screen delights

‘Rise,’ ‘Roseanne’ reboot, ‘Handmaids’ return pepper TV season

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spring television, gay news, Washington Blade

The cast of the ‘Roseanne’ reboot. (Photo courtesy ABC)

The spring 2018 television season may lack some of the sparkle of last year’s schedule, but there are still some new offerings and returning favorites that LGBT TV fans may want to watch.

On March 27, the outspoken Roseanne Barr returns to network television in a continuation (season 10) of the ground-breaking show that bears her name. Most of the original cast will be back. John Goodman returns as Dan Connor (one of the show’s early promos made fun of his return from the dead). Lecy Goranson, Sara Gilbert and Michael Fishman return as the Conner children. In an interesting twist, Sarah Chalke, who briefly replaced Goranson as Becky, will return to the series as a middle-class woman who hires Becky to be her surrogate.

Many of the guest stars will also return, including Roseanne’s lesbian friend Nancy Bartlett (Sandra Bernhard), Roseanne’s African-American neighbors, Natalie West as Crystal and Johnny Galecki as David Healy. The new cast will also be rounded out by several grandchildren. It is not clear if Martin Mull and Fred Willard, whose characters were married on the show, will return.

Early reports from the set say that the series will address the support of both Roseanne Barr and Roseanne Conner for Donald Trump; the death of Becky’s husband Mark Healy — actor Glenn Quinn died in 2002; and that Roseanne’s youngest son Jerry Garcia Conner will not appear because he is “out on a fishing boat.”

“Rise” on NBC has caused controversy even before its premiere on March 13. The series is loosely based on the nonfiction book “Drama High” by Michael Sokolove which tells the true story of high school drama teacher Lou Volpe, who came as gay later in life. Some media outlets have accused producer Jeff Katims with “straight-washing” Sokolove’s book, but the Writers Guild of America has ruled that Katims should be listed as the creator of the television series, instead of saying he “developed” the show from Sokolove’s book.

The show does focus on the drama teacher, played by Jordan Roth, as a straight family man, but Katims adds several LGBT characters, including Michael (played by trans actor Ellie Desautels), a transgender student at the high school; Simon (Ted Sutherland), who is exploring his own sexuality after being cast as a gay character in the school’s production of “Spring Awakening;” and, Volpe’s married lesbian sister-in-law. The cast also includes Rosie Perez as a fellow teacher Volpe and Auli’I Cravalho (the voice of Moana) as a student.

Meanwhile on Paramount, “Heathers” will premiere on March 7. Based on the iconic 1988 movie starring Wynona Ryder, the “pitch-perfect black comedy anthology series” is set in the present day. The story still focuses on “good girl” Veronica Sawyer, along with her boyfriend JD and “the Heathers,” a vicious clique who ruthlessly control life at Westerburg High. This time, however, one of the Heathers is played by a man. Shannon Doherty, one of the cinematic Heathers, will make a guest appearance.

Veronica Sawyer (Grace Victoria Cox) and Heather Chandler (Melanie Field) in the small-screen version of ‘Heathers.’ (Photo courtesy Paramount)

On April 25, a year after the first episode of season one aired, season two of “The Handmaid’s Tale” will premiere on Hulu. The entire main cast will return, including Elisabeth Moss as June/Offred, Ann Dowd as the terrifying Aunt Lydia, openly lesbian actress Samira Wiley as June’s best friend Moira and Alexis Bledsel as the lesbian Handmaid Ofglen, who was formerly known as Emily. New cast members include Clea DuVall as Emily’s wife, openly lesbian actress Cherry Jones as June’s mother, Bradley Whitford as Commander Joseph Lawrence and Marisa Tomei.

Samira Wiley returns as Moira in season two of ‘The Handmaids Tale.’ (Photo courtesy Hulu)

Working closely with novelist Margaret Atwood, writer Bruce Miller has continued to expand the world of Gilead, a dystopian vision of the United States after a theocratic regime has taken power. Fertile women, known as Handmaidens, are forced to be surrogates for the Commanders and their infertile wives; women who resist are forced to clean up toxic waste dumps known as “the Colonies.” Details about season two are sparse, but it is known that there is a large state funeral and that some scenes are set in the horrific Colonies.

