a&e features
Blade’s 50-year history reflects struggles, advances of LGBT community
‘Paper of record’ chronicled police entrapment and blackmail, AIDS epidemic, marriage
In its 50-year history, the Washington Blade has covered news for the LGBT community that has reflected dramatic advances as well as struggles ranging from workplace discrimination and attempts at blackmail to the AIDS epidemic and the achievement of marriage equality, establishing the Blade’s reputation as the LGBT newspaper of record.
In its very first issue in October of 1969 as a one-page monthly newsletter called “The Gay Blade,” the paper reported on the 1960s era fear of blackmail and the possibility of being fired from a government job because of one’s sexual orientation.
“Warning to Dupont Circle people,” the first issue states in its third story. “Cars seen too frequently in the Circle area are having their license numbers taken down; their owners later are being harassed and blackmailed.”
That same first issue included articles on pioneering gay rights activist Frank Kameny being available to provide help for gays or lesbians subjected to a security check by their employer, the formation of the Gay Liberation Front in New York City, and the launching by the Gay Blade of a gay roommate referral service.
Fifty years later, the now weekly Washington Blade has a correspondent accredited to cover the White House and presidential news conferences and an editor-reporter who frequently travels abroad to cover international LGBT news.
Since September 1995, the Blade has been available online through its website, enabling it to publish breaking LGBT news on a daily and even an hourly basis.
The Blade’s founding editors in October 1969 were Nancy Tucker, a lesbian, and Bart Wenger, a gay man who at the time went by the name Art Stone. Both had been members of the Mattachine Society of Washington, the first D.C. gay rights organization of note co-founded by Kameny.
Tucker and Wenger have said in subsequent years that although they supported the work of the Mattachine Society, they wanted to launch, four months after the Stonewall riots in New York, an independent news publication to provide needed information for D.C.’s then fledgling gay rights movement.
It was Kameny, Tucker told the Blade years later, who convinced her to help produce the new publication.
“It filled a clear need right from the get-go – and it has been that way ever since,” Kameny recalled in an October 2009 interview with the Washington Blade, two years before his passing in 2011.
Tucker, who later moved to Albuquerque, N.M., has said several people were involved in producing the Blade’s first issue, including Martha Taylor, her partner at the time, who operated a mimeograph machine that printed the first 500 copies of the paper.
But she said many of the people that helped produce and distribute the first issue and the next few issues withdrew from participation a short time later, leaving only a small “staff,” all of whom were volunteers.
“It eventually came down to my doing all of the writing, most of the news work, some of the distribution, all of the advertising selling – and Bart did some of the distribution and let me know what news tips that he came up with,” Tucker said.
She said she knew the Blade was becoming influential because LGBT people were using the Blade to publicize the activities of their organizations or businesses.
“I have a profound belief that it contributed to really the creation of the gay community in Washington,” Tucker said. “It helped publicize various bars and businesses and stuff as they opened.”
In July 1973, Tucker announced she was stepping down from her role as editor and publisher of the Blade and issued a call for interested parties to assume control of the then newsletter. Lesbian activist Pat Price, who used the pseudonym Pat Kolar, answered that call and became the new editor and publisher.
Although she and others who began to write for the Blade used pseudonyms, their names appearing in the paper marked the first time stories contained bylines. A little over one year later in November 1974 the Blade ended its newsletter size page and began publishing as a standard tabloid format on newsprint paper. Also in November 1974 the paper moved into its first offices at 1724 20th St., N.W. in Dupont Circle.
In December 1974, Joseph Crislip, who began writing for the Blade one month earlier under the pseudonym Christian Deforrest, assumed the position of Blade editor and “coordinator” of its business operations. In November 1975, under Crislip’s leadership, the Gay Blade officially changed its name to the Blade and incorporated as a nonprofit corporation called Blade Communications, Inc.
