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Kinsey Sicks founder Rachel/Ben Schatz to bid the road farewell

Weekend Rehoboth performance is bittersweet for comedian/songwriter

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Kinsey Sicks, rehoboth summer 2019, gay news, Washington Blade
The Kinsey Sicks from left are Trampolina (aka Spencer Brown), Rachel (aka Ben Schatz), Trixie (aka Jeff Manabat) and Winnie (aka Nathan Marken). (Photo by Vixen Pin-up Photography)

CAMP Rehoboth Presents
The Kinsey Sicks
‘Things You Shouldn’t Say’
Rehoboth Beach Convention Center
229 Rehoboth Ave.
Rehoboth Beach, Del.
$35-500
camprehoboth.com
kinseysicks.com/calendar

The Kinsey Sicks is celebrating 25 years of dragapella, performing their hit Off-Broadway show “Things You Shouldn’t Say” and “Naked Drag Queens Singing” until September at the Art House in Provincetown, Mass.

The tour is bittersweet however as Benjamin Schatz, founder and chief writer for the group, will retire along with his character Rachel at the end of the month. The quartet was founded in 1993 when five friends went to a Bette Midler concert as the Andrews Sisters and were requested to sing. 

Their decline was short lived once they realized that they all had musical backgrounds. From then on, they’ve performed all around the country at some of the most prestigious venues such as Herbst Theatre in San Francisco, the Nordstrom Recital Hall in Seattle, the Broward Center in Ft. Lauderdale, the Hobby Center in Houston, the Wheeler Opera House in Aspen and the Pacific Design Center in Los Angeles. Schatz/Rachel spoke with the Blade about her beginnings with the Kinsey Sicks, her love for the stage and her plans for retirement. 

WASHINGTON BLADE: How were you introduced to drag?

BENJAMIN SCHATZ: I used to do drag in college but I always did it as a politically provocative thing. This was back in the ’70s so drag was pretty threatening back then. Back in the late ’80s and early ’90s when I was an attorney and executive director at the peak of the age of terror in terms of discrimination and hatred, I used to organize drag excursions with my friends. Part of my job as an activist back then was to be a respectable homosexual and I wanted to remind myself that I wasn’t, in fact, respectable.

BLADE: When you founded the Kinsey Sicks, how did the character of Rachel come about? Or has Rachel always been the name you used while doing drag?

SCHATZ: Back in college my friends and I assigned each other drag names. I’d do it to anybody who was queer, male or female, and I’d give them a drag name. So my friends called me Rachel. The character of Rachel has evolved or devolved over time to be somewhat different from Ben I hope. It was just a name that people originally assigned to me and it stuck. 

BLADE: How has Rachel shaped or shifted the way the way you present yourself as Ben?

SCHATZ:  I often say that Rachel gives Ben a fighting chance of being socially appropriate because Rachel gets all of that out of Ben’s system. Rachel is an unboundaried mess. A delightful unboundaried mess and let’s just say Ben has a tendency to let Rachel do the work for him. Rachel has changed over time. One of the Kinsey Sicks moms said, “You should make Rachel more vulnerable,” and I did. I started making her more vulnerable and more lovable. She’s a lovable unboundarly mess. I think Rachel represents for a lot of people their queerness,  unboundaried, embarrassing self. But she does it with such utter cluelessness that you just can’t help but love her. There is nothing she won’t do or say. Although, as a writer, there are many directions we won’t have her go. People think that we’ll go anywhere but in fact, as a writer, we’re very careful about racism, gender stereotypes and sexism. We’re very careful about who’s the butt of our jokes.

BLADE: Speaking of your writing, as I was looking at your repertoire of songs, I noticed the amount of creativity that goes into creating these and I think it’s amazing. So, how do you come up with these titles?

