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Nominees the least controversial thing about this year’s Oscars
Academy lurches from backlash to backlash in lead up to this year’s awards
This year’s Oscars show, which will be broadcast on ABC this Sunday (Feb. 24), will be like a cinematic Zen koan. The 91st annual Academy Awards honoring movies from 2018 will be its queerest show ever, but there won’t be many openly LGBT people onstage.
And since there are no clear front runners, there shouldn’t be any upsets or controversies during the ceremony. Instead, thanks to some wild missteps by the Academy, most of the Oscar drama happened before the red carpet was even rolled out.
Following years of bad reviews, falling ratings and bloated runtimes, the Board of Governors of the Academy of Motion Picture Arts and Sciences decided to make changes for the 2019 awards ceremony.
In August 2018, in an ill-conceived attempt to bridge the gap between popular favorites (which don’t win Oscars) and critical favorites (which do), the Academy announced the creation of a new category: Best Popular Film. The Academy did not release any criteria for how these films would be selected and the proposal met with widespread derision.
The following month, the Academy announced that the introduction of the category would be delayed to “examine and seek additional input regarding the new category.”
In October, the Board of Governors announced that producers Michael De Luca and Jennifer Todd would be replaced by Donna Gigliotti and Glenn Weiss.
In December, the Academy announced that comedian Kevin Hart would host the Oscars ceremony. When homophobic jokes and tweets from the actor surfaced, LGBT film fans and their allies instantly demanded that Hart be removed as host. Despite Ellen DeGeneres’ attempt to serve as an intermediary between a somewhat apologetic Hart and the Academy, Hart quickly stepped down as host.
Since the awards date was rapidly approaching, and since a number of previous hosts (including DeGeneres, Neil Patrick Harris, Seth McFarlane, Chris Rock and Jimmy Kimmel) publicly stated they had no interest in hosting the 2019 show, the Academy announced that there would not be an official host for the ceremony. Instead, a long string of performers and celebrities would present the awards. The last time the Academy tried this at the 61st ceremony in ’89, it was widely panned.
Last month, the Academy shot itself in the foot again. In order to shorten the show, the Academy announced that only two of the five nominated songs would be performed live. Kendrick Lamar would sing “All the Stars” from “Black Panther” and Lady Gaga and Bradley Cooper would sing “Shallow” from “A Star Is Born.”
There was an immediate backlash from audience members and industry musicians, most notably previous nominee and “Mary Poppins Returns” star Lin Manual Miranda. The Academy reversed its decision six days later.
Finally, earlier this month, in another attempt to shorten the broadcast, the Academy announced that awards in four categories (Best Cinematography, Best Film Editing, Best Live Action Short Film and Best Makeup and Hairstyling) would be presented during commercials breaks. Audiences could stream the presentations live online and edited acceptance speeches would be aired later in the ceremony.
Led by angry fans, the Hollywood guilds and several prominent directors, the backlash was again fast and furious.
The Academy reversed course four days later and announced that all 24 awards would be presented on live television.
In the midst of all these self-inflicted injuries, the announcement of the nominees went off remarkably smoothly. In the wake of #OscarsSoStraight and #OscarsSoWhite, the slate of 2019 Oscar contenders seemed much more diverse, despite the inevitable stumbles and snubs.
Of the eight films nominated for Best Picture, out of a possible 10, five had significant LGBT content. “The Favourite” was a bawdy reexamination of English history focusing on a lesbian love triangle in the court of Queen Anne. “A Star Is Born” featured Ally’s gay BFF and “Vice” featured Dick Cheney’s lesbian daughter Mary. Real-life gay musicians were front and center in “Bohemian Rhapsody” and “Green Book.”
In a robust show of inclusion, the other Best Picture nominees included a strong female-centered narrative in “Roma,” an African-American cop named Ron Stallworth fighting the Klan in “BlacKkKlansman” and a black superhero (with some fierce female colleagues) in “Black Panther.”
However, once the initial celebrations of LGBT representation died down, some problems became apparent. Three of the Best Picture nominees engaged in significant straight-washing.
In “BlacKkKlansman,” writer/director Spike Lee and his colleagues left out the fact that in real life, Stallworth and his partner thwarted the bombing of two gay bars in Denver.
