Arts & Entertainment

New Hulu series ‘The Bisexual’ is smart, sexy and funny

‘Cameron Post’ filmmaker finds inspiration in tale of lesbian ready to explore

Published

7 years ago

November 16, 2018

The Bisexual review, gay news, Washington Blade

Maxine Peake (left) as Sadie and Desiree Akhavan as Leila in ‘The Bisexual.’ (Photo by Tereza Cervenova; courtesy Hulu)

After she’s slept with a man for the first time, Leila ruefully observes, “I thought sex with a man would be different, but it’s not.” Then she adds, “but with guys, there’s clean-up.”

This exchange is just one of the highlights of “The Bisexual,” a great new six-episode series premiering today on Hulu. The series is an insightful comedy of sexual manners that is smart, sexy and quite funny.

Leila is played by gifted filmmaker Desiree Akhavan (“The Miseducation of Cameron Post,” “Appropriate Behavior”) who also co-wrote (with Cecilia Frugiuele) and directed the series. Leila is a native New Yorker who’s living in London with Sadie (Maxine Peake), her long-term business and romantic partner.

As the series opens, it’s clear their relationship is starting to fray. Sadie’s thinking about marriage and children; Leila is not. Leila decides they should take a break in their personal relationship even though they will still work together. As Leila says when she awkwardly tries to reassure their staff that everything will be all right, “Mommy and Daddy still love you.”

With the help of her best friend Daniz (the delightfully deadpan Saskia Chana), Leila moves in with Gabe (Brian Gleeson), a neurotic author and professor with problems of his own. His sort-of girlfriend Francesca (Michélle Guillot) is also one of his students and she’s rather ambivalent about their relationship, noting “you don’t fuck the way you write.”

When Leila tells Gabe that she’s interested in sleeping with men (something she could never admit to her lesbian friends), the two form an awkward partnership. Leila introduces Gabe to London’s queer scene and reluctantly tries to help him decipher his complicated relationship with Francesca. Gabe becomes Leila’s wingman and takes her to straight bars while helping her keep her new sexual adventures a secret from Sadie and their circle of friends.

The scripts by Akhavan and Frugiuele are simply superb. The writing sparkles effortlessly; the dialogue is crisp, lively and witty while always feeling very naturalistic. They create a cast of fascinating well-rounded characters with interesting quirks and flaws. Each character is presented with deep compassion and complex emotional issues are handled with an appealingly light touch.

Akhavan’s work as a director is also assured and nuanced. The pacing is brisk and the sex scenes are well-choreographed. She has a playful touch with the material and a solid collaboration with camera operator Ilana Garrard and music supervisor Amy Ashworth.

That sense of fun also extends Akhavan’s partnership with title designer Charlotte Retief. In each episode, the words “The Bisexual” show up in a different place. Spotting the title becomes a fun game like spotting one of Alfred Hitchcock’s cameos or one of the “Ninas” in an Al Hirschfeld illustration.

Writer/director/actor Akhavan proves she’s a legitimate triple threat with her sensitive portrayal of Leila. Akhavan boldly embaces every aspect of Leila’s changing and often prickly personality. She deftly captures the character’s vulnerability as well as her frequent insensitivity. When she brutally dumps one of the men she’s been seeing, he calls her “an emotional intimacy whore;” his assessment is not entirely off-base, even if it doesn’t describe the entirety of Leila’s big heart.

The rest of the cast is equally strong. Peake brings a steely sense of elegance to Sadie and Gleeson imbues Gabe with a level of dysfunction that is frequntly appealing and occasionally annoying. The supporting cast create vivid characters with quick brushstrokes.

“The Bisexual” does an outstanding job of representing a segment of the LGBT community that is too often ignored. Akhavan and company capture Leila’s second coming-out process with great finesse. They sensitively track her journey from a woman who rejects bisexuality and sexual fluidity to a woman who begins to express her authentic self. Her journey is both moving and amusing.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

10 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

16 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

2 days ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.