SCHATZ: I appreciate your lack of taste and judgment. That’s a promising sign. So there’s three different types of writing goes on. About 60 percent of our songs are parodies and 40 percent are original songs. For parodies, that just happens when I hear something and all of a sudden the idea comes to mind. It’s very easy to write words to another tune. The challenge is to change as few words as possible, use the original lines and completely subvert the original intention. So once I get an idea for a parody, I spend a lot of time with the original rhyme scheme and thinking about making as few changes as possible and words I can change the intent and the meaning 100 percent. With original songs, that’s more of isolating myself. I’ll often say I’m taking this time on the side to write a song. I don’t really know where they come from. I have no idea. Then there’s the writing of the script, which is a whole other beast in itself. They utilize different skills and they’re all entirely different skills than the performance. So, I can’t write when we’re on the road. That’s sort of an extroverted energy while writing is very quiet, withdrawn and un-Rachel like. I hate writing. I love having written. You can have an office job and coast but if you’re writing you want to write the best you can and you never can write the best you can. There’s always something better you can do which can make it torture.

BLADE: With you retiring from the show, how will that process change? 

SCHATZ: The great thing is that I still get to offend people all over the world without having to get dressed or leave my house. That’s what I’m really excited about. I love the performing. I’ve loved it as much as I ever have but, touring life after a couple dozen years, and it’s not like we’re Cher or Madonna with a glamorous entourage, we’re schlupping luggage upstairs at three in the morning. It loses its glamour after a couple dozen years when your body gets old. So, I have mixed feelings about retiring from touring but my body does not. So, it’ll require more communication with the group because part of what we do now is we test it out on the road and we say, “Oh that didn’t get a laugh” or “that needs a different ending musically because it doesn’t have enough pop” and I won’t be there for that. There will also be times when the group will be performing where I am. It’s much easier to critique what’s going on on stage when you’re not actually on stage performing. I will really be thrilled to be able to write stuff and then be in the audience not trying to remember my lines, or my note, or my choreography. Just to see what’s going on and how the audience reacted. That’s something I’m really looking forward to. 

BLADE: Angel is the group’s newest member. How will the transition from Rachel to Angel affect the content of the show?

SCHATZ:  Well the show is a show I wrote and we started it off with me. Angel is taking over the spot. Rachel and I met with J.B. (McClendon), who plays Angel, and we got to know each other and I think I gave him some useful tips. We’ve had people replace other people in the past, not too often because we have a lot of longevity like Jeff (Trixie) who’s been with us for 16 years, so the others tell me great things. It takes awhile for people to sink to the level of performing with a group. So there’s a certain kind of observation that’s our own and I think that culture remains very strong. So the others are really excited about Angel’s performances and I think they have the tools to guide Angel to blossom over the years to come.

BLADE: You all are currently performing two shows: “Things You SHouldn’t Say” and “Naked Drag Queens Singing.” How will “Naked Drag Queens Singing” be different or similar to previous shows?

SCHATZ: The show that they’re doing in Rohoboth (“Things You Shouldn’t Say”) was the first time we broke character in the show. It’s a really powerful show, on top of being hilarious, it’s also very heartbreaking. So the question was what do we do after that? So “Naked Drag Queens Singing” was another “let’s try this experiment and see if it works.” So, everybody breaks character and we kind of go seamlessly back and forth between character and not and talking with the audience. It’s a very exciting experiment and it’s been going fantastically so that really people get eight characters for the price of four. It’s a really interesting experiment because lots of drag performers are very tethered to their personas and I think a lot of people are interested to see what’s behind drag and the members of the Kinsey Sicks are very thoughtful. While we are a comedy group, there’s a lot of thought behind what we have to say and why we say it. It was another big risk and it turns out it was a successful one.

BLADE: Let’s say under this current administration that the Kinsey Sicks were invited to perform at the White House. What would you all perform and what would you want to accomplish?

SCHATZ:  I would totally take the opportunity to perform. My personal goal would be to induce a heart attack. I think that would be a worthwhile goal. People like the current administration need to be challenged. They shouldn’t have safe spaces. So I would perform at the White House. And I’ll tell you what; when we’re done with this conversation, I’ll sit by my phone waiting for the invitation. I would definitely come out of retirement for that.

BLADE: What will you miss about performing?

SCHATZ: Well, I’ll definitely miss picking on big guys and sitting on them. It tends not to work very well in civilian life. I love making people laugh, making people think (and) I love the uniqueness of us. There’s nothing like us. I never feel more alive then when I’m on stage and I never feel more dead then when I’m on the road waking up at 3 in the morning getting ready for the next gig. I’ll miss the incredible excitement and satisfaction. I love the feeling of constantly growing and I do a lot of improvisational humor so I’ll definitely miss that. But, the goal is to quit while you still love it and while people still love you. 

