Arts & Entertainment
Should gays boot the ‘Roseanne’ reboot?
Transient urban gays should give back to home communities
The original cast of ‘Roseanne’ includes lesbian actress Sara Gilbert (first from left in back row). She both reprises her role as Darlene and is executive producing the eight-episode arc. (Photo courtesy ABC)
The twang of a harmonica, the blare of a saxophone, that grating laugh.
Last week, ABC continued the pop culture wave of ‘90s nostalgia by airing the premiere of its much buzzed-about “Roseanne” revival. The original was never afraid to take an unflinching and unapologetic look at working-class life in America or serve as a showcase for its brash and controversial star, Roseanne Barr. True to form, “Roseanne’s” reboot debut proved the show would be just as bracing and willing to tackle controversial issues head-on through its distinct blend of biting humor and tough love.
It’s off to a gangbusters start with its first new episode in 20 years on March 27 drawing 25 million viewers and a massive 73 rating among adults 18-49. With 6.6 million viewers watching it later, it set a time-shifting record, the Hollywood Reporter notes. Another 4.3 million watched an encore broadcast Sunday night. Hulu and ABC streaming will only add to those numbers. It has the best numbers of a any “new” show since the 2014 premiere of “how to Get Away with Murder.” It’s already been renewed for a second season.
Reassuringly, the revival begins with Roseanne and husband Dan waking up in their old bed. Roseanne says she thought he’d died (cue Dan’s deadpan reply, “Why does everyone always think I’m dead?”), expediently erasing the divisive last season, which revealed the show was a story written by Roseanne, Dan had died and the family never won the lottery (don’t ask).
The rest of the Connor family is reintroduced, including Aunt Jackie, whose conflict with big sister Roseanne anchors the premiere. The two have barely spoken since the 2016 election. Roseanne is pro-Trump (mirroring the actor’s real-life support of the president), and Jackie, sporting a Nasty Woman shirt that would have looked appropriate on her 20 years ago, is ardently not.
Much has been made of Roseanne incorporating its star’s pro-Trump views and I was admittedly hesitant about watching the show and possibly liking it. Would my viewership (and potential enjoyment) tacitly endorse Roseanne’s views and those of her pro-Trump fans? Roseanne has rightfully been praised as a realistic depiction of working-class life in America, and although I may disagree with its star and vast numbers of the show’s viewers, there is no escaping the fact that Trump struck a chord with them for a reason that should not be ignored.
Roseanne saying she voted for Trump because “he talked about jobs” may have been played for a laugh, but she was speaking for a lot of people like the Connors. Although a sitcom isn’t going to resolve the political rift in the country, it can promote real discourse. The tension between Roseanne and Jackie was effective because not only was it true to the characters, it was also real. You could see families like this having these kinds of conversations and therein lies the strength of this show for much of its audience: relatability.
“Roseanne” also focused on middle daughter Darlene’s 9-year-old son, Mark, a happy boy who enjoys doing things like wearing skirts and painting his nails. Darlene supports his self-expression and doesn’t want the family to make him feel self-conscious because of it. Although they don’t understand why a boy would “dress like a girl,” the family embraces Mark. When Dan affirms that Mark shouldn’t go school like that, it isn’t because he’s ashamed, but because he fears Mark will be bullied.
I didn’t expect the show to deal with gender identity and expression so matter-of-factly. That Mark was portrayed as a fully formed person rather than a stereotype, and that the family rallied around him, was an explicit argument that we can all get behind: we should be proud of who we are and able to express that fully without fear of judgment or reprisal.
Mark puts an exclamation point on this idea (and shows that he truly is a Connor) by asserting that he’s going to keep dressing like he wants because he’s not ashamed of who he is. When Dan says, “That’s one tough kid,” how could you not stand up and cheer? I doubt the average Trump supporter is ready to acknowledge (let alone accept) gender non-conformance, but I’m grateful that a show aimed at them is saying it should be celebrated instead of feared.
I understand the concerns over normalizing Trump and certain segments of his base, because a show like “Roseanne” could potentially justify their views. Indeed, this has been a sticking point for many potential fans, especially gays. I’ve heard valid arguments that say the dichotomy of the show’s central character supporting Trump (who curries favor with hate groups) while sticking up for her gender non-conforming grandson is offensive at best, dangerous at worst, because this kind of line straddling could allow and encourage such attitudes to persist.
Nuances like these should not be compartmentalized and “Roseanne” would do well to address this potentially negative duality in future episodes. Although there are no easy answers to these questions, the “resist,” anti-Trump, left-leaning crowd ignores the Roseannes of the world at its own peril. If this show can bridge some divides, provide a glimpse into what “middle America” thinks while also demonstrating that the rest of us aren’t the demons we’re made out to be by many on team Trump, then maybe there’s room for an actual conversation. The jury won’t be in anytime soon, but maybe a show like “Roseanne” can counter or even diffuse the hornet nests of social media and angry op-eds cannot which, let’s face it, mostly just preach to their respective choirs.
