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Child drag queen’s mother blasts conservative critics

Gay conservative writer Chadwick Moore blasted the performance

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Desmond Napoles ‘Desmond is Amazing’ (Screenshot via YouTube)

Child drag performer Desmond is Amazing received backlash for performing at a gay bar on a Saturday night but his mother is defending her decision to let him perform.

Desmond is Amazing, real name Desmond Napoles, is an 11-year-old self-proclaimed “drag kid” whose credits include appearing in Jinkx Monsoon’s music video “The Bacon Shake.” He was also honored with the Marsha P. Johnson Award during New York City Pride.

In December, Desmond is Amazing performed at the 3 Dollar Bill, a new gay bar in Brooklyn. Gay conservative writer Chadwick Moore penned a piece for Milo Yiannopoulos’ website Dangerous titled “10-Year-Old Boy Dances on Stage for Money at Adult Gay Bar in New York” criticizing the performance.

“Photos of the event show Desmond in a blond wig, makeup, and crop top collecting monetary tips from adult men in the audience, like a stripper, as other half naked adult drag queens, some in panties and fishnet stockings, stood on stage nearby,” Moore writes.

Wendy Napoles, Desmond’s mother, responded to the story on Instagram calling Moore’s interpretation of her son’s performance “homophobic.”

“Hi, it’s mom. I can’t believe I have to type this. Articles have been coming out claiming that my son danced half naked and stripped in a sleazy gay bar for grown men who threw dollars at him and is being exploited and forced to perform. THIS IS NOTHING MORE THAN BLATANT HOMOPHOBIA and display of the grossly outdated belief that gay men are pedophiles,” she writes.

She went on to say that there was nothing sexual about his performance.

“The truth is, Desmond is a professional drag performer. No one forces him to perform, performing is what he loves to do and has always loved to do. He was a ballet dancer for four years and is currently earning an A+ grade in drama at his school. He is extremely talented in his celebrity and character impersonations. His costumes are less revealing than a dancer’s or cheerleader’s uniform, and are always age appropriate. While he dances, he does not move in a sexual manner,” Wendy writes.”The truth is, Desmond is a professional drag performer. No one forces him to perform, performing is what he loves to do and has always loved to do. He was a ballet dancer for four years and is currently earning an A+ grade in drama at his school. He is extremely talented in his celebrity and character impersonations. His costumes are less revealing than a dancer’s or cheerleader’s uniform, and are always age appropriate. While he dances, he does not move in a sexual manner.

“I know a lot of drag fans/drag queens do not want to see kids in what they consider an adult form of entertainment or venue, but drag is changing and becoming more widespread and popular with people of all ages, genders, identities, races, abilities, and disabilities. Instead of tearing drag kids down, why not mentor them? They are the future of drag,” she concluded.

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Hi, it's mom. I can't believe I have to type this. Articles have been coming out claiming that my son danced half naked and stripped in a sleazy gay bar for grown men who threw dollars at him and is being exploited and forced to perform. THIS IS NOTHING MORE THAN BLATANT HOMOPHOBIA and display of the grossly outdated belief that gay men are pedophiles. The truth is, Desmond is a professional drag performer. No one forces him to perform, performing is what he loves to do and has always loved to do. He was a ballet dancer for four years and is currently earning an A+ grade in drama at his school. He is extremely talented in his celebrity and character impersonations. His costumes are less revealing than a dancer's or cheerleader's uniform, and are always age appropriate. While he dances, he does not move in a sexual manner. He often collects tips, as drag queens sometimes do, which we allow him to keep and he uses to buy clothing and the toy trains he wants. His engagements are contracted and booked by his management agency. All of his performances are conducted in accordance with the Dept of Labor's regulations for child performers. Desmond is never allowed into the bar area of any club, nor the main floor. He stays backstage with me, in the dressing room, or on stage only. It must be noted, however, that it is not illegal in NYC for a minor to be in an establishment that serves alcohol as long as they are accompanied by an adult. Desmond was the sole performer for the event at the center of this controversy and he performed 3 numbers. The venue took measures to make sure it would be age appropriate and audience members that attended were respectful and in good conduct. The performance was promoted and anyone who did not wish to see a drag kid perform in a club did not have to attend. No one forced you to go. I know a lot of drag fans/drag queens do not want to see kids in what they consider an adult form of entertainment or venue, but drag is changing and becoming more widespread and popular with people of all ages, genders, identities, races, abilities, and disabilities. Instead of tearing drag kids down, why not mentor them? They are the future of drag.