In early 1977, shortly after the Blade had moved to a two-room suite on the 2400 block of Pennsylvania Avenue, N.W, a gay activist who had recently moved to D.C. from Buffalo, N.Y. named Don Michaels showed up at a Blade volunteer meeting. It was the start of Michaels’ 24-year association with the Blade in which he would eventually become publisher and oversee the Blade’s growth in size and status to become one of the nation’s major LGBT publications.
According to a detailed account of the Blade’s history by D.C.’s Rainbow History Project, in 1978 Michaels became managing editor while Crislip retained the position of publisher. That same year, in November, the Blade changed from operating as a monthly to a bi-weekly newspaper in response to the growth in its readership and advertising.
In October 1980, the Blade reincorporated into a for-profit, employee-owned business and changed its name to the Washington Blade. By early 1982 Michaels assumed the position of publisher succeeding Crislip, and as the paper continued to grow, the decision was made to become a weekly. Steve Martz, who joined the Blade a few years earlier in the advertising department, became managing editor and Lisa Keen, who started at the Blade in 1979 as a freelance reporter, became assistant editor.
From several years prior to that time up until 2001, the Blade had moved to several different locations, including 930 F St., N.W., an office building that became home on its first floor to the 9:30 Club; and later to a small office building at 724 9th St., N.W. It was during that time, around 1984 that Martz left the Blade and Keen assumed the role as top editor, which eventually was given the title of executive editor while Michaels continued as publisher.
In 1992, the Blade moved to 1408 U St., N.W., in the city’s newly developing “U Street corridor” that quickly evolved into an entertainment district. One year later, in April 1993, coinciding with the 1993 LGBT March on Washington that brought tens of thousands to the nation’s capital, the Blade published its largest issue to date, containing 216 pages.
In 1995, the Blade launched its website, WashingtonBlade.com, further expanding its ability to cover breaking LGBT news on a daily basis.
In May 2001, a gay-owned media company named Window Media that also owned the Southern Voice LGBT newspaper in Atlanta, purchased the Blade. William Waybourn, one of its principal owners, became the Blade’s new publisher and Chris Crain, another Window Media owner, became the Blade’s executive editor.
Michaels, Keen, and others on the Blade’s editorial and management leadership team left the Blade at the time of the sale. In 2006, Waybourn and Crain left the Blade to pursue other endeavors.
Crain was succeeded as executive editor by Kevin Naff, who remains the Blade’s editor today. In December 2007, Lynne Brown, who had worked for many years on the Blade’s advertising team, was named Blade publisher.
“It’s been a privilege to edit the Blade and help preserve its legacy of quality journalism as we’ve navigated the challenges facing the entire newspaper industry,” said Naff.
The Blade relocated from U Street to the National Press Building at 14th and F Street, N.W. in February 2008, bringing it to a location where many of the nation’s most prestigious news media outlets had their Washington news bureaus.
But less than two years later, in November 2009, Window Media’s parent company filed for Chapter 7 bankruptcy, resulting in the shutdown of the Blade and the other LGBT publications owned by Window Media. However, just four days later, the Blade’s staff, which banded together as volunteers, took the extraordinary step of creating a temporary replacement for the Blade called the D.C. Agenda and published its first issue.
Through financial support from loyal advertisers and readers, the former Blade staffers continued to publish the D.C. Agenda as a weekly placeholder until former publisher Brown, former editor Naff, and the Blade’s former advertising executive, Brian Pitts, formed a business partnership that purchased the Blade’s assets from the bankruptcy court.
The three partners created a new parent company, Brown Naff Pitts Omnimedia, and relaunched the Washington Blade brand in April 2010. The new company opened its offices at 1712 14th St., N.W., the Blade’s current headquarters.
In October 2010, the Washington Blade Foundation, a new 501(c)3 nonprofit organization, was formed to raise money to digitize the full Blade archives. In January 2011, Brown Naff Pitts Omnimedia launched a new business unit, Azer Creative as a boutique marketing firm. And in March 2017, BNPO launched the Los Angeles Blade, a sister LGBT newspaper headed by publisher Troy Masters and veteran journalist Karen Ocamb as news editor.