BLADE: Is there anything in your personal life that you’ll be doing to replace that theatrical high?

SCHATZ: I promised myself that I would set no goals for my retirement for at least a year. I’ve spent my whole life perpetually making the impossible happen so right now I’m letting things happen to see where things go which is kind of revolutionary. I suspect that I’ll be writing again soon. Well, I know I’ll be writing for the group. I don’t know what I’ll write. I don’t know what I’m doing and I’m wildly excited about it. I know there will be other chapters but I don’t know what they’ll look like and that is fantastic.

BLADE: What’s been your favorite Kinsey experience?

SCHATZ: There’s a particular kind of experience that I love like Salina, Kansas. Going into conservative communities and rocking people’s world and not holding back. We did this essentially county fair and there were letters to the newspaper and protests and threats on our lives. We did four sets over two days and by our fourth set, we drew the largest crowd the musical festival has ever drawn. And we did it unapologetically. We cleaned up our language but not our content. When you’ve got a bunch of kids around you’re not going to say the f-word. But we had very political songs talking about racism and homophobia and I love the feeling of going to a place like that and winning them over shocking the hell out them and making them love you for it. People who have no business loving us coming out and loving us anyway. I was an activist for years and still consider myself one today, but what you can do with laughter and music in terms of opening people up, is something you can’t do in another context. I’m so proud at the fact that we’ve been able to do that and we continue to do that. 

BLADE: Who’s your all-time favorite drag queen?

SCHATZ: I would name two who are very different: Divine and Coco Peru. Divine was absolutely fearless and was not trying to pass and was not trying to look pretty. Divine was drastically provocative and in your face. Coco is so thoughtful and I love how she mixes comedy with heart, with politics and with integrity. You do not leave her show without thinking something and feeling something.

BLADE: Where do you see the Kinsey Sicks going in the next decade?

SCHATZ: If you would’ve asked me when we started the luck we’d have 26 years later, I never would’ve thought it possible. I think the goal is to be provocative, fresh, to take risks and to be unafraid. We’d be a lot more commercially successful if we would’ve said, “What does the market want and let’s do that.” So we always try to be cutting edge, to push the boundaries, to test things and to risk provoking people and people know when their seeing something that it’s live and not safe. So I hope the group continues to take risks because there’s no shortage of people out there who are playing it safe and who’s taking the less controversial route. To take risks creatively in terms of what we’re willing to do. That’s the goal and to keep loving what we do.

The Kinsey Sicks girls on an ABC TV show two years ago. (Photo courtesy Kinsey Sicks)
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Margaret Cho returns to music with ‘Lucky Gift’

Collection of pop tunes includes tribute to non-binary people

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Margaret Cho is back with a new album, ‘Lucky Gift.’ (Photo by Sergio Garcia)

LOS ANGELES — It has been eight years since Margaret Cho released her Grammy-nominated “American Myth” album. She’s back to the music scene with her new album, “Lucky Gift,” an 11-track collection of anthems and pop tunes, a tribute to Robin Williams, and a shout-out to non-binary and gender non-conforming people.

The album captures the whirlwind that is Margaret and all of the different facets of her talents that have made her a powerhouse in entertainment and a leader in activism. In “Lucky Gift,” she’s getting her point across while having fun and getting glam. 

We caught up with the activist and artist to chat about her music, our political climate, and the power of pop divas.

Known for her comedy, acting, and activism, she felt it was long overdue to get her music back out there too.

“I make music often. It’s a part of my daily life, it’s a big part of my social life, and it’s just something that I just love to do for my own relaxation and fun. I had enough for an album and I wanted to finally put them out. I was just really proud of how it all sounded together,” shares Cho. 

“It’s a power pop record. For me, the songs are really meaningful. They’re all in their own way love songs. I’m a big fan of my own music (laughs), I really like the way that I sound and it’s really special to do. People know me as a comedian, and I have also made music for a long time, but it’s sort of a side project, and so it was time to put more out again.”

Her album also includes a touching tribute to Robin Williams. The entertainment community is finally more comfortable talking about mental health more openly. When relating mental health to her own life, Margaret, in true Margaret form, quickly turned the conversation to reflect today’s political climate.

