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Luke Perry, star of ‘90210’ and ‘Riverdale,’ dies at 52

The actor suffered a massive stroke

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Luke Perry. (Photo via Wikimedia Commons)

Luke Perry, former teen idol of “Beverly Hills, 90210” and “Riverdale” star, died on Monday after suffering a massive stroke. He was 52.

“Perry was surrounded by his children Jack and Sophie, fiancé Wendy Madison Bauer, ex-wife Minnie Sharp, mother Ann Bennett, step-father Steve Bennett, brother Tom Perry, sister Amy Coder, and other close family and friends,” Arnold Robinson, Perry’s representative, told Variety. “The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning. No further details will be released at this time.”

Perry was born Coy Luther Perry III in Mansfield, Ohio and was raised in Fredericktown, Ohio. After high school, Perry moved to Los Angeles to pursue an acting career.

He appeared on the soap operas “Loving” and “Another World” before landing the role of Dylan McKay on “Beverly Hills, 90210” in 1990. The role skyrocketed him to teen heartthrob status and he appeared in the role from 1990-1995 and then 1998-2000.

His filmography also included a couple gay roles. He played a gay character in a 1997 episode of “Spin City” and portrayed Jack’s nerdy crush on “Will & Grace” in 2005.

Perry became known to a new generation when he portrayed Archie Andrews’ father Frederick “Fred” Andrews on the CW teen show “Riverdale,” a TV reboot of the “Archie” comics, in 2017 up until his death.

Perry is survived by two children, his daughter Sophie and his son Jack who is a wrestler under the name “Jungle Boy” Nate Coy.

Hollywood sent an outpouring of tributes in honor of the late TV star.

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Madonna announces release date for new album

‘Confessions II’ marks return to the dance floor

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Pop icon Madonna on Wednesday announced that her 15th studio album will be released on July 3.

Titled “Confessions II,” the new album is a sequel to 2005’s “Confessions on a Dance Floor,” an Abba and disco-infused hit. 

The new album reunites Madonna with producer Stuart Price, who also helmed the original “Confessions” album. It’s her first album of new material since 2019’s “Madame X.”

“We must dance, celebrate, and pray with our bodies,” Madonna said in a press release. “These are things that we’ve been doing for thousands of years — they really are spiritual practices. After all, the dance floor is a ritualistic space. It’s a place where you connect — with your wounds, with your fragility. To rave is an art. It’s about pushing your limits and connecting to a community of like-minded people,” continued the statement. “Sound, light, and vibration reshape our perceptions. Pulling us into a trance-like state. The repetition of the bass, we don’t just hear it but we feel it. Altering our consciousness and dissolving ego and time.”

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PHOTOS: Denali at Pitchers

‘Drag Race’ alum performs at Thirst Trap

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Denali performs at the Thirst Trap Thursday drag show at Pitchers DC on April 9. (Washington Blade photo by Michael Key)

Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.

(Washington Blade photos by Michael Key)

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Arts & Entertainment

In an act of artistic defiance, Baltimore Center Stage stays focused on DEI

‘Maybe it’s a triple-down’

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Last year, Baltimore Center Stage refused to give up its DEI focus in the face of losing federal funding. They've tripled down. (Photo by Ulysses Muñoz of the Baltimore Banner)

By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.

Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.

“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.

The rest of this article can be found on the Baltimore Banner’s website.

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