And, on April 13, Netflix will reboot a classic sci-fi series, but without an iconic character generally assumed to be gay. In the original “Lost In Space,” Dr. Zachary Smith was played by Jonathan Harris with a delicious campy flair. In a fascinating gender swap, Parker Posey take over the role of the nefarious stowaway. In another interesting casting move, Ignacio Serricchio will claim the role of Major Don West created by Mark Goddard.

In addition, several returning or continuing shows continue to include LGBT characters, although generally in supporting roles.

Season two of “Jessica Jones” returns to Netflix on March 8 (International Women’s Day). Part of the Marvel Comic Universe, the series is grounded in a feminist sensibility with strong women on both sides of the camera. The series stars Krysten Ritter, who was nominated for a Dorian Award from the LGBT critic’s group GALECA, and Carrie Anne Moss as Jones’ lesbian boss Jeri Hogarth.

‘Jessica Jones’ returns to Netflix. (Photo courtesy Netflix)

“Black Lightning,” which premiered on the CW in January, is based on the DC comic about a family of African-American superheroes. Cress Williams plays the title character and Nafessa Williams plays his daughter Anissa Pierce, a crime-fighter who is developing her superpowers under the name of Thunder.

Fox’s airline comedy “LA to Vegas” debuted in January to weak reviews and strong ratings, but it has made a star of Nathan Lee Graham who plays gay flight attendant Bernard. The openly gay actor played Miss Understanding in the original Broadway cast of “Priscilla, Queen of the Desert” and was recently presented with the Jose Esteban Munoz Award from CLAGS: the Center for LGBTQ Studies at the Graduate Center, CUNY. The award is given to an LGBT activist who promotes queer studies outside of academia.

Some of the other shows that continue to feature members of the LGBT community include “Dynasty” with Nicollette Sheridan joining the cast as Alexis; Tig Nataro on Amazon’s “One Mississippi”; the rebooted “Queer Eye for the Straight Guy”; “The Bold and The Beautiful” where Kayla Mosley heats up the set as transgender woman Maya Avant; “Supergirl”; Lena Waithe’s “Chi”; the popular ABC comedy “Modern Family” which was recently renewed for a 10th and final season (although there are talks of a spinoff); and “Grown-ish,” a spin-off of ABC’s “Black-ish.”

There’s also “Call the Midwife” (PBS), “Valor” (the CW), “Madam Secretary” (CBS), “The Fosters” (Freeform), “Riverdale” (the CW), “Portlandia” (IFC), “Grey’s Anatomy” (ABC), “How To Get Away With Murder” (ABC), “Arrow” (the CW) “One Day At A Time” (Netflix) and “Jane the Virgin” (the CW).

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Sports

English soccer bans transgender women from women’s teams

British Supreme Court last month ruled legal definition of woman limited to ‘biological women’

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(Photo by Kirill_M/Bigstock)

The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.

The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.

“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”

“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.

The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”

“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.

The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.

The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.

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Theater

Theatre Prometheus spreads queer joy with ‘Galatea’

Two girls dressed as boys who find love despite the odds

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Cate Ginsberg as Phillida and Amber Patrice Coleman as Galatea (Photo by Charlotte Hayes)

‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org

In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them. 

Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.  

Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair. 

Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.

“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.” 

Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.

“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”

Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time. 

There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.

She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.

“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”

Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it. 

And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.” 

And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”

Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.

In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.  

With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”

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Movies

Jacob Elordi rides high in ‘On Swift Horses’

Sony Pictures’ promotions avoid referencing queer sexuality of main characters

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The stars of ‘On Swift Horse.'

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.

Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.

Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.

Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.

Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it

That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.

Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.

As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.

But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.

Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.

That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.

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