“I have to maintain a level of peace and quiet and sometimes maybe get away from the news, although that’s tough because I am obsessed. I want to know what is happening. I’m really worried for our community, especially the trans community.  I’m worried that this administration is trying to separate T and the Q from the LGBTQIA, and it’s really frightening.”

As an elder, Cho says she has to also remember that we’ve been through this before and it’s actually been much worse. As a community, we’ve been through a similar situation, and we were facing down a pandemic, which was killing us by the millions. So at least now we don’t have to fight AIDS as well as this onslaught of homophobia.

“We have fought for our rights, and we still have them, but we may not have them for long. So our mental health is very important to preserve now because we have to fight. The one thing to remember is they can’t do everything at once. They can’t take away trans rights, queer rights, gay rights, gay marriage, anti-depressants —ha — at the same time. So what we can do is just try to remain as calm as possible and fight as strongly as we can. But yeah, mental health is really vitally important right now.”

Margaret’s long history of queer activism stands for itself. She does not shy away from current issues, she uses her platforms to incite, educate, and question. For Margaret, there is no time off from being an activist. She was born into it, so to speak, being raised in San Francisco in the 1970s, her parents — the owners of a gay bookstore — and their employees followers of Harvey Milk.

“My activism is that I don’t have a choice. I’m going to be an activist no matter what. We’re doing this together, we’re going through this together. I will always be political. It’s just disheartening to see the ignorance of people and the lies that are being told that are believed.”

Margaret’s “Lucky Gift” comes at a perfect time when the queer community can come together over music. Cho looks at her album as a tool to empower an underdog community through the power of music.

It’s the triumph of pop above all. We need to look to our pop divas above all. So now I’m more than ever, leaning on Madonna. [Thank God for Lady Gaga’s] “Abracadabra” because I think that things like that boost our community so much. When you can just get together and have a “brat summer,” that boosts our community so much in this togetherness, this explosion of excitement. I think Chappell Roan really ignited the pop capacity for healing. I love ‘Lucky Gift’ because it is my stepping into a pop diva moment. Pop divas should not be discounted for how important they are to our society and how much they lift us up.”

In addition to releasing her new album, Cho will continue to hit the road this year with her “Live and LIVID! Tour,” celebrating more than four decades of live stand-up shows. On this tour, she promises to rage about homophobia, sexism, racism, and the fight to stay alive. The five-time Grammy and Emmy-nominated performer is not holding back. According to her, the nation is not divided, just a little lost.

“We’re not divided. Everybody hates this. We all hate this. The fact is, the majority of the country does not want this. Unfortunately, a lot of people just didn’t vote because they just didn’t want to participate. That’s why we’re in the situation that we’re in. So to be on the road is a pleasure. And I rarely come against opposition. Every once in a while there’s something, but it’s something that we all handle. I think we all need a voice, a strong voice of reason to combat all of the hysteria.”

And her message to her fans?

“We’ll get through this. We’ll get through this with pop divas. ‘Abracadabra,’ learn the choreography, you do it sitting down. At least we have pop music, I have my hat in the ring here. But at least we have each other and we’re going to be OK. It’s going to be a ride, it’s going to be intense, but we can do this. We’ve been through this before and we are going to be fine.”

“Lucky Gift”is now available on all major streaming platforms.

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Meet the people giving a voice to LGBTQ truck drivers

‘Like therapy,’ finding solace in each other and the road

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Rickey Coffey-Loy (left) drives with his partner of 17 years, Bobby Coffey-Loy, for a company called Luna Lines.

Before embarking on his weekly 2,000-mile trip as a truck driver, Derric Schmid sets up his smart TV and preps meals in bulk like ham and potatoes.

To some, long hours on the road away from family and friends sounds grueling. But for Schmid, it’s his way of life.

“I love the freedom,” Schmid said. “I get paid to go see the country. I’ve spent New Year’s Eve in New Orleans, I’ve spent it in St. Louis and this year I spent Christmas out in California exploring.”

Schmid is the vice president and senior diversity officer of LGBTQ+ Truck Driver Network (TDN), a nonprofit he runs with founder Bobby Coffey-Loy. TDN aims to foster inclusivity and safety in the truck driving industry by building a supportive network of allies and queer truckers.