Recollections by former Blade leaders
“I still live in D.C. and treasure a 45+ year relationship with John Yanson, who in the early days of the Blade was the staff photographer,” Michaels said when asked what he’s been doing since leaving the Blade. He and Yanson also spend time in San Diego, Calif., where they own a condo, he said.
Michaels was quick to reply to the question of what he most remembers about the Blade during his years working there.
“How eager our community was for a publication that focused on news and features rather than sexually oriented content,” he said. “Our approach attracted many really dedicated staffers who worked hard and tirelessly to make the paper grow from those 24-page monthly editions way back when into a well-regarded weekly newspaper of record.”
Keen, who had worked on the Blade staff for 20 years before leaving in 2001 as executive editor, said her years at the paper left a lasting impression.
“I remember a team of really dedicated colleagues and intensely loyal readers,” she said. “Don Michaels articulated a vision of the paper as one that would strive to meet professional standards and serve the LGBT community,” said Keen.
“People who joined the staff shared that vision and commitment at a time when working at a ‘gay paper’ was very likely to diminish one’s future employment prospects,” she said. “They were courageous and tough as nails, fun and funny, talented and reliable.”
Keen said she and her spouse, Sheilah McCarthy, currently live in Wellesley, Mass., where Keen has been covering national legal and political news for several LGBT news outlets around the country, including her own KeenNewsService.com. The couple is raising a 15-year-old son, Sam Keen.
Former publisher Waybourn said he and his partner maintain a D.C. residence but spend most of their time in Virginia’s Shenandoah Valley. They own several businesses, including the Long View Gallery in D.C.
“It was a great time to be involved in D.C. media,” Waybourn said in discussing his tenure at the Blade. “I loved working with the staff and individuals I met through community groups and organizations, and still maintain friendships with the individuals I met through the Blade.”
Crain, the former executive editor, said he and Waybourn “look back with great pride” on the years the two worked at the Blade. He said their acquisition of the Blade in 2001 through Window Media took place “at the height of prominence in LGBTQ media” and enabled them to work with “a wonderful and talented staff to expand the paper’s local coverage, improve its production quality, grow its advertising base and dramatically increase its presence on the internet.”
Crain said by the mid-2000s the Blade was “facing the same challenge as print publications everywhere” such as the loss of classified advertising to the internet. But he said the Blade nevertheless remained profitable, even at the time after he and Waybourn left and the Window Media parent company declared bankruptcy.
“We were greatly pleased that the staff took up the mantle to carry on the Blade’s rich history, and we join in celebrating this terrific milestone,” Crain said.
Some gifts scream practical, others whisper luxury, and a few flat-out blur the lines. From cocoa that feels ceremonial to a cologne that linger like a suggestive smirk, this year’s ultimate gift picks prove that thoughtful (and occasionally naughty) presents don’t have to be prosaic. Welcome to your holiday cheat sheet for festive tangibles that get noticed, remembered, and maybe even result in a peck of gratitude planted under the mistletoe. Consensually, of course.