In “Bohemian Rhapsody,” a film billed as a biopic of Freddie Mercury (Rami Malek) turned out to be a well-made concert film about the creation of Queen’s big hits and their performance of those hits at Live Aid. Mercury’s bisexuality is largely erased and his sexual life is reduced to a redemption narrative as he staggers from the bad influence of his manager (Allen Leech) to the good influence of his monogamous boyfriend (Aaron McCusker).
Despite great performances and good intentions, “Green Book” relies on tired cinematic tropes to tell the story of civil rights pioneer Don Shirley, a classically trained, African-American musician who toured the South in the early 1960s with the assistance of his white driver Frank “Tony Lip” Vallelonga. The script combines the feel-good racial sentimentality of “Driving Miss Daisy” with the uplifting appeal of the Hollywood legend of the “Great White Savior.” In this case, Tony Lip becomes the “Straight White Savior” who, among other things, teaches Shirley how to be a black man by making him listen to R&B songs and feeding him fried chicken.
Along with these problem with LGBT representation, the Best Picture nominees also have a problem with LGBT inclusion. None of the queer characters are played by queer actors and none of the writers or directors are LGBT.
But it is interesting to note that the bisexual Lady Gaga plays a straight character in “A Star Is Born.” That’s a small but important step for Tinsel Town.
In addition to these problems with representation and inclusion, two major LGBT films were not nominated for Best Picture, even though two of the 10 possible slots were unfilled.
“Can You Ever Forgive Me?” is the true tale of a lesbian literary forger and her gay accomplice. Melissa McCarthy and Richard E. Grant won well-deserved nominations for their outstanding acting. Screenwriters Nicole Holofcener and Jeff Whitty, the openly gay creator of “Avenue Q,” were nominated for their adaptation of Lee Israel’s memoir.
However, the movie was not nominated for Best Picture and Marielle Hiller was not nominated for Best Director. In fact, no women were nominated in the Best Director category.
“Will You Be My Neighbor?” was popular with both critics and audiences but was not nominated for Best Picture or Best Documentary. In telling the story of ground-breaking and boundary-breaking broadcaster Fred Rogers, director Morgan Neville featured the story of François Clemens, the black gay opera singer who played Officer Clemens on “Mister Roger’s Neighborhood.”
Outside of the major categories, a handful of LGBT artists and films with LGBT themes were nominated for Academy Awards this year. The lesbian-themed “Marguerite,” one of four Oscar nominees that was screened at D.C. Shorts, is up for Best Live Action Short. Rob Epstein and Jeffrey Friedman, the openly gay directors of the Oscar-winning “Common Threads: Stories from the Quilt” are nominated for Best Documentary Short Subject for “End Game.” Marc Shaiman and Scott Wittman are nominated for their musical work on “Mary Poppins Returns.”
Other out nominees include Scott Rudin, who produced “Isle of Dogs,” a nominee for Best Animated Feature Film, and John Ottman who is up for Best Film Editing for “Bohemian Rhapsody.” The LGBT-themed “Mary Queen of Scots” was also nominated in two design categories.
This year’s field is wide open; the usual predictors are all pointing in different directions.
As for my personal preferences, I’m surprised that John C. Reilly wasn’t nominated for Best Actor for his great performance in “Stan and Ollie,” especially given the lackluster field in that category. Among the nominees, I don’t care much.
I also wish Andrew Dice Clay had been nominated for Best Supporting Actor instead of his “A Star Is Born” castmate Sam Elliott. He gave an indelible performance in a more interesting role. Choosing among the nominees: Adam Driver.
The female acting categories are an embarrassment of riches. All the nominees were great and I still wish there was room for Felicity Jones in “On the Basis of Sex,” Annette Bening in “The Seagull,” Linda Cardellini in “Green Book,” Kiki Layne in “If Beale Street Could Talk,” Nicole Kidman in “Boy Erased” and the practically perfect Emily Blunt in “Mary Poppins Returns.”
Among the nominees, I pick Glenn Close and Amy Adams. That means Lady Gaga had better win Best Original Song.
Along with “Won’t You Be My Neighbor?,” I also wish “Dark Money,” the powerful documentary about campaign finance by trans director Kimberly Reed had been nominated. Among the nominees: “RBG.”
As for the other categories, although “Roma” may prove unconquerable, I hope “The Favourite” sweeps everything else.
It was, after all, the best — and queerest — film of 2018.
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D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
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MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
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