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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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Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Tickets on sale for chef Patrick O’Connell’s book launch event
Sept. 18 kickoff to feature José Andrés, Tom Sietsema
Acclaimed chef Patrick O’Connell is preparing to publish his new memoir, “Main, Middle & Gay” in September and he’s launching the book with an event on Sept. 18 at 6 p.m. at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema.
Tickets for the event go on sale Tuesday, July 21 at Ticketmaster; prices start at $55.
O’Connell, who’s gay, is the pioneering Michelin-starred chef and longtime proprietor of the Inn at Little Washington. He spoke with the Blade about the September event and the launch of his first memoir.
“I’ve known [Andrés and Sietsema] for more than 25 years and I have great respect for them,” O’Connell said. “I felt that it would allow us to add a different dimension rather than just have an interviewer. The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell has published cookbooks but this is his first memoir. The event will feature a short film that will highlight his work and the Inn.
“What I hope to do with the event is bring the book to life visually,” he said. “So we’re producing a short film that will be part of it. Most of the audience will not have read the book so it’ll give them a visual flavor of the book. It parallels the evolution of American cuisine over 50 years. It’s a rare perspective to be in the trenches for that long.”
The book’s title refers to the location of the garage on the corner of Main, Middle, and Gay streets in Washington, Va., where he launched his restaurant that became an international culinary destination.
The Blade will publish the rest of its wide-ranging interview with O’Connell in September in conjunction with the book’s release.
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The queer Asian comics building collective joy in D.C.
Spotlighting chaotic ways family, romance, identity take shape in their lives
Kevin Chen’s family tombstone has room for four: him, his parents and his boyfriend. The arrangement might prove to be a little awkward.
“My boyfriend is 100% white, and my parents are 100% disappointed,” Chen confessed.
Jokes about family traditions and the untraditional ways they’re practiced earned a burst of laughs at the bar where Chen was opening for the Pride Comedy Special. The D.C. stand-up event, produced by Comedy Bonfyre last month, spotlighted queer Asian comics who shared the chaotic ways family, romance and identity take shape in their lives.
From candid oral sex takes to top surgery hypotheticals like “Where do the boobs go?”, the night highlighted the loud camaraderie of the queer Asian experience — one that sounds like a cacophony of snorts, cackles and belly laughs. While the comics say they are not quite a community, there’s more than enough shared material to bring them together.
“It was such a magical experience. I loved performing in a queer API lineup. It feels so validating,” Chen said after the show. “I’m wondering, ‘Is this how white men feel all the time?’”
Each performance evoked queer Asian joy through a medium that could use more of its presence.
According to Chen, who is based in D.C., it’s hard to say whether there is a true queer Asian comedy presence in his city. There are only a scattered “handful” of Asian comics, and people of color are underrepresented in queer comic circles, he said.
When Tarunika Anand, a nonbinary lesbian comic, first entered the mainstream D.C. comedy scene, they mostly encountered straight white men, describing the experience as “a culture shock.”
“I feel like sometimes a lot of queer spaces are really white, and then a lot of Asian spaces are really straight,” Anand said. “I don’t feel like I fit into either.”
But feeling marginalized didn’t stop these comics from honing their craft and creating spaces for others like them. Alex Kim, who headlined the special and is based in Brooklyn, runs the queer Asian comedy group Boba Gays, which began on WhatsApp and has since made its way to Lincoln Center.
Every Wednesday, Anand co-produces a free comedy show called Funny Side Up. The queer-led group focuses on inclusivity and showcasing new talent.
“It’s really beautiful to speak about your experience and your existence in a way that’s uplifting,” Anand said.
Family is a major throughline of their comedic repertoires.
Chen, for instance, shared that he identifies with jokes about having Asian immigrant parents and the expectations they pass down.
“You see me, you know this part about me, you know this experience intimately, and I can see the truth that you’re trying to wrap a joke around,” he said. “That hits even harder because that’s my truth too. I think that’s what makes good comedy.”
Anand had the audience at the special howling when they explained that their parents’ be-more-like-them comparisons didn’t end when they came out. Instead, the expectations took on a new form.
“Now, my parents want me to be the best gay,” Anand said. “They’re like, ‘Do you know Ellen DeGeneres?’”
Kim said he’s been trying to unlearn things from his Christian Korean mom. Yet he described a moment when he was getting ready for the club and realized he looked just like his mother getting ready for church.
“I’ve been finding it hard to escape her,” Kim said.
Mutual recognition also radiates through the different ways queer love can take shape. From singlehood to death-do-us-part commitments, the comics cover just about every corner.
Anand is holding out hope for settling down with “a nice, pretty, Indian girl.” They recently went through a breakup and said they felt they dodged a bullet.
“As a person of color, I just don’t think I should be with a Swiftie,” they said.
Chen, touching on what it’s like to be in a queer interracial relationship, said that meeting his white boyfriend’s baby nephew for the first time felt like he was forced to participate in a diversity, equity and inclusion training.
“The dad was like, ‘Please welcome Kevin. Be curious about his culture, his history, his foods,’” Chen joked.
Laughter is not the only reward for the comics.
To Anand, comedy is a space where they can say whatever they want. “It gives me a voice,” they said.
Nik Narain, a North Carolina-based trans and nonbinary South Asian comic who performed at the special, said meeting older trans comedians and taking the stage helped him feel reassured in his identity during his transition.
“Stand-up was a really cool way to process that onstage,” he said. “[It] became a way for me to repackage my thoughts.”
Queer Asians are still figuring out their place in the greater D.C. comedy scene. The group is small in numbers and many are still working toward a full-time comedy career. But Narain feels he’s already made it.
Narain is reluctant to pin it all on one moment. He feels that success is already peeking through in milestones — opening for celebrities, traveling to performances and self-producing shows.
“As long as I can keep doing this, I’m super happy,” he said.
This story was produced as part of the AAJA VOICES fellowship program, a student journalism project of the Asian American Journalists Association (AAJA).