Amber Glass Champagne Flutes
Pop the champs – but make it vintage. These tulip-shaped stunners in amber-tinted glass bring all the Gatsby vibes without the Jazz-age drama. Whether you’re toasting a milestone or celebrating a Tuesday, their seven-ounce capacities and hand-wash-only care make ‘em as practical as they are pretty. Pair with a thoughtful bottle of bubs and gift with a glittering wink. $18, NantucketLooms.com
Disaster Playbook by Here Comes the Apocalypse
Because the end of the world shouldn’t be a solo act, this spiral-bound guide is your step-by-step roadmap to surviving and thriving when everything else goes sideways, which might be sooner than you think. Packed with checklists, drills, and a healthy dose of humor, it’s like a survival manual written by your most prepared (and slightly snarky) friend. Whether you’re prepping for a zombie apocalypse or, more realistically, REVOLUTION!, this playbook’s got your back. $40, HereComesTheApocalypse.com
Wickless Vulva Candles
Bold, luxurious, and completely flame-free, CTOAN’s wickless candles melt from beneath on a warmer, releasing subtle, sophisticated fragrances, like sandalwood or lavender. The vulva-shaped wax adds a playful, provocative element to any space –perfect for a bedroom, living room, or anywhere you want elegance with an edge. A gift that celebrates form, intimacy and self-expression, no fire required. $39, CTOANCO.com
Villeroy & Boch Royal Classic Christmas Collection
Every meal is a mini celebration – with whimsy at every place setting – in Villeroy & Boch’s Royal Classic festive dinnerware collection that hits all the right notes. Made from premium German porcelain, it features nostalgic little toys, nutcrackers, and rocking horses in delicate relief, giving your holiday spread a playful but refined twist. Dishwasher- and microwave-safe, it’s luxe without the fuss. Gift a piece to a special someone, or start a collection they’ll use (and show off) for years to come. $22-$363, Villeroy-Boch.com
Greenworks Electric Lawnmower
You a ’hood queen who considers lawn care performance art – or just wants to rule the cul-de-sac in quiet, emission-free glory? Greenworks’ zero-turn electric mower has the muscle of a 24-horsepower gas engine but none of the fumes, drama or maintenance. Six 60V batteries and a 42-inch deck mean you can mow up to two-and-a-half acres on a single charge – then plug in, recharge, and ride again. It’s whisper-quiet, slope-ready, and smooth enough to make you wonder why you ever pushed anything besides your queer agenda. The perfect gift for the homeowner who loves sustainability, symmetry, and showing off their freshly striped yard like that fresh fade you get on Fridays. $5,000, GreenworksTools.com
Molekule Air Purifier
For the friend who treats their space like a sanctuary (or just can’t stand sneezes), the Molekule Air Pro is magic in motion. Covering up to 1,000 square feet, it doesn’t just capture allergens, VOCs, and smoke – it destroys them, leaving your air feeling luxury-clean. FDA-cleared as a Class II medical device, it’s serious science disguised as modern design. Gift it to your city-dwelling, pet-loving, candle-burning friend who likes their living room as pristine as their Instagram feed. $1,015, Molekule.com
Cipriani Prosecco Gift Set
Effervescent with stone-fruit sweetness and a touch of Italian flair, the Cipriani Bellini & Prosecco gift set brings brunch-level glamour to any day of the week. The Bellini blends rich white-peach purée with sparkling wine, while the dry ’secco keeps things crisp and celebratory. Pop a bottle, pour a flute, and suddenly winter weeknights feel like a party – even with your pants off. $36, TotalWine.com
Woo(e)d Cologne
British GQ recently crowned Woo(e)d by ALTAIA the “Best Date Night Fragrance,” and honestly, they nailed it. Confident without being cocky – smoky gaïac and Atlas cedarwood grounds the room while supple leather and spicy cardamom do all the flirting – it’s a scent that lingers like good conversation and soft candlelight. Gift it to the one who always turns heads – or keep it for yourself and let them come to (and then on) you. $255, BeautyHabit.com
Lococo Cocoa Kit
Keep the run-of-the-mill mugs in the cabinet this Christmas and pull out Lococo’s handcrafted Oaxacan versions that demand you slow down and sip like it matters. Paired with a wooden scoop, rechargeable frother, and Lococo’s signature spice hot-chocolate blend (vegan, gluten-free, with adaptogenic mushrooms), this holiday kit turns Mexi-cocoa into a mini ritual you’ll look forward to. Perfect for anyone who loves a little indulgence with a side of ¡A huevo! energy.
