Baltimore Pride is underway, taking place from June 8-14.

The Pride Parade will be on Saturday, June 13 at 12 p.m. at Charles Street & North Avenue, followed by the Pride Block Party at 1 p.m. at Druid Hill Park. And then the Pride Festival will be held on Sunday, June 14 at 12 p.m. at Druid Hill Park.

There will be an array of additional events including: a fashion show, a “Suits and Sneakers” reception and a 5k race, among many other events. 

For more details, visit Baltimore Pride’s website. 

Friday, June 12

Bet Mishpachah will host “Pride Shabbat Happy Hour” at 6 p.m. at Edlavitch DC Jewish Community Center. This is an in-person happy hour with an open wine and beer bar, great company, and joyful conversation. Attendance is free and more details are available on Eventbrite. 

Women in their Twenties and Thirties will meet at 8 p.m. on Zoom. This is a social discussion group for queer women in the Washington, D.C. area. For more details, visit Facebook.  

Saturday, June 13

Out N Bad will host “SWEET WHINE: DC Pride Queer Caribbean Slow Whine Function” at 9 p.m. at Decades DC. This is a late-night escape into slow and steamy Dancehall & Kompa only. No splits. No headtops. No pressure. Tickets are $22.14 and are available on Eventbrite. 

The DC LGBTQ+ Community Center will host a screening of “10s Across the Borders,” a bold pan-Asian queer film that confronts homophobia, transphobia, and racism while celebrating Southeast Asia’s underground ballroom scene. For more details, visit the DC Center’s website. 

Sunday, June 14

Beth A Wolfe Yoga will host “Pride Baby Goat Yoga” at 1 p.m. at Faith Lutheran Church in Arlington, Va. The goats will be decked out in their finest Pride apparel, and human participants are welcome to do the same. Proceeds from this event will go to the Trevor Project. Tickets cost $44.52 and are available on Eventbrite.  

Monday, June 15

“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Tuesday, June 16

“Self-Defense Class with Avi Rome” will be at 12:30 p.m. Rome is a proud member of the LGBTQ+ community and a full-time Martial Arts instructor with 25 years of teaching experience. He holds a 5th Degree Black Belt in Jhoon Rhee Tae Kwon Do and is the director of the studio’s Adaptive Tae Kwon Do program for students with special needs. He has also run numerous self-defense workshops for various groups and situations. For more details, visit the center’s website.

Center Bi+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting.Visit Facebook or Meetup for more information.

Wednesday, June 17

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

Thursday, June 18

The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5:00 pm if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.  

If you think the idea of a movie about two gender-nonconforming buddies embarking on an anti-establishment crime spree feels dangerously radical in 2026, just think how it must have felt 25 years ago.

That’s when “By Hook or By Crook,” a DIY independent film shot in low-tech “Mini-DV” format by a pair of San Francisco artists (Silas Howard and Harry Dodge, who co-wrote, co-directed, and co-starred in it), became a sensation at the 2001 Frameline Festival. Their reason for making it was they were tired of waiting for someone else to bring authentic queer experience and stories to the screen, so they decided to do it themselves.

Now given a 4K restoration that preserves the filmmakers’ intentions for the look of their movie, it’s getting a 25th anniversary re-release in theaters (starting with New York on June 12 and Los Angeles on June 16) and a VOD premiere from “boutique distributor” Altered Innocence. It still feels confrontationally transgressive today, which says a lot about the progress that’s been made and lost in the struggle for queer visibility, especially when it involves those in the trans, nonbinary, or otherwise gender nonconforming parts of our community.

Described as a “trans and butch buddy film” in the publicity for its new release, “By Hook or By Crook” is centered on Shy (Howard), a young transmasculine dreamer who leaves his small Kansas town after the death of his beloved father and heads pennilessly for San Francisco with a plan to “fight the power” by living a life of crime. There, he meets the “deliriously expressive” Valentine, a “butch dyke and bulldagger” whom he rescues from a queer-phobic attack. The two become friends, embarking with Val’s roommate and lover, Billie (Stanya Kahn), on a “Bonnie and Clyde” inspired career as outlaws stealing from the system to survive – or at least, that’s the idea, if they can scrape together enough change to buy a gun. In the meantime, they grapple together with an assortment of personal and emotional issues, blending into a makeshift family as they learn to trust and support each other along the way.

