Arts & Entertainment
Elisabeth Hasselbeck prayed after hearing Rosie O’Donnell had a crush on her
The comedian says there were ‘underlying lesbian tones’
Elisabeth Hasselbeck says she “immediately started praying” after hearing that Rosie O’Donnell had a crush on her when they were co-hosts on “The View.”
In O’Donnell’s new memoir “Ladies Who Punch: The Explosive Inside Story of ‘The View,'” O’Donnell revealed she once had a “little bit of a crush” on Hasselbeck but that it wasn’t sexual.
“Not that I wanted to kiss her. I wanted to support, raise, elevate
Hasselbeck appeared on “Fox & Friends” on Tuesday and called O’Donnell’s comments “disturbing.”
“I’ll be very honest. I read it and I immediately started praying. Because I’m like, how am I going to handle this in my old self would be another
She continued: “I think what she said was reckless, untrue and, not only insulting, disturbing when it comes to how she felt about somebody in the workplace. If you replace what Rosie said and you take her name out and you put in ‘Reuben’ or ‘Robert’ then we would be in a situation where you would see the objectification of a woman in the workplace. That’s disturbing because where we may be really against that when it comes from a man to a woman, you don’t get a pass because you’re a lesbian objectifying a woman in the workplace. You just don’t.”
O’Donnell also noted in her book that there were “underlying lesbian tones on both [of their] parts” and hinted it was because Hasselbeck is a former softball player.
“There are not many, in my life, girls with such athletic talent on sports teams that are traditionally male that aren’t at least a little bit gay,” O’Donnell wrote.
Hasselbeck felt O’Donnell was stereotyping women who play sports.
“I think her casting a stereotype on female athletes and what she said … that all female athletes are a little bit gay … I would say this directly to her, and I would say, ‘That’s an unfair stereotype and it seems selfish in a way and I think that it’s untrue,'” Hasselbeck says.
Ultimately, Hasselbeck says she forgives O’Donnell despite her “disturbing” and “offensive” remarks.
“I can handle that with the grace of God because I need grace and I need forgiveness,” Hasselbeck says. “So Rosie, I think it was disturbing to read those things and it was offensive to me, but I forgive her. I totally forgive you, Rosie. I really hope that we can be at peace and that we can both hold our beliefs in one hand and hold each other’s hand in the other and still have a relationship that’s at peace.”
O’Donnell responded on Twitter that she’s “sorry” Hasselbeck “got scared.”
hey eh – my crush on u was not sexual – sorry u got scared – ❤️surely u recall b4 it all went wrong – i never objectified u – i did find u fantastic – broadway shows – my pool -we were friends once ❤️ god love ya kid – i always did #hasselbeck #raminSUX
— ROSIE (@Rosie) March 26, 2019
Hasselbeck and O’Donnell’s infamously butted heads on “The View”during an argument about the Iraq War in 2007.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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