Manta Sleep Mask
Total blackout, zero pressure on the eyes, and Bluetooth speakers built right into the straps, this ain’t your mama’s sleep mask — but it could be. The Manta SOUND sleep mask features C-shaped eye cups that block every hint of light while ultra-thin speakers deliver your favorite white noise, meditation, or late-night playlist straight to your ears. With 24-hour battery life, breathable fabric, and easy-to-adjust sound, it turns any bed (or airplane seat) into a five-star sleep suite. Perfect for anyone who treats shut-eye like an art form (or just wants to escape their roommate’s late-night bingin’ and/or bangin’). $159, MantaSleep.com
Shacklelock Necklace
Turn the industrial-chic vibe of a shackle into a sleek statement. Mi Tesoro’s platinum-plated stainless-steel necklace sits on an 18-inch wheat chain, featuring a shackle-style latch pendant that’s waterproof, tarnish-free, and totally fuss-les. Beyond style, it nods to a classic gesture in the queer leather community: replacing a traditional Master lock with something elegant to quietly signal belonging to someone special. Wear it solo for a minimalist edge or layer it like you mean it; either way this piece locks in both your look and your intentions. $90, MiTesoroJewelry.com
Parkside Flask Mojave Edition
Wine nights get a desert glow-up with Parkside’s limited-edition 750-milliliter all-in-one flask draped in sun-washed bronze and badland hues like sage, sand, and terracotta – with magnetic stemless tumblers that snap on for effortless shareability. It keeps your vino chilled for 24 hours, pours without drips (no tears for spilled rosé, please), and even lets you laser-engrave your own mantra or inside joke. Perfect for picnics, surprise rooftop clinks, or gifting to your favorite wine (or desert) rat. $149, HighCampFlasks.com
Mikey Rox is an award-winning journalist and LGBT lifestyle expert whose work has published in more than 100 outlets across the world. Connect with him on Instagram @mikeyroxtravels.
a&e features
Meet Mr. Christmas
Hallmark’s Jonathan Bennett on telling gay love stories for mainstream audiences
Jonathan Bennett believes there are two kinds of people in the world — those who love Hallmark movies and liars. And in Season 2 of Finding Mr. Christmas, which the Mean Girls star co-created with Ben Roy, Bennett is searching for Hallmark’s next leading man.
“It’s so fun for people because everyone in their life has someone they know that they think should be in Hallmark movies, right? The UPS driver, the barista at the coffee shop, the dentist,” Bennett says. “So we’re testing their acting abilities, we’re testing who they are, but we’re also looking for that star quality — the thing that makes them shine above everyone else. It’s almost something you can’t explain, but we know it when we see it.”
Season 2’s cast includes a former NFL player for the Green Bay Packers, a few actors, and a realtor. The 10 men compete in weekly festive-themed acting challenges, one of which included having to ride a horse and act out a scene with Alison Sweeney. The contestants were chosen from a crop of 360 potential men, and Bennett gives kudos to the show’s Emmy-nominated casting director, Lindsay Liles (The Bachelor, Bachelor in Paradise).
“She has a tough job because she has to find 10 guys that are going to be good reality television, but also have the talent to act, carry a scene, and lead a Hallmark movie eventually,” he says. To be the right fit for a Hallmark leading man, Bennett singles out five key characteristics: you have to be funny, charming, kind, have a sense of humor, and you have to do it all with a big heart.
Of course, Finding Mr. Christmas wouldn’t be Finding Mr. Christmas without its signature eye candy — something Bennett describes as “part of the job” for the contestants. “I can’t believe Hallmark let me get away with this. I dressed them as sexy reindeer and put them in harnesses attached to a cable 30 feet in the air, and they had to do a sexy reindeer photo shoot challenge,” he says with a laugh. “This season is just bigger and bolder than last. People are responding to not only all the craziness that we put them through, but also comparing and contrasting the guys in their acting scenes when we do them back-to-back.”
Season 1 winner Ezra Moreland’s career has been an early testament to the show’s success at finding rising talent. On seeing the show’s first winner flourish, Bennett says, “Now to watch him out in the world, just booking commercial after commercial and shining as an actor and a model, I think the show gave him the wings to do that. He learned so much about himself, and he took all that into his future auditions and casting. He just works nonstop. I’ve never seen an actor book more commercials and modeling gigs in my life.”
