Arts & Entertainment
Calendar: Jan 18-24
Dances, movies, openings and the MLK parade in the week to come


Friday, Jan. 18
Reel Affirmations screens “The Heiresses” at Human Rights Campaign (1640 Rhode Island Ave., N.W.) tonight from 7-9 p.m. The film, set in Asunción, Paraguay, tells the story of Chela and Chiquita who are both descended from wealthy families and have been together for more than 30 years. The couple faces financial crisis and Chiquita is sent to prison for fraud. Chela must start her new life without him when she meets Angy, a much younger woman. Rayceen Pendarvis hosts the screening. General admission tickets are $12. VIP tickets are $25 and include VIP seating, one complimentary cocktail, beer or wine and movie candy or popcorn. For more information, visit thedccenter,org/events/theheiresses.
LezLink Events hosts Vibez, an R&B social for LGBT women, at XX+ (1926 9th St., N.W.) tonight from 10 p.m.-2 a.m. Wristbands will be available for guests to wear that designate “single,” “taken,” “open,” “poly” and “I have no idea.” There will also be games such as Connect Four, pool, Conversation Dice, Cuff Cards, Uno and more. No dress code. Tickets are $10 and available online. A limited amount of tickets will be available at the door. For more details, visit facebook.com/lezlinkevents.
Trade (1410 14th St., N.W.) hosts a “RuPaul’s Drag Race All Stars 4” viewing party tonight from 8-9:30 p.m. Trade queens and guest hosts will add commentary throughout the episode. There will be games and prizes. WesstheDJ will spin tracks before, during and after the episode. For more information, visit facebook.com/tradebardc.
The Point in Fells (1738 Thames St., Baltimore) presents Friday Night Drag Brunch tonight from 6:30-9:30 p.m. Robyn Ya’Men hosts the brunch. Performing queens will be announced. Doors open at 6:30 p.m. and show begins at 7:30 p.m. Tickets are $30 and include a seat and a brunch buffet. $20 bottomless brunch is also available featuring unlimited mimosas, rum punch, sangria, screwdrivers and Natty Bohs. For more details, visit facebook.com/thepoint1738.
A Knyght Productions hosts Miss Gay Northern Maryland’s “The Feather Ball” at The Lodge (21614 National Pike, Boonsboro, Md.) tonight from 8:30 p.m.-2 a.m. The show will honor Miss Gay Maryland 2018 and Miss Gay Northern Maryland 2018, Nicole James, and will crown the 2019 Miss Gay Northern Maryland queen. Performers will include Anastacia Amor, Dezi Minaj, Joanna Blue, Ashley Bannks, Stephanie Michaels, Chi Chi Ray Colby and Rebecca Blaqueout. Pageant starts at 9 p.m. and dance floor opens at midnight. For more information, search “Miss Gay Northern Maryland’s The Feather Ball” on Facebook.
Saturday, Jan. 19
New Spire Arts (115 East Church St., Frederick, Md.) presents the grand opening of its New Spire Stages, its brand new theater, featuring “Dancing with the Stars” and “America’s Next Top Model” winner Nyle DiMarco. DiMarco, who identifies as sexually fluid, is a Frederick, Md., native and a Maryland School for the Deaf alum. Tango dancer Augusto Balizano will perform and Celeste Miller will premiere a new theater work in collaboration with Frederick-based actors, dancers and musicians. General admission tickets are $55 and student and senior tickets are $41.25. For details, visit newspirearts.org.
Freddie’s Beach Bar (555 23rd St. S Arlington, Va.) hosts its Freddie’s Follies Drag Show tonight from 8-10 p.m. Cover is $5. Drag show starts at 8 p.m. and karaoke begins at 10 p.m. Reservations are highly recommended. For more details, visit facebook.com/freddiesbeachbararlington.
LURe D.C. celebrates the 10th anniversary of BARE, a queer women’s dance party, at Cobalt (1639 R St., N.W.) tonight from 10 p.m.-3 a.m. DJ Rosie will play music on the Cobalt level dance floor and DJ Keenan will spin on the Level One floor. Admission is $7 before midnight and $10 after. For more information, visit facebook.com/lurewdc.
Sunday, Jan. 20
Pretty Boi Drag celebrates its three-year anniversary with #PrettyBoiAnniversay at Bier Baron Tavern (1523 22nd St., N.W.) today from 2-5 p.m. The show will feature ASL interpretation. General admission tickets are $20. Anniversary package tickets include one general admission ticket, one limited edition anniversary T-shirt in gold or silver and one Pretty Boi Drag shot glass. For details, visit facebook.com/prettyboidrag.
Panic! at the Disco, featuring pansexual frontman Brandon Urie, plays at Capitol One Arena (601 F St., N.W.) tonight at 7 p.m. Tickets range from $30-70. For more information, visit ticketmaster.com.
Monday, Jan. 21
The D.C. Center and the Capital Area Gay and Lesbian Chamber of Commerce march as part of the LGBT Continent in the annual Martin Luther King Jr. Holiday Parade today from 10 a.m.-2 p.m. All LGBT individuals and organizations are welcome to join. The parade kicks off at noon from Good Hope Road near the Anacostia Park entrance along MLK Avenue to the Rise Center on St. Elizabeth’s campus where the MLK Holiday Festival and Health Fair takes place. The group will meet near the Anacostia Park entrance (1900 Anacostia Dr., S.E.) at 10 a.m. For details, visit thedccenter.org.
Tuesday, Jan. 22
Republic (6939 Laurel Ave., Takoma Park, Md.) hosts Alegre Happy Hour, an LGBT happy hour, this evening from 5-7 p.m. For more information, visit republictakoma.com.
Wednesday, Jan. 23
Queer Girl Move Night presents a screening of the 2008 British romantic drama “I Can’t Think Straight” at Denizens Brewing Co. (1115 East-West Hwy., Silver Spring, Md.) tonight from 7-10 p.m. The film tells the story of a Palestinian woman living in London who is planning her wedding in the Middle East. She meets a British-Indian woman who is dating her best friend and the women find themselves falling for each other. Doors open at 7 p.m. and the movie starts at 8 p.m. For more information, visit facebook.com/queergrrlmovienight.
Bier Baron Tavern (1523 22nd St., N.W.) presents Profs and Pints: Hamilton’s History Remix tonight from 6-9 p.m. Richard Bell, associate professor of history at the University of Maryland, will examine how accurate the musical is about Alexander Hamilton, the American Revolution and the birth of the United States. Bell will lead a discussion on how the musical dramatized and simplified some of the events told in the story. Advance tickets are $12. Tickets at the door are $15. Talk begins at 6:30 p.m. For more details, visit facebook.com/profsandpints.
Thursday, Jan. 24
The D.C. Eagle (3701 Benning Rd., N.E.) hosts Blackout Thursdays tonight at 9 p.m. This lights-out party includes happy hour until 9 p.m. featuring $2 off all drinks, $10 bottomless Bud/Bud Lights and $12 bottomless premium drafts. Guys who wear harnesses, jocks or underwear will receive $3 rail and domestic drinks. For more information, visit dceagle.com.
Television
ICYMI: ‘Overcompensating’ a surprisingly sweet queer treat
A sweet, savvy show about breaking free to embrace your true self