The organization vets companies (Schmid says he calls 50-100 per week) to understand which are committed to creating safe spaces for drivers of all backgrounds. Schmid and Coffey-Loy also host the Big Gay Trucker Podcast, where they interview people who need advice or want to discuss taboo topics.

Coffey-Loy said meeting people from different walks of life, including trans people recovering from surgeries while on the road, inspired him to create TDN.

“It just opened me up to a whole group of people that just needed representation,” Coffey-Loy said. “There are groups out there on [social media] pages, but nobody actually took it as far as a nonprofit organization.”

Coffey-Loy drives with his partner of 17 years, Ricky, for a company called Luna Lines. Together they drive about 6,000 miles a week, taking turns sleeping or keeping one another company. On Monday, they typically start a load in Jacksonville and then drive to New Mexico, Chicago, Baltimore, Tennessee and end up back home in Palm Coast, Fla., by Friday. They even pay for all their gas and food while on the road.

Doing a weekly cross-country road trip in tight quarters with your partner can be trying, and Coffey-Loy will be the first to admit that: “Your partner is someone that knows how to push your buttons faster than anybody else,” he laughed.

But he also said starting truck driving together eight years ago is what made him and his husband closer. Before driving, he said it felt like life and jobs sometimes got in the way of their relationship. Going to trucking school together and being able to support each other on the road over the years has sparked a different kind of connection in their lives.

“We didn’t want to be apart from each other, so that’s what made trucking work for us,” he said.

For both Schmid and Coffey-Loy, truck driving runs in the family. Schmid, who’s been driving trucks for almost 24 years and with TDN for more than two, calls Jonestown, Pa., home –– a borough with a 2023 population of 1,645. He had three uncles and a grandfather who were truck drivers.

Coffey-Loy, born and raised in West Virginia, said his father and grandfather were truck drivers. 

Continuing family tradition is respectable enough, but Coffey-Loy’s mission of creating a safe and supportive space for those in the industry was unique; it was difficult for his parents to accept his identity when he first came out.

Coffey-Loy’s parents passed away 11 months apart last year. He said they learned to grow to love him for who he was. When TDN started up, they became “mom and dad to everyone,” and even invited people with no familial structure to move in with them.

At get-togethers, his dad called everyone “sweetie” or “honey” to be respectful since he didn’t know how everyone identified. 

“What they’ve taught me is, if they can change their mind and they can accept everybody, anybody can,” Coffey-Loy said. “I will cherish it forever. I miss them every day.”

And the impact of this lesson has been tried and true. TDN attended the Mid-America Trucking Show despite receiving death threats and facing extra security measures –– yet they ran through dozens of handouts before their station even opened. Another year, they handed out condoms to promote safe sex on the road and were met with backlash –– yet they went through a whole box on the first day.

The team behind TDN may be small –– about eight people –– but Schmid said their reach is wide. Thousands of people visit their social media pages from around the world and connect with each other, including a vocal German bus driver and a man from Africa trying to create more queer visibility in his area.

Coffey-Loy said many people contact him directly for support. There was a straight man who called who had trouble balancing his home life and truck driving hours and expressed suicidal thoughts. The man said he saw Coffey-Loy’s number and needed someone to talk to.

Moments like those are why Coffey-Loy emphasizes that the organization is there to support everyone, not solely the LGBTQ community. He recalled a bonfire gathering where people of different backgrounds and identities laughed and talked as friends. 

“It’s why you do what you do,” Coffey-Loy said.

Although TDN has given many people a family away from home, it doesn’t make losing time with family and friends any easier. Coffey-Loy missed a family member’s funeral in West Virginia because he was in New Mexico and couldn’t abandon his load.

“He had already been buried before I could get back,” he said.

It’s a different way of life, but it’s not an impossible one. Schmid calls his mom and stepfather every morning and his mom again in the evenings. He gets on group calls with friends and TDN members. On weekends, Schmid sees some friends in person for dinners, and is able to visit with his family. 

Truck driving may mean frequently saying goodbye to close people in his life, but it also opens the door to new connections around the country: “I got friends in every state,” Schmid said.

Although he’s constantly traveling, Coffey-Loy always feels at home. It’s those nights driving, with nothing but the roaring hum of the road filling the silence while his husband sleeps behind him, that fulfill him.

“Even though you miss so much of your everyday life, there’s something about trucking that is so freeing,” Coffey-Loy said. “The road can be so loud in your life, and it has a way to really sort out things. It’s like therapy for me.” 