Bennett has been a star of plenty of Hallmark movies himself, including the GLAAD-award-winning The Groomsmen: Second Chances, which makes him a fitting host. Among those movies are 2020’s Christmas House, which featured the first same-sex kiss on the network and had a major impact on Bennett’s career as an openly gay man. “Hallmark’s been so great about supporting me in queer storytelling. But again, I don’t make gay movies for gay audiences. I make gay love stories for a broad audience, and that’s a huge difference, right? We’re not telling stories inside baseball that only the gay community will understand.”
He continues, “The backdrop of a Hallmark Christmas movie is very familiar to these people who watch. And so when you tell a gay love story, and you tell it no differently than a straight love story in that space, they’re able to understand. It’s able to change hearts and minds for people who might not have it in their lives.”
While Hallmark has become a major staple of Bennett’s career, he started off wanting to be a Broadway actor. And before the first season of Finding Mr. Christmas aired, Bennett took a break from TV to make his Broadway debut in Spamalot, replacing Michael Urie as Sir Robin and starring alongside Ethan Slater and Alex Brightman.
“That was my dream since I was five years old – then I booked a movie called Mean Girls, and everything kind of changes in your life. You no longer become a person pursuing Broadway, you become a part of pop culture,” Bennett recalls. “And to be honest, when I hit 40, I was like, ‘I’m probably never going to get to live that dream.’ And that’s okay, because I got to do other dreams and other things that were just as cool but different. So I honestly never thought it would happen.”
Bennett is still determined to make his way back on Broadway with the right role — he calls Spamalot the “best experience” of his life, after all — but he’s got another Hallmark show lined up with Murder Mystery House, which he co-created. The show was recently greenlit for development and intends to bring the Hallmark mystery movie to life. “It’s kind of like our version of The Traitors,” Bennett admits.
Looking back on both seasons, Bennett says that what makes Finding Mr. Christmas stand out in the overcrowded reality TV landscape is that everyone involved makes it with heart: “This isn’t a show where you’re going to watch people throw drinks in each other’s faces and get into big fights. The thing that has amazed me so much about this show, the more we’ve done it, is that every season, 10 guys come in as competitors, but they leave as a family and as brothers. That’s something you don’t get on any other network.”
Finding Mr. Christmas airs every Monday on Hallmark through December 20, with episodes available to stream on Hallmark+.
a&e features
Guillermo Diaz on his role as a queer, Latino actor in Hollywood
Shattering stereotypes and norms with long resume of roles
Actor Guillermo Diaz has been working hard in the entertainment industry for more than three decades. Proud of his heritage and queer identity, he has broken through many glass ceilings to have a prolific career that includes tentpole moments such as roles in the films Party Girl, Half Baked, and Bros, and in major TV shows like Weeds and Scandal, and even in a Britney Spears music video. This season, he made his feature-length directorial debut with the film Dear Luke, Love Me.
In an intimate sit-down with the Blade, Diaz shares that he attributes a lot of his success to his Cuban upbringing.
“Well, it prepared me to learn how to lie really well and be a good actor because it was a lot of acting like you were straight, back in the eighties and nineties (laugh). Another thing I learned from my Cuban immigrant parents is that they work super hard. They both had two jobs; we were latchkey kids, and I just saw them constantly working and wanting to provide for us by any means. So that was super instilled in me. That was the one thing that really stuck out that I admire and respect.”
Besides Diaz’s recurring roles on TV, his resume includes appearances in just about every genre of programming out there. If there is a major show out there, he was probably on it. Law and Order, Girls, The Closer, Chappelle’s Show, ER, Party of Five, and the list goes on. He’s accomplished more in his career thus far than most actors do in a lifetime. There is no doubt he is a hard worker.
“It’s a sign that I just loved to work, and it’s funny looking back at it now because you see all those things, but at the time it was just the next gig, the next job. I was just wanting to keep working and acting and learning and doing all that stuff. Then it sort of accumulates, and you look back and you’re like, damn! That’s a lot of stuff!”
Acting was never on Diaz’s radar until he was asked to fill in for a friend in a Beastie Boys medley for a talent show when he was a sophomore in high school.