Soaked in a gritty, streetwise aesthetic and a guerilla-style docu-realism, yet percolating with humor that bubbles up in all the right places throughout, it’s a movie that leans into its no-frills style instead of trying to cover or apologize for it. Its improvisational tone creates a flow that feels like a stream-of-consciousness drift, but it stays committed enough to its “hustler-in-the-big-city” narrative structure (which candidly co-opts the basic formula of “Midnight Cowboy”) that it never feels aimless. For millennial and pre-millennial viewers, it offers a nostalgic glimpse at the “queercore” scene in a San Francisco since-transformed; and although its narrative is sometimes a little rough around the edges, so are its characters, so the effect is complementary rather than jarring. There’s even a sly cameo from rocker Joan Jett (whose cover of The Replacements’ song “Androgynous” also shows up over the restoration’s “reconstructed” end credits) for a touch of celebrity appeal.

What stands out as the most striking feature of Howard and Dodge’s groundbreaking film, however, is the same thing that stood out when it debuted, which again speaks volumes about how far we haven’t come: ”By Hook or By Crook” makes no effort to pigeonhole its characters into neatly defined gender or sexual categories – it simply lets them be who they are.

As Howard explains it in his filmmaker’s statement for the new release, “One thing we did […] that I think was ahead of its time – back then surely, and still is today – is that we didn’t explain ourselves to anyone, we were non-binary and didn’t justify our characters’ gender expressions and experiences or define it to the audience. We wanted to make a film about a third gender, which is where I felt I personally lived, at the time.”

Dodge comments on the choice as well. “People note time and again that we don’t explain or use identity categories or labels in the film. A viewer is simply in the fishbowl with us. […] we didn’t label because — it was like, straight people don’t explain straightness, you know? So these characters, they’re loving, feverish, fallible. End of explanation.”

Additionally, the two filmmakers chose to avoid making their characters into (as Howard puts it) “model-queers,” who “have to be perfect and good and have qualities that the mainstream can agree are redeeming.”

Dodge explains their thinking by remembering a university screening shortly after the film’s initial release, where some viewers “were miffed that we had done this representation of queers as criminals. ‘Why did you feel free to make them, one, mentally ill, and two—criminal?’ And I remember saying, ‘We are not a PR outfit for the gay community.’ [In the] movies I love, man, the characters are flawed.”

Watching now, it’s still disorienting to hear Val using “he/her” pronouns despite her masculine presentation, and there’s still a thrilling sense of empowerment when Shy responds to a curious child’s question, “Are you a boy or a girl?” with an unhesitant “Both!” We still squirm at Val’s sometimes alarming behavioral quirks, though we might today recognize her more easily as being “on the spectrum,” thanks to a wider awareness of neurodivergence. These responses are visceral, but “By Hook or By Crook” evaporates them quickly by not playing into them. Instead, it just lets the characters’ humanity shine through. “Our characters are tender fuck-ups, like us,” says Howard, “forever trying to get to a better place,” and because of that, we merely accept them for who they are and roll with it – largely because its two filmmakers also prove themselves well-suited for working in front of the camera, too, and their performances are the glue that holds it all together, while also keeping us invested in their journey together, both as individuals and as a pair of buddies. 

In the end, that’s what “By Hook or By Crook” leaves us with. Its unapologetic disregard for “curating” its queerness may catch our attention; the fiercely anti-capitalistic thrust of its “stealing from The Man” premise might distract us with politics; its “anything goes” attitude toward the infinite spectrums of gender expression and sexual identity unquestionably sparks us with a sense of freedom and possibility. But when the final credits roll, it’s the universal recognition of camaraderie, of simple but vital human connection, that matters most of all. 

What better message could we hope for, during Pride month or any other time, than that?