Arts & Entertainment
Movie announced for unfilmed Tennessee Williams play – 37 years after his death


Nearly four decades after Tennessee Williams made his final exit from the world stage, one of the iconic dramatist’s most controversial plays is finally set for a film adaptation.
The Tony and Pulitzer-winning playwright became one of America’s most lauded theatrical writers during the second half of the last century; his plays, which largely focus on outsider characters struggling against the pressures of a social norm in which they do not fit, often explored homosexual themes at a time when the subject was widely considered taboo, earning the openly queer playwright a special place in LGBTQ cultural history; many of his works, such as “The Glass Menagerie,” “A Streetcar Named Desire,” and “Cat on a Hot Tin Roof,” are undisputed classics that have been filmed many times and continue to be revived and performed on stages worldwide, and his influence is so deeply felt that references to his plays and characters still turn up in American pop culture, from classic episodes of “The Simpsons” and “Seinfeld,” to movies as far-flung as “The Princess and the Frog” and “The Disaster Artist,” to songs by popular musicians like Lana Del Ray and Lil Wayne.
Williams died in 1983 at the age of 71, after grappling with depression and substance use issues for most of his life, but he left behind an impressive body of work that continues to fascinate scholars and artists today. One such artist is actor and filmmaker Ethan Hawke – who, according to Variety, has announced plans to adapt and direct a screen version of Williams’ wildly experimental 1953 play, “Camino Real.”

Hawke – who, in a “who knew?” coincidence, happens to be Williams’ great-nephew – calls the planned feature film a “passion project.”
In an interview at Sundance, Hawke told Variety, “I’ve been obsessed with the piece for years. I kept turning it over and over again in my mind. It’s part rock opera, part ‘Waiting for Godot.’ What I think Tennessee was trying to do, cinema has caught up to and can do better.”
“It’s not dissimilar to what Baz Luhrmann was aspiring to on ‘Moulin Rouge,’ it’s just more spiritual,” he adds.
The original play was a departure for Williams, who in 1953 was fresh from the mega-success of “Streetcar,” which had not only won the Pulitzer Prize but been adapted into a multi-Oscar-winning movie which made an international star out of Marlon Brando. It’s a surreal mélange of history, literature, and myth, following a young American named Kilroy through encounters with characters like Don Quixote, Camille, Casanova, and Esmeralda from “The Hunchback of Notre Dame.” Audiences and critics didn’t respond well to Williams in experimental mode, and its Broadway debut closed after only 60 performances – though it was “rediscovered” in subsequent decades and has spawned countless productions from theatre artists drawn to try their hand at an interpretation.
Hawke first became interested in the play when he starred as Kilroy in a well-received 1999 stage production at the Williamsburg Theatre Festival. He made a previous attempt to bring the play to the screen several years ago, hoping to film in Cuba while Fidel Castro was still in power. That project fell through, but now he has teamed with producer Uri Singer, with whom he collaborated on this year’s Sundance entry, “Tesla,” after Singer convinced him that filming in Rio de Janeiro – where Brazilian incentives for filmmakers would help to defray costs – could provide the kind of cosmopolitan backdrop needed for the piece.
“The play is set at the crossroads of all the world and we want to represent that with the production and the cast,” says Hawke. “Rio seems like the place to do that. There’s an intersection of extreme poverty and extreme wealth.”
Hawke, who has balanced a respected career in theatre with his work in film since debuting as a child actor in the 1985 sci-fi film “Explorers,” says he will not appear in the film. No casting has been announced, though he says he hopes to include Juliette Binoche, with whom he recently worked in the French-Japanese drama “The Truth.”
Filming will take place in Rio this year, and Hawkes says they hope to wrap production by Christmas.
As to whether there’s still an audience out there for a new Tennessee Williams film (particularly one so far removed from the queer icon’s usual mode of expression), that remains to be seen. For Hawkes, however, the motivation for making it has more to do with artistic fulfillment than financial reward.
“When something really daring works, there’s a high,” says the four-time Oscar nominee. “It’s like Jimi Hendrix when he played. When James Baldwin speaks, for example, he’s living on the edge. And Tennessee was living way out there.”
Television
ICYMI: ‘Overcompensating’ a surprisingly sweet queer treat
A sweet, savvy show about breaking free to embrace your true self