“I did it and fell in love with it. I was teased a lot in high school. Then, when I did that performance, all those people who teased me were like, you were so great! So I looked at it initially as a thing of like, oh, this is where I’m accepted and people like me when I’m on stage. It’s kind of sad, too, because that’s what I latched onto. And then of course, I fell in love with the craft and performing and acting, but that initial rush was because all these people who were messing with me and teasing me all of a sudden liked me. And I was like, this is what I have to do.”
Little did Diaz know that he would break the mold when it came to stereotypical casting. When he first hit the industry, diversity and positive representation were not a thing in Hollywood.
“You just kind of accepted at the time. It was the early nineties. 90% of the time, it was playing a thug or a gun dealer, or a crack head – it was all bad guys, negative characters. But it was either that or not act and not be in anything. So you just kind of accept it, and then you have this sort of vision or hope that in the future it’s going to get better.
Diaz’s management was trepidatious about him playing gay roles for fear of being typecast. But Diaz did play a handful of gay roles early on, although he passed on But I’m A Cheerleader, which went on to become a gay cult classic. Diaz decided early on that he was not going to hide his sexuality. Diaz appeared in the film Stonewall. That was the defining point for him in sharing his identity.
“Being cast in that historical sort of dramatization of the 1969 Stonewall riots – I couldn’t believe I was in the midst that I was in the middle of doing this and playing the lead drag queen on the film. I just felt so honored, and I knew it was important, and I knew I needed to do a really good job. I thought, what a special moment this is. And it kicked my ass shooting that movie.
I remember after doing Stonewall, people saying, well, now you’re either going to have to make a choice if you’re going to lie, or if you’re going to just be honest, and you’re going to have to be out from now on if you’re going to be honest. And I was like, I’m not going to freaking lie. When they’d asked me, I would say I was gay. I think because I never tried to hide it, it didn’t become a thing. So people just kind of ignored it. It didn’t mess with me or my career. I don’t know. Or I just got lucky. I don’t freaking know.”
As a queer, Latin actor, Diaz is all too aware of what is happening politically and socially in the world towards minority communities. Does he think actors have a place in politics?
“For sure. I mean, we’re people first, right? Like, I hate when people sort of are like, oh, you’re an actor, shut up. I’m super political and outspoken, and I’m that guy who will say shit. I’m on the right side of history, at least. I’m not being complicit and silent. So, yeah, I think actors for sure have a place in politics. Absolutely.”
While directing was on Diaz’s radar, it wasn’t something that he was actively searching out. But as life would have it, his friend Mallie McCown sent him her script for Dear Luke, Love Me, a film she would play the lead in. Diaz was hooked.
“It was one of those scripts that I had to keep putting down every like 20 pages. I would put it down because I didn’t want it to end. It was so good. Originally, I was just going to come on as a producer of the film, and then the director dropped out, and then Mallie asked me if I was interested in directing. I was scared as shit. I had never directed a feature film. But I was like, it’s now or never.”
The film covers a decade of the friendship between Penny and Luke, covering themes of platonic love, asexuality, co-dependence, and self-identity. With most of the film focusing on just the two leads, Diaz has crafted an intimate and raw film. What is his message with the film?
“That love is complicated, but it’s beautiful and rewarding and worth all the heartache. I believe that. I don’t want to give away too much in the film either, but I think everyone can relate to it because there’s heartache and there’s pain, and there’s beauty and there’s love.”
And in looking at his past work and in looking toward his future career, what kind of legacy does Diaz want to build?
“That I broke some ground, that I knocked down some walls as an artist; I’m hoping that made a difference. It’s funny because when you’re in it, you’re not thinking about all this stuff that could possibly pave the way for other people. You’re just kind of moving along and living your life. But yeah, I would hope that I broke down some walls as a queer Latino.
I hope that people can sort of get something out of me trying to live as authentically as I can, just being my queer self. Hopefully, that helps someone along who is having some troubles being accepted or being comfortable with who they are.”
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