Pride month 2025 is now behind us, and while it’s safe to say that this year’s celebrations had a darker edge than usual, it’s also true that they came with a particularly rich bounty of new queer movies and shows to entertain us – so many, in fact, that even if we are facing a lull until the fall another harvest of fresh content, there are still plenty of titles – which, for whatever reason, were off your radar – for you to catch up on in the meantime.
One of the most notable of these – the bingeworthy series “Overcompensating” (now streaming on Amazon Prime) – will most definitely have been ON the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok. For anyone else, it might have easily slipped through the cracks.
Created and written by Skinner as a loosely autobiographical “college comedy,” it aims for the kind of raucous, explicitly sexed-up tone one expects from the genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and “golden boy” at his midwestern high school, he’s the picture of idealized youthful masculinity; he’s also deep in the closet, struggling to keep his sexuality hidden and maintain his macho front under the intense scrutiny of the college’s social scene – and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.
In the first episode, Benny’s difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home marred by tragedy, she’s an outsider who feels like she’s putting on an act, too, and they click – giving him the convenient “cover” of female companionship while providing them both with much-needed support and encouragement. He’s also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring other kinds of feelings and possibly even reciprocating them. Meanwhile, he’s being courted by the school’s “exclusive secret society” – headed by his sister’s aggressively “alpha” boyfriend Pete (Adam DiMarco) – and trying to stay interested in his studies, despite a growing realization that a career in business doesn’t actually appeal to him all that much.
That’s a lot to juggle for anybody, even an overachiever like Benny – whose “lucky” life so far has largely been the result of playing a role he is finding harder and harder to maintain. As the series goes on through its eight-episode arc, it becomes clear that he’s not the only one who is “keeping up appearances,” and he, along with the other confused and damaged young people in his orbit, begins the painful (but often hilarious) process of evolution that is required in order to become truly oneself.
Directed toward appealing to a younger demographic, “Overcompensating” is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, it’s not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; there’s a nostalgic fun to it, made even more appealing, somehow, by the “political incorrectness” of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent “Animal House” for the Gen Z crowd.
By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves – and, as things draw toward a cliffhanger climax, the consequences of maintaining it – until it achieves a sense of empathy toward them all. There’s a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the “sexploitative” teen comedy of its surface into something deeper. To be sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the show’s “mature YA” appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.
As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an “ego project,” the internet-spawned sensation proves his talents quickly enough to get past such judgy suspicions, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned “lived authenticity” to his winning performance – after all, he’s essentially playing himself in a fictionalized version of his own life – while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective “closets,” too. It’s unavoidable to notice that – like most of his co-stars – he’s plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, we’ve become too engaged by him to care.
The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (“White Lotus”) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins unraveling around him. Other standouts include the mononymic actress Holmes as Carmen’s “wild child” roommate, solidly likable turns as Benny’s parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny “clocked” from the moment they meet. Finally, Lukas Gage makes a deep impression as a former high school teammate at the heart of Benny’s most haunting memory.
There’s no official word yet on whether “Overcompensating” will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinner’s large fanbase makes it likely that the story will continue. Even if it doesn’t, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.
As for us, we hope that won’t happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, it’s one of the sweetest, kindest, and most savvy shows we’ve seen about breaking free from conformity to embrace your true self – and that’s a message that applies whether you’re queer, straight, or anywhere in between.
Photos
PHOTOS: Independence Day Weekend in Rehoboth
Wicked Green Pool Party, fireworks among festivities

Vacationers and residents alike enjoyed Independence Day Weekend activities in Rehoboth Beach, Del. The Wicked Green Pool Party drew hundreds to the CAMP Rehoboth fundraiser on Saturday. That evening, revelers went to the rooftops to watch the fireworks display.
(Washington Blade photos by Daniel Truitt)













Music & Concerts
Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July
The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.
The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album “Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.
Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.
The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:
“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”
Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.
The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.
One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.
A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.
It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With “Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.
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