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Saldaña triumphs amid ‘Emilia Pérez’ collapse at Oscars

Karla Sofía Gascón loses top award to Mikey Madison after scandal

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Zoe Saldaña, who won the Oscar for Best Supporting Actress, and Karla Sofía Gascón in ‘Emilia Pérez.’ (Photo courtesy of Netflix)

It’s no wonder the camera caught actress Michele Yeoh crying after watching queer singer Cynthia Erivo (nominated for best actress) and Ariana Grande (nominated for best supporting actress) perform one of the much-loved songs from “Wicked,” as they were simply magnificent. 

Grande opened with Judy Garland’s  “Somewhere Over the Rainbow,” and Erivo sang “Home” from “The Wiz.” That was one of the many bright spots in the 97th annual Academy Awards, which took place Sunday night at the Dolby Theatre in Hollywood.

While the duo sadly didn’t take away any awards, the magical film did — gay costume designer Paul Tazewell won the Oscar for Best Costume Design.

“This is absolutely astounding,” Tazewell enthused onstage, in his acceptance speech. “Thank you Academy for this very significant honor. I’m the first Black man to receive a costume design award for my work on ‘Wicked.’ I’m so proud of this.” 

In the pressroom, Tazewell elaborated on his well deserved win.

“This is the pinnacle of my career. I’ve been designing costumes for over 35 years,” he said. “Much has been on Broadway and now into film, and the whole way through there was never a Black male designer that I saw that I could follow, that I could see as inspiration. And to realize that that’s actually me, it becomes a ‘Wizard of Oz’ moment, you know, it’s like no place like home. So to come back to the inspiration being inside of me was — is really remarkable.”

Tazewell said he achieved the award with the help of a lot of really amazing and talented costume artisans of all types and an amazing staff and assistants and crew.

“Because, you know, there’s no way for me to do it alone! And that also is my greatest joy — to be collaborating with other very talented artists, so I respect what that artistry is, and I share this with them because I value what their input is.”

The veteran costume designer knew the movie was going to be pretty spectacular, but he was “absolutely blown away,” because of their approach. 

“We were working on two films at the same time. It wasn’t until I actually saw a pretty complete cut that I actually experienced the journey that we have created for audiences. And so, to experience that –I was beside myself. And it defined why I do costume design, why I am a costume designer.”

“Wicked” also won the Oscar for Best Production Design.

“Emilia Pérez,” Netflix’s mesmerizing Spanish language, trans crime musical, had a whopping 13 nominations, with first-time nominee Karla Sofia Gascón making history as the first trans woman to be nominated for best actress. This would have been the most nominated foreign film in the history of the Academy Awards.

Unfortunately, after the controversy surrounding her past tweets, the film only won two awards: for best supporting actress (Zoe Saldana) and best original song (“El Mal”).

While the U.S. is in an era of anti-trans political maneuvering, Sunday night’s broadcast included no mention of trans people.

In the pressroom, during an interview with “Emilia” composers Clément Ducol, Camille, and director Jacques Audiard, a journalist asked if anyone wanted to address what was happening. 

Speaking in French via a translator, Audiard said, “Since I didn’t win Best Film or Best Director, I didn’t have the opportunity to speak, but had I had that opportunity, I would have spoken up.”

Saldaña, who starred as Rita, a lawyer who gets enmeshed with the trans cartel leader’s transition, was thrilled to win.

“I am floored by this honor. Thank you to the Academy for recognizing the quiet heroism and the power in a woman like Rita. And talking about powerful women, my fellow nominees, the love and community that you have offered me is a true gift, and I will pay it forward. Thank you so much Jacques Audiard, you are forever a beloved character in my life. Thank you for taking the interest, thank you for being so curious about these women to tell this story to my cast and my crew of ‘Emilia Pérez.’”

Saldaña’s nephew is trans; a few weeks ago, while winning the best supporting actress at the BAFTAs, she told journalists that she was dedicating the award to him.

“I’m dedicating all of these awards and the film ‘Emilia Pérez’ to my nephew, Eli. He is the reason — they are the reason — I signed up to do this film in the first place,” she said. “So as the proud aunt of a trans life, I will always stand with my community of trans people.”

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