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‘Shadowhunters’ canceled after three seasons

The show included a gay hunter who falls for a warlock

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Magnus Bane (Harry Shum Jr) and Alec Lightwood ( Matthew Daddario) in ‘Shadowhunters.’ (Screenshot via YouTube)

Freeform has announced its supernatural series “Shadowhunters” will end after its third season.

“Shadowhunters,” based on “The Mortal Instruments” book series by Cassandra Clare, stars  Katherine McNamara, Dominic Sherwood, Matthew Daddario and Emeraude Toubia as part human/part angels who must protect people from demons and maintain order in the Shadow World.

Daddario plays Alec Lightwood, a closeted Shadowhunter who falls for Warlock Magnus Bane (Harry Shum Jr).

“It has been an absolutely wonderful experience getting to be part of Shadowhunters for the past three years. After all of it, I hope I have fulfilled my promise of being the best Alec Lightwood you could ask for. Look out for the great work this crew will be doing out of,” Daddario wrote in a tweet.

“We are very proud of Shadowhunters, a series that broke new ground in the genre world and became a fan favorite,” the network said in a statement to People. “However, along with our partners at Constantin, we reached the very difficult decision not to renew the show for a fourth season. But, as big supporters and fans ourselves, Freeform insisted on and championed the filming of a special two-part finale that would give devoted fans a proper ending. The twelve episodes will air in spring of 2019. We want to thank our talented creators, producers, cast and crew along with our colleagues at Constantin for their hard work and dedication and to Cassie Clare for her incredible book series. We look forward to the final chapter of this breakthrough drama.”

The second half of the third season premieres in 2019 with a two-episode series finale.

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Photos

PHOTOS: Remove the Regime rally and march

Dropkick Murphys, Earth to Eve perform on steps of Lincoln Memorial

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The Dropkick Murphys perform at the Remove the Regime rally outside of the Lincoln Memorial in Washington, D.C. on Saturday, Nov. 22. (Washington Blade photo by Michael Key)

The Remove the Regime rally and march was held on Saturday, Nov. 22.

(Washington Blade photos by Michael Key)

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PHOTOS: Transgender Day of Remembrance

Observance held at Metropolitan Community Church

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Transgender Day of Remembrance was observed at Metropolitan Community Church of Washington, D.C. on Nov. 20. (Washington Blade photo by Michael Key)

Transgender Day of Remembrance was observed at the Metropolitan Community Church of Washington, D.C. on Thursday, Nov. 20. The event was emceed by Rayceen Pendarvis and Dwight Venson. Musical selections were provided by Agape Praise and Dynamic Praise. Proclamations from the D.C. Council and the D.C. Office of the Mayor were presented. The Pouring of the Libation was conducted by Rev. Elder Akousa McCray and Rev. Paul Fulton-Woods of Unity Fellowship Church.

Remarks were given by trans survivors of violence. Family members of slain trans woman Dream Johnson were featured speakers. Prayers were given by Rev. Cathy Alexander and Rev. Dwayne Johnson of Metropolitan Community Church of Washington, D.C. Yael Shafritz gave a Jewish prayer through a video presentation. Closing remarks were given by community leader, Earline Budd.

(Washington Blade photos by Michael Key)

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Pioneering gay journalist takes on Trump 2.0 in new book

Nick Benton’s essays appeared in Fall Church News-Press

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(Book cover image via Amazon)

Nicholas Benton is a well-known local LGBTQ advocate and journalist and the longtime owner and editor of the Falls Church News-Press, a weekly newspaper.

In his eighth book out now, Benton offers a new set of remarkable essays all crafted in the first eight months of Trump 2.0 and its wholesale effort at dismantling democracy and the rule of law. Most were published in the Falls Church News-Press, but he adds a new piece to this volume, as an addendum to his “Cult Century” series, revealing for the first time his experiences from decades ago in the political cult of Lyndon LaRouche, aimed at providing a clearer grasp of today’s Cult of Trump. 

His “Please Don’t Eat Your Children” set takes off from the satire of Jonathan Swift to explore society’s critical role of drumming creativity out of the young. 

Below is an excerpt from “Please Don’t Eat Your Children, Cult Century, and other 2025 Essays.”

Please Dont Eat Your Children

In his famous short essay, “A Modest Proposal: For Preventing the Children of Poor People in Ireland From Being a Burden to Their Parents or Country and for Making Them Beneficial to the Public,” author and Anglican priest Jonathan Swift (1667-1745) uses cutting satire to suggest that cannibalism of the young might help solve a battery of social ills.

As we examine our broken society today, it seems to me that reflecting on Swift’s social critique can be quite useful. Now we face a nation filled with anger and division and there is little to suggest any real solutions other than insisting people “don’t do that!” We can start out with the observation that young children, left to their own, are neither hateful nor cruel. How do they get that way later on in their lives? What drives them toward such emotional states and behaviors? It is not a problem only for the margins of society, for the extreme misfits or troubled. It is defining the very center of our culture today. Our divisions are not the cause, but the result of something, and nobody is saying what that is.

Swift doesn’t say what it is in his biting little essay. But it is implied by a context of a lack of bounty, or poverty, on the one hand, and an approach to it characterized by obscenely cruel indifference, on the other. He coined the phrase “useless eaters” in defining his radical solution. In Hitler’s Germany, that term resonated through the death camps and some in our present situation are daring to evoke it again as the current administration pushes radical cuts in Medicaid funding.

But while that refers to the old and infirm, mostly, it is the young we are talking about here. The problem is that our society is structured to devour our young and as they begin to find that out, they rebel. Not in all cases is this the practice, of course. Where there is little or no lack, things are different. We nurture our young, as we should, and we love them. Lucky is the child who is born to parents who are of means, and in a community where nurture is possible and valued. But even such children are ultimately not immune from facing a destiny of pale conformity battered by tightly delimited social expectations and debt slavery. If they have enough ambition, education and doors opened for them, some can run the gauntlet with relative effectiveness. Otherwise, our young are raised to die on battlefields, or to struggle in myriad other painful social conflicts aimed at advancing the world of their elders. In the Bible, there is a great admonition against this process that comes at the very precondition for the tradition it represents that begins with Abraham.

It is in the book of Genesis at the beginning of the Biblical story when, as that story goes, God commanded Abraham to kill his son, Isaac, as a sacrifice. As Abraham is about to obey, God steps in and says no. The entire subsequent eons-long struggle to realize Abraham’s commission by God to make a great nation that would be a light to the world would have been cut short right then if Abraham had slain his own son. The message is that all of the Abrahamic traditions, Judaism, Islam and Christianity, owe their source, and in fact are rooted, in God’s command to reject the sacrifice of children to the whims of their elders. The last thousands of years can be best defined in these terms, where nurture is pitted against exploitation of our young with, at best, vastly mixed results. Scenes like that at the opening of “All Quiet on the Western Front,” the World War I novel and film where a teacher rallies a classroom full of boys to enlist in the war, is bone chilling. Or, the lyric in Pink Floyd’s iconic song, Comfortably Numb, “When I was a child, I caught a fleeting glimpse out of the corner of my eye. I turned to look but it was gone. I cannot put my finger on it now. The child is grown, the dream is gone.”

Nick Benton’s new book is available now at Amazon.

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