At its core, “Roseanne” is a show about family, and while there’s certainly room for improvement (more Jackie!), this is a family worth spending some more time with.
Arts & Entertainment
Teyana Taylor, Erin Doherty have big night at Golden Globes
“Heated Rivalry” stars Connor Storie and Hudson Williams among presenters
Honoring Tinseltown’s finest actors and actresses in film and television, the 83rd annual Golden Globes awards had a myriad of memorable LGBTQ moments from throughout the show.
The prestigious A-list event had first time winners like LGBTQ ally Teyana Taylor, taking home the award for Best Supporting Female Actor – Motion Picture for her mesmerizing portrayal of Perfidia Beverly Hills in “One Battle After Another.”
Addressing the audience she said: “To my brown sisters and little brown girls watching tonight, our softness is not a liability. Our depth is not too much. Our light does not need permission to shine. We belong in every room we walk into, our voices matter, and our dreams deserve space. Thank you so much, everybody.”
Another first-time winner was Rhea Seehorn, who won Best Female Actor in a Drama Series for her portrayal as Carol, a queer woman in the Apple TV+ series “Pluribus.”
Created by Vince Gilligan, known for“Breaking Bad”and “Better Call Saul,” Seehorn said it was important “to honor getting the chance to play anybody from the LGBTQ community,” adding that she loves that this is not “the remarkable thing” about Carol.
“It is part of who she is as a human being, and her relationship with her wife that she’s lost is given so much weight because it is a partnership of love,” she said backstage in the pressroom.
“Vince is not trying to make a political statement. He’s actually just trying to say something about being human and what real love is. And so, it makes me very proud that it just happens to be a queer woman.”
Also, lesbian actress Erin Doherty was thrilled to be a first-time winner, receiving the award for best performance by a female actor in a supporting role on television, for Netflix’s “Adolescence.”
“I didn’t want to assume, but I feel like we all know therapists,” Doherty said. “Life can be tough. Mental health is everything. Thank you to therapists, and it was an honor to play one.”
Doherty received the accolade from the stars of the gay Canadian hockey series, “Heated Rivalry,” Hudson Williams and Connor Storrie. Experiencing an overnight success, the dynamic duo were first time attendees and presenters at the Globes.
In a fun comedy bit, Storrie, who was pretending to be shy on stage, said: “It’s a little nerve-wracking here, being at our first Golden Globes!” Williams replied: “Just take a deep breath and picture everyone in the audience … you know,” referring to the idea that in order to get over stage fright, you have to picture the audience with no clothes on.
“I don’t really know if that works since everyone’s seen us … you know,” Storrie quipped. Williams then asked if he thought everyone in the Hilton Ballroom had seen their show.
Storrie replied, “That’s a maybe, but their trainers have and their moms have and their daughters have!”
“Rivalry” is based on the gay romance book series by Rachel Reid called “Game Changers.” Earlier in the week, the Washington Blade caught up with Williams, who said it was “truly a dream come true” to be at the Globes. “I had no idea the show would be received so warmly, it has made my heart happy.”
Another phenomenon that won at the Globes was Netflix’s hit animated film, “KPop Demon Hunters,” which received three Golden Globe nominations, including best animated film, cinematic and box office achievement and best original song for “Golden,” with gay co-songwriter Mark Sonnenblick.
A controversial moment in the show was when presenter/comedian/LGBTQ activist Wanda Sykes presented the award for best stand-up comedy performance on TV. “Shoutout to the Golden Globes for having me. You know there’s some people pissed off that a queer Black woman is up here doing the job of two mediocre white guys.”
As she made jokes about each of the nominees, Sykes had a few terse words to say to Ricky Gervais, who was not present. The British comedian got in trouble for his jokes about the transgender community in his 2022 Netflix special.
“I love you for not being here. If you win, I get to accept the award on your behalf, and you’re going to thank God and the trans community.”
While Gervais did win for his stand-up comedy special, “Mortality.” Sykes had a swift reply, asking Taylor if she could borrow her (acceptance) speech.
“Because [Ricky] would like to thank God and the trans community.”
Photos
PHOTOS: ‘ICE Out For Good’ Sunday protests
Northern Virginia demonstrations among nationwide protest
“ICE Out For Good” demonstrations were held in the Northern Virginia municipalities of Haymarket, Annandale and Arlington, among others, on Sunday, Jan. 12.
Nearly 1,200 similar actions were scheduled nationwide over the weekend, according to a statement from organizers.
Demonstrations in D.C. against ICE included a protest march on Friday and a march around the White House on Saturday.
