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Trans filmmaker gets political with ‘Dark Money’
Football star-turned-documentarian will be in Washington this weekend for area premiere
Kimberly Reed’s first film was autobiographical. ‘Dark Money’ follows the ripple effect of Citizens United. (Photo by Claire Jones)
Trans artist and activist Kimberly Reed is in the middle of an amazing career. Her latest documentary “Dark Money” premiered to great acclaim at the Sundance Film Festival earlier this year (and opens in Washington this week) and her latest opera “Today It Rains” will premiere next spring.
Although Reed didn’t realize it at the time, “Dark Money” was born on Jan. 10, 2010 when the U.S. Supreme Court handed down its decision in the Citizens United case.
“It just didn’t make any sense to me,” she says, “that corporations are people and money is speech and therefore corporations can give unlimited money to campaigns. I am very skeptical of slippery slope arguments, but you could just see how more and more money was going to be consolidated in the hands of fewer and fewer people who were richer and richer and that the voice of the everyday citizen was going to get drowned out. And that is what has happened.”
“Dark Money” opens exclusively on Friday, July 20 at Landmark E Street Cinema (555 11th St., N.W.). Filmmaker Kimberly Reed will appear for Q&As after the 7:30 p.m. show on Friday and the 1:30 p.m. show on Saturday. Tickets at landmarktheatres.com.
Like the majority of Americans, Reed was outraged by the decision, but she didn’t know how to make a film about such an abstract and complex issue. She then learned that her home state of Montana was leading the charge for campaign finance reform.
Reed started following Attorney General Steve Bullock as he defended Montana’s century-old campaign finance laws against Citizens United, first in the Montana Supreme Court (where he won) and then in the U.S. Supreme Court (where he lost).
As a filmmaker and as an activist, Reed was disappointed by his loss.
“I originally wanted the whole film to be about that court case, a kind of ‘Mr. Bullock Goes to Washington,’ but that didn’t happen. I ended up following the story for five years after that,” she says.
Tracking the investigations of intrepid journalist John S. Adams and other state officials and legislators, Reed began to fully understand the harmful impact of “dark money,” a new type of political fundraising that was launched in the wake of the Citizens United decision. As Adams explains in the movie, dark money organizations like the “Americans for Prosperity” and the “Club for Growth” raise money from anonymous donors and fund a variety of right-wing causes and candidates.
Reed says the impact of “dark money” is especially insidious in primary elections and ballot initiatives. Dark money funders focus on unseating incumbents and replacing them with opponents who are more financially and socially conservative.
“In primary elections, in safe districts, it’s not about Republican versus Democrat,” Reed says. “It’s about how far to the right they can push the Republican party. Repeat that again and again and you’re going to have a vastly polarized political system.”
“Dark Money” was Reed’s second cinematic excursion into her home state of Montana. The first was the autobiographical documentary “Prodigal Sons,” which followed Kimberly and her girlfriend Claire as they returned to Helena for Reed’s 20th high-school reunion. While Reed’s high-school classmates knew that the former football star had transitioned, she had not seen any of them in person since her graduation.
The award-winning “Prodigal Sons,” which premiered at the Telluride Film Festival in 2008, also chronicles Reed’s stormy reunion with her estranged brother Marc, who was adopted by Reed’s parents the year before she was born. They ended up in the same grade when Marc was held back due to behavioral problems.
Marc’s issues with being adopted and with sibling rivalry were exacerbated after an automobile accident left him with severe brain injuries. Medications and several operations reduced his dangerous seizures but increased his violent mood swings. The movie captures several of his frightening outbursts, including one where he smashes a picture frame and another when he hurls transphobic insults at Reed.
While Marc’s medical issues remained unresolved, “Prodigal Sons” does contain a surprising revelation about his parentage. Shortly after the reunion, Marc learns that his birth mother was Rebecca Welles, daughter of legendary filmmaker Orson Welles and his second wife, screen goddess Rita Hayworth. While Rebecca died before she could meet Marc, the family does get to spend time in Croatia with Welles’ companion Oja Kadar.
As Reed notes, “Prodigal Sons” was an unusual and unexpected constellation of events that taught her a lot about the vagaries of documentary filmmaking. Making the movie also gave her fresh insights into her relationship with her family while she transitioned.
“Families can be very supportive and loving,” she says. “In my case, I was the one who was withholding. I wanted to go it alone, so I never really gave my family a chance to react.”
During the years she was filming “Dark Money,” Reed’s artistic life took an unexpected turn. Composer Laura Kaminsky and librettist Mark Campbell asked Reed if she wanted to make some films that would be part of an opera. Intrigued, Reed said yes.
The result was “As One,” a chamber opera for two voices and string quartet. In 15 songs, a mezzo-soprano (Hannah after) and a baritone (Hannah before) depict the experiences of its sole transgender protagonist as she endeavors to resolve the discord between herself and the outside world. As work on the opera progressed, Reed ended up working with Campbell on the libretto and several of the songs are based directly on her own experiences.
The award-winning piece has made operatic history for its subject matter and for it incredible popularity. Since its premiere in 2014, “As One” has become the most-produced modern opera in North America. According to Opera America it was performed 15 times and was number 14 on the list of most performed operas in the Unites States and Canada. It was the only new work to be included on the list and even beat out old warhorses “Turandot” and “The Barber of Seville.”
While her next film project is still under wraps, Reed and her operatic collaborators have already been commissioned by the William and Flora Hewlett Foundation to start work on their next opera.
Based on an original concept by Campbell, “Today It Rains” is a new chamber opera inspired by the life of bisexual artist Georgia O’Keefe. Reed is again creating new films to frame the action and is working with Campbell on the libretto.
The new opera envisions O’Keeffe’s personal journey on a life-changing train ride as she reexamines her tumultuous marriage with photographer Alfred Stieglitz, her artistic stasis, and her need for new inspiration to guide her work.
“Today It Rains” will premiere in March under the banner of American Opera Projects.
So how bleak in Reed’s opinion is the dark money phenomenon? She says it’s flooded into states facing ballot initiatives on a variety of progressive issues including unions, reproductive rights and LGBT issues.
“Because bigots don’t want to stand up and say they support discrimination against LGBT people, they hide behind dark money. It’s really maddening. The reason I find campaign finance reform so compelling is that it is the fundamental issue,” Reed says. “You can’t solve any other political problem without knowing where the money is coming from, where the influence is coming from, what you’re up against.”
According to Reed, the antidote is disclosure: enforcing existing laws and fighting to get new ones in place.
“What you see in our film, what you see happening across the country, is that states are calling for disclosure. You see it moving like marriage equality did. Pretty soon we’ll hit the tipping point.”
Reporter John S. Adams in the Montana Capitol building in a scene from ‘Dark Money.’ (Photo courtesy PBS Distribution)
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes
The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc
While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars
While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’
The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
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Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
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