Pride month 2025 is now behind us, and while it’s safe to say that this year’s celebrations had a darker edge than usual, it’s also true that they came with a particularly rich bounty of new queer movies and shows to entertain us – so many, in fact, that even if we are facing a lull until the fall another harvest of fresh content, there are still plenty of titles – which, for whatever reason, were off your radar – for you to catch up on in the meantime.
One of the most notable of these – the bingeworthy series “Overcompensating” (now streaming on Amazon Prime) – will most definitely have been ON the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok. For anyone else, it might have easily slipped through the cracks.
Created and written by Skinner as a loosely autobiographical “college comedy,” it aims for the kind of raucous, explicitly sexed-up tone one expects from the genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and “golden boy” at his midwestern high school, he’s the picture of idealized youthful masculinity; he’s also deep in the closet, struggling to keep his sexuality hidden and maintain his macho front under the intense scrutiny of the college’s social scene – and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.
In the first episode, Benny’s difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home marred by tragedy, she’s an outsider who feels like she’s putting on an act, too, and they click – giving him the convenient “cover” of female companionship while providing them both with much-needed support and encouragement. He’s also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring other kinds of feelings and possibly even reciprocating them. Meanwhile, he’s being courted by the school’s “exclusive secret society” – headed by his sister’s aggressively “alpha” boyfriend Pete (Adam DiMarco) – and trying to stay interested in his studies, despite a growing realization that a career in business doesn’t actually appeal to him all that much.
That’s a lot to juggle for anybody, even an overachiever like Benny – whose “lucky” life so far has largely been the result of playing a role he is finding harder and harder to maintain. As the series goes on through its eight-episode arc, it becomes clear that he’s not the only one who is “keeping up appearances,” and he, along with the other confused and damaged young people in his orbit, begins the painful (but often hilarious) process of evolution that is required in order to become truly oneself.
Directed toward appealing to a younger demographic, “Overcompensating” is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, it’s not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; there’s a nostalgic fun to it, made even more appealing, somehow, by the “political incorrectness” of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent “Animal House” for the Gen Z crowd.
By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves – and, as things draw toward a cliffhanger climax, the consequences of maintaining it – until it achieves a sense of empathy toward them all. There’s a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the “sexploitative” teen comedy of its surface into something deeper. To be sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the show’s “mature YA” appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.
As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an “ego project,” the internet-spawned sensation proves his talents quickly enough to get past such judgy suspicions, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned “lived authenticity” to his winning performance – after all, he’s essentially playing himself in a fictionalized version of his own life – while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective “closets,” too. It’s unavoidable to notice that – like most of his co-stars – he’s plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, we’ve become too engaged by him to care.
The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (“White Lotus”) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins unraveling around him. Other standouts include the mononymic actress Holmes as Carmen’s “wild child” roommate, solidly likable turns as Benny’s parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny “clocked” from the moment they meet. Finally, Lukas Gage makes a deep impression as a former high school teammate at the heart of Benny’s most haunting memory.
There’s no official word yet on whether “Overcompensating” will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinner’s large fanbase makes it likely that the story will continue. Even if it doesn’t, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.
As for us, we hope that won’t happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, it’s one of the sweetest, kindest, and most savvy shows we’ve seen about breaking free from conformity to embrace your true self – and that’s a message that applies whether you’re queer, straight, or anywhere in between.
Photos
PHOTOS: Independence Day Weekend in Rehoboth
Wicked Green Pool Party, fireworks among festivities

Vacationers and residents alike enjoyed Independence Day Weekend activities in Rehoboth Beach, Del. The Wicked Green Pool Party drew hundreds to the CAMP Rehoboth fundraiser on Saturday. That evening, revelers went to the rooftops to watch the fireworks display.
(Washington Blade photos by Daniel Truitt)













Music & Concerts
Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July
The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.
The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album “Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.
Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.
The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:
“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”
Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.
The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.
One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.
A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.
It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With “Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.
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