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Movies

‘Things Like This’ embraces formula and plus-size visibility

Enjoyable queer romcom challenges conventions of the genre

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Max Talisman and Joey Pollari star in 'Things Like That.' (Image courtesy of MPX Releasing/Big Picture Collective)

There’s a strange feeling of irony about a spring movie season stacked with queer romcoms – a genre that has felt conspicuously absent on the big screen since the disappointing reception met by the much-hyped “Bros” in 2022 – at a time when pushback against LGBTQ visibility is stronger than it’s been for 40 years.

Sure, part of the reason is the extended timeline required for filmmaking, which tells us, logically, that the numerous queer love stories hitting theaters this year – including the latest, the Manhattan-set indie “Things Like This,” which opened in limited theaters last weekend – began production long before the rapid cultural shift that has taken place in America since a certain convicted fraudster’s return to the White House. 

That does not, however, make them any less welcome; on the contrary, they’re a refreshing assertion of queer existence that serves to counter-balance the hateful, politicized rhetoric that continues to bombard our community every day. In fact, the word “refreshing” is an apt description of “Things Like This,” which not only celebrates the validity – and joy – of queer love but does so in a story that disregards “Hollywood” convention in favor of a more authentic form of inclusion than we’re ever likely to see in a mainstream film

Written, starring, and directed by Max Talisman and set against the vibrant backdrop of New York City, it’s the story of two gay men named Zack – Zack #1 (Talisman) is a plus-sized hopeful fantasy author with a plus-sized personality and a promising-but-unpublished first novel, and Zack #2 (Joey Pollari) an aspiring talent agent dead-ended as an assistant to his exploitative “queen-bee” boss (Cara Buono) – who meet at an event and are immediately attracted to each other. Though Zack #2 is resigned to his unsatisfying relationship with longtime partner Eric (Taylor Trensch), he impulsively agrees to a date the following night, beginning an on-again/off-again entanglement that causes both Zacks to re-examine the trajectories of their respective lives – and a lot of other heavy baggage – even as their tentative and unlikely romance feels more and more like the workings of fate.

Like most romcoms, it relies heavily on familiar tropes – adjusted for queerness, of course – and tends to balance its witty banter and starry-eyed sentiment with heart-tugging setbacks and crossed-wire conflicts, just to raise the stakes. The Zacks’ attempts at getting together are a series of “meet-cutes” that could almost be described as fractal, yet each of them seems to go painfully awry – mostly due to the very insecurities and self-doubts which make them perfect for each other. The main obstacle to their couplehood, however, doesn’t spring from these mishaps; it’s their own struggles with self-worth that stand in the way, somehow making theirs more of a quintessentially queer love story than the fact that both of them are men.

All that introspection – relatable as it may be – can be a downer without active energy to stir things up, but fortunately for “Things Like This,” there are the inevitable BFFs and extended circle of friends and family that can help to get the fun back on track. Each Zack has his own support team backing him up, from a feisty “work wife” (Jackie Cruz, “Orange is the New Black”) to a straight best friend (Charlie Tahan, “Ozark”) to a wise and loving grandma (veteran scene-stealer Barbara Barrie, “Breaking Away” and countless vintage TV shows) – that fuels the story throughout, providing the necessary catalysts to prod its two neurotic protagonists into taking action when they can’t quite get there themselves.

To be sure, Talisman’s movie – his feature film debut as a writer and director – doesn’t escape the usual pitfalls of the romcom genre. There’s an overall sense of “wish fulfillment fantasy” that makes some of its biggest moments seem a bit too good to be true, and there are probably two or three complications too many as it approaches its presumed happy ending; in addition, while it helps to drive the inner conflict for Zack #2’s character arc, throwing a homophobic and unsupportive dad (Eric Roberts) into the mix feels a bit tired, though it’s hard to deny that such family relationships continue to create dysfunction for queer people no matter how many times they’re called out in the movies – which means that it’s still necessary, regrettably, to include them in our stories.