(Washington Blade photos by Michael Key)
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Theater
Ford’s ‘First Look’ festival showcases three new productions
A chance to enjoy historical dramas for free before they’re completed
The Ford’s Theatre Legacy Commissions: A First Look – 2026
Jan. 16 & 17
Ford’s Theatre
511 Tenth St., N.W.
FREE
Fords.org
When Ford’s Theatre debuted its new plays festival, “A First Look,” in 2023, it was unclear whether people would come for the staged readings.
“Before the pandemic if you announced the reading of a play, 12 people might show up,” says José Carrasquillo, director of artistic programming at Ford’s Theatre. “Since then, we’ve experienced comparatively massive turnout. Maybe because it’s cheap, or because of the very newness of the works.”
This year’s fourth edition showcases readings of three pieces currently in varied stages of development. The free, two-day festival offers audiences a chance to encounter historical dramas long before they’re completed and fully produced. None are finished, nor have they been read publicly. And befitting the venue’s provenance, the works are steeped in history.
The festival kicks off with “Springs” by playwright Jeanne Sakata and directed by Jessica Kubzansky. Commissioned by The Ford’s Theatre Legacy Commissions, it’s the both epic and personal story of Sakata’s Japanese American family including her grandfather’s experience in an internment camp.
“Sakata’s immigrant grandfather was an exceptionally skilled farmer who helped to stave off starvation in the camp. Still, he never gave up on the idea that he belonged in America. It’s very much a story of today,” says Carrasquillo.
Unlike “Springs,” the festival’s two other works weren’t commissioned by Ford’s. But they both fit the history brief and likely will benefit from the exposure and workshopping.
“Providence Spring,” by California based playwright Richard Helesen and directed by Holly Twyford, portrays Clara Barton (played by local favorite Erin Weaver) as a hero beyond the Red Cross whose then-radical initiatives included cataloguing the Civil War dead, many pulled from mass graves.
Directed by Reginald L. Douglas, “Young John Lewis: Prodigy of Protest” explores a slice from the life of the legendary civil rights activist and longtime congressman. With book and lyrics by Psalmayene 24 and music by Kokayi this collaboratively staged reading between Ford’s and Mosaic Theater is slated to premiere fully produced at Mosaic as a 90-minute musical in the spring of 2026.
“When I was hired at Ford’s in 2018, we began discussing hiring writers who do historical drama,” says Carrasquillo. “Our intention was resolute, but we didn’t do it right away. It took getting through the pandemic to revisit the idea.”
At the same time, the racial reckoning spurred Ford’s to hire playwrights of color to tell stories that had previously been forgotten or ignored.
For Carrasquillo, who is gay, the impulse to commission was crystalized when he saw the film “Hidden Figures,” a true story about “three brilliant African-American women — at NASA during the Space Race, overcoming racial and gender discrimination to make crucial contributions to America’s spaceflight success.” He says, “the film floored me. How many stories like this are there that we don’t know about?”
One of the festival’s happiest experiences, he adds, was the commission of playwright Chess Jakobs’s “The American Five” and its subsequent success. It’s the story of Martin Luther King Jr. and his inner circle, including Bayard Rustin (MLK’s brilliant, unsung gay adviser) leading up to the 1963 March on Washington. The play later premiered fully produced in Ford’s 2025 season.
Increasingly, the readings at Ford’s have become popular with both artists and audiences.
At Ford’s, Carrasquillo wears many hats. In addition to selecting plays and organizing workshops, he serves as an in-house dramaturg for some of the nascent works. But he’s not alone. Also helming the festival are senior artistic advisor Sheldon Epps, and The Ford’s Theatre Legacy Commissions advisor Sydné Mahone.
Because the plays are in development, comments from directors, dramaturgs, and the audience are considered and may become part of the playwrights’ rewrites and changes. If and when the play resurfaces fully produced, audience members might find their suggestion in the completed work.
Is this year’s festival queer influenced? Yes, both by those involved and the topics explored.
Carrasquillo explains, “While Sakata’s “Springs” is primarily about immigration, its message is relevant to the queer community. Civil rights are being taken away from us. We need this playwright’s story to know what has happened and what can happen to any of us.
“Many of Ford’s legacy commissions underscore the importance of civil rights in our country and that’s important to all of us. Queer and not queer.”
Team Rayceen’s hiatus is officially over
Teyana Taylor, Erin Doherty have big night at Golden Globes
Mark Levine running in ‘firehouse’ Democratic primary to succeed Adam Ebbin
PHOTOS: ‘ICE Out For Good’ Sunday protests
Ford’s ‘First Look’ festival showcases three new productions
Kennedy Center renaming triggers backlash
Colombians protest against Trump after he threatened country’s president
‘Hedda’ brings queer visibility to Golden Globes
Just say no to the felon in the White House
