Arts & Entertainment
Netflix cancels ‘One Day at a Time’
The comedy ran for three seasons


Netflix has canceled “One Day at a Time” after three seasons.
The comedy-drama series, which was a reboot of the 1975 Norman Lear sitcom, centered on a Cuban-American family headed by matriarch Penelope (Justina Machado). Rita Moreno, Todd Grinnell, Isabella Gomez, Marcel Ruiz
“One Day at a Time” was praised for its LGBTQ-inclusive storyline featuring Penelope’s teenage daughter Elena (Gomez) who comes out as a lesbian.
Season three of the series began streaming on Feb. 8.
Netflix Chief Content Officer Ted Sarandos released a statement on the cancellation saying: “It’s been a great honor to work with the legendary Norman Lear on One Day at a Time,” he said in a statement. “I’ve personally spoken with Norman, and co-creators Gloria Calderón Kellett and Mike Royce, to express my gratitude to them, all the writers, the dedicated crew and the cast including the brilliant Justina Machado and dazzling Rita Moreno for creating a series with such humor, heart and humanity. This was a very difficult decision and we’re thankful to all the fans who’ve supported the series, our partners at Sony, and all the critics who embraced it. While it’s disappointing that more viewers didn’t discover One Day at a Time, I believe the series will stand the test of time.”
Executive producers Mike Royce and Gloria Calderón Kellett also released a statement saying: “Last night, Netflix told us they are canceling” ‘One Day at a Time.’ We had the time of our lives making this show. We worked with the best, most giving and talented cast, writers and crew ever, as well as the incomparable Norman Lear. So while our hearts are very heavy, they are also bursting with the appreciation for this amazing experience.”
The cast mourned the show’s cancellation with heartfelt messages on social media.
I’m so grateful to have played Penelope Alvarez. I don’t even know how to begin to express my gratitude to everyone. Truly, I am so honored that we got to tell our stories .Yes it was a Latinx family but it was a universal story about family and love. An American Familia ❤️
— Justina Machado (@JustinaMachado) March 14, 2019
My heart is breaking, but I still can’t help but thank Netflix for giving the Alvarez family a home for 3 years and for changing my life… and to the fans: familia para siempre. I got you. ❤️ https://t.co/ECvLXaJoqP
— Isabella Gomez (@Isabella_Gomez) March 14, 2019
One Day at a Time had what television used pray for: great quality, great reviews, passionate fan base. Like Star Trek. Like Deadwood. What I learned a while back is that there is always a closing night. Sometimes it comes too soon.
— Stephen Tobolowsky (@Tobolowsky) March 14, 2019

The 2025 Silver Pride Resource Fair and Tea Dance was held at the Eaton Hotel on Wednesday, May 21.
(Washington Blade photos by Michael Key)










Out & About
Queer film festival comes to D.C.
DC/DOX to showcase LGBTQ documentaries made by LGBTQ filmmakers

DC/DOX will host a film festival beginning on Thursday, June 12, at the Regal Gallery Place, Eaton Cinema, and the U.S. Navy Memorial Burke Theatre.
This festival will premier LGBTQ documentaries made by LGBTQ filmmakers. Each screening will be followed by in-person Q&As with the filmmakers.
For more details, visit dcdoxfest.com
Movies
Gay director on revealing the authentic Pee-wee Herman
New HBO doc positions Reubens as ‘groundbreaking’ performance artist

In the new HBO two-part documentary, “Pee-wee as Himself,” director Matt Wolf gives viewers a never-before-seen look into the personal life of Paul Reubens, the comedic actor behind the much loved television persona, Pee-wee Herman.
Filmed before Reubens passed away in 2023 from cancer, Wolf and his creative team created the riveting documentary, interspersing several interviews, more than 1,000 hours of archival footage, and tens of thousands of personal photos.
Determined to set the record straight about what really happened, Reubens discussed his diverse influences, growing up in the circus town of Sarasota, Fla., and his avant-garde theater training at the California Institute of the Arts.
Ruebens joined the Groundlings improv group, where he created the charismatic Pee-wee Herman. He played the quirky character during the Saturday morning show, “Pee-wee’s Playhouse,” and in numerous movies, like “Pee-wee’s Big Adventure” and “Big Top Pee-wee.” He also brought Pee-wee to Broadway, with “The Pee-wee Herman Show.”
To get an enigma such as Reubens to open up was no easy task for Wolf.
“I felt determined to get Paul to open up and to be his authentic self,” acknowledged Wolf at a recent press conference. “And I was being tested and I wanted to meet my match in a way so I didn’t feel frustrated or exhausted, I felt determined but I also, it was thrilling to go this deep. I’ve never been able, or I don’t know if I ever will, go this deep with another human being to interview them in an intimate way for over 40 hours.”
Wolf described the collaborative interview experience as a dream, “like we were in a bubble where time didn’t matter.” he also felt a deep connection to the material, having come of age watching “Pee-wee’s Playhouse.”
“I wouldn’t have been able to put words to it at the time, but I think it was my first encounter with art that I felt emotionally involved in,” noted Wolf.
“He continued: “I recognize that that show created a space for a certain kind of radical acceptance where creativity thrives. And as a gay filmmaker, I also recognize things like Pee-wee Herman marrying a bowl of fruit salad at a slumber party or dancing in high heels to the song, ‘Fever.’ That stuff spoke to me. So that was my connection to it.”
During the documentary, Reubens comes out as a gay man.
“Paul went into this process wanting to come out,” said Wolf. “That was a decision he had made. He was aware that I was a gay filmmaker and had made portraits of other gay artists. That was the work of mine he was attracted to, as I understood. And I wanted, as a younger person, to support him in that process, but he also was intensely sensitive that the film would overly emphasize that; or, focused entirely from the lens of sexuality when looking at his story.”
Their complicated dynamic had an aspect of “push and pull” between them.
“I think that generational difference was both a source of connection and affinity and tension. And I do think that the level to which Paul discusses his relationships and intimacy and vulnerability and the poignant decision he made to go back into the closet. I do have to believe to some extent he shared that because of our connection.”
Wolf hopes that the “Pee-wee as Himself” positions Reubens as one of the most “groundbreaking” performance artists of his generation who in a singular way broke through into mainstream pop culture.
“I know he transformed me. He transformed how I see the world and where I went as a creative person. And it’s so clear that I am not alone in that feeling. For me, it was fairly abstract. I couldn’t necessarily put words to it. I think people who grew up on Pee-wee or were big fans of Pee-wee, seeing the film, I hope, will help them tap into intangible and specific ways how transformative his work was for them. It really is a gift to revisit early seminal experiences you had and to see how they reverberate in you.”
He added: “So, to me, this isn’t so much about saying Paul Reubens is a genius. I mean, that’s overly idealizing and I don’t like hero worship. It’s more about understanding why many of us have connected to his work and understanding where he lives within a legacy of performance art, television, and also, broader pop culture.”
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