And in truth, “calling out” toxic tropes – the ones that reflect society’s negative assumptions and perpetuate them through imitation – is part of Talisman’s agenda in “Things Like This,” which devotes its very first scene to shutting down any objections from “fat shamers” who might decry the movie’s “opposites attract” scenario as unbelievable. Indeed, he has revealed in interviews that he developed the movie for himself because of the scarcity of meaningful roles for plus-sized actors, and his desire to erase such conventional prejudices extends in every direction within his big-hearted final product.

Even so, there’s no chip-on-the-shoulder attitude to sour the movie’s spirit; what helps us get over its sometimes excessive flourishes of idealized positivity is that it’s genuinely funny. The dialogue is loaded with zingers that keep the mood light, and even the tensest scenes are laced with humor, none of which feels forced. For this, kudos go to Talisman’s screenplay, of course, but also to the acting – including his own. He’s eminently likable onscreen, with wisecracks that land every time and an underlying good cheer that makes his appeal even more visible; crucially, his chemistry with Pollari – who also manages to maintain a lightness of being at his core no matter how far his Zack descends into uncertainty – isn’t just convincing; it’s enviable.

Cruz is the movie’s “ace in the hole” MVP as Zack #2’s under-appreciated but fiercely loyal bestie, and Buono’s hilariously icy turn as his “boss from hell” makes for some of the film’s most memorable scenes. Likewise, Tahan, along with Margaret Berkowitz and Danny Chavarriaga, flesh out Zack #1’s friend group with a real sense of camaraderie that should be recognizable to anyone who’s ever been part of an eclectic crew of misfits. Trensch’s comedic “ickiness” as Zack #2’s soon-to-be-ex makes his scenes a standout; and besides bigger-name “ringers” Roberts and Barrie (whose single scene is the emotional climax of the movie), there’s also a spotlight-grabbing turn by Diane Salinger (iconic as Francophile dreamer Simone in “Pee-Wee’s Big Adventure”) as the owner of a queer bar where the Zacks go on one of their dates.

With all that enthusiasm and a momentum driven by a sense of DIY empowerment, it’s hard to be anything but appreciative of “Things Like This,” no matter how much some of us might cringe at its more unbelievable romcom devices. After all, it’s as much a “feel-good” movie as it is a love story, and the fact that we actually do feel good when the final credits role is more than enough to earn it our hearty recommendation.

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Calendar

Calendar: May 23-29

LGBTQ events in the days to come

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Friday, May 23

“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community. For more details, email [email protected]

Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity and/or expression. For more details, email [email protected]

Go Gay DC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at DIK Bar. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite

Saturday, May 24

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar and Restaurant. This fun weekly event brings the DMV area LGBTQ community, including Allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

Black Lesbian Mixer will be at 11 a.m. on Zoom. This is a support group dedicated to the joys of being a Black lesbian. For more details, email [email protected]

Sunday, May 25

“The Queen’s Table: A Women’s Empowerment Brunch” will be at 11 a.m. at Zooz. This event will celebrate queer women’s strength. For more details visit Eventbrite

Monday, May 26

“Center Aging Monday Coffee and Conversation” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected]

Tuesday, May 27

Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary. Whether you’re bigender, agender, genderfluid, or just know you’re not 100 percent cis — this is your group. For more details, visit genderqueerdc.org or Facebook

Coming Out Discussion Group will be at 7 p.m. on Zoom. This support group is a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook

Wednesday, May 28

Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

Thursday, May 29

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fairer with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga with Charles M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.

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Photos

PHOTOS: Helen Hayes Awards

Gay Men’s Chorus, local drag artists have featured performance at ceremony

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Members of the Gay Men's Chorus of Washington as well as local drag artists joined hosts Mike Millan and Felicia Curry with other performers for a WorldPride dance number at the Helen Hayes Awards on Monday. (Washington Blade photo by Michael Key)

The 41st Helen Hayes Awards were held at The Anthem on Monday, May 19. Felicia Curry and Mike Millan served as the hosts.

A performance featuring members of the Gay Men’s Chorus of Washington and local drag artists was held at the end of the first act of the program to celebrate WorldPride 2025.

The annual awards ceremony honors achievement in D.C.-area theater productions and is produced by Theatre Washington.

(Washington Blade photos by Michael Key)

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