Arts & Entertainment
Wendy Williams facing criticism – again – for ‘dismissive’ treatment of catfish victims
Talk show host Wendy Williams is under fire again, this time for a program about the recent “catfishing” scam perpetrated by a former contestant on “RuPaul’s Drag Race.”
Sherry Pie (whose non-drag name is Joey Gugliemelli) was exposed on Facebook earlier this month by an aspiring performer, Ben Shimkus, who posted what he called “a weird story” about the competitor on the popular reality show’s current season. Several other young male actors came forward soon afterward with similar tales, with Gugliemelli issuing an apology a few days later.
Gugliemelli was disqualified from “Drag Race” as a result of the incident, although the majority of the season had already been filmed and episodes featuring the disgraced contestant continue to air – despite the subsequent revelation of Gugliemelli’s long history of fraudulence and sexual misconduct allegations, who for years had used false identities to pressure people into performing sexual acts on video in hopes of a non-existent casting opportunity.
The talk show host enters the picture because of a recent episode of “The Wendy Williams Show” on which she discussed the controversy with comedian and personality Michael Yo during a segment called “Inside Scoop.”
During the conversation, Yo summed up the story as follows:
“So this Ben guy, said that Sherry Pie catfished him, said she was a casting director, would send emails to him, back and forth, getting him to do lewd things…like masturbating on audition tapes. Is that lewd enough for you?”
He then went on:
“I mean, why didn’t these people do research? I’m not blaming them, but they’re young, the guys are young – they’re 23, 24 years old, trying to get their big break…so, man, but you have to do the research.”
Williams and Yo’s glib treatment of the controversy went so far as giggling over the fake name Gugliemelli had used for one of non-existent movies he had enticed his victims with – “Bulk.”
Shimkus wrote about the experience of watching the segment, which he described as “dismissive and vapid,” in an article penned for GayCities:
“When I watched this video clip of Michael Yo getting an audience to laugh at my story, I immediately became angry. With time to reflect, I am attempting to maintain moral integrity while not becoming bitter about this situation that has put me on national television, I’ve found other ways to interpret this moment.
“The nine of us who came forward told flagrant accusations of sexual harassment, and when we spoke out together, it was the queer and queer ally community who believed us, and supported us. I have received messages directly from hundreds of people, who have been so generous and shared their stories.
“We have a lot of work to do to advance our conversations around how we treat people who speak out against sexual harassment and coercion.”
Following the article, many voices in the LGBTQ community called for Williams’ syndicated talk show to be cancelled, spreading the hashtag #cancelwendywilliams on social media.
The incident is the latest in a string of tone deaf missteps that have plagued up for the host, who last month was pressured to apologize for comments she made that were seen as anti-LGBTQ.
“The Wendy Williams Show,” which is on temporary hiatus due to the coronavirus outbreak, could not be reached for comment.
The Petal Release Party and Drag Show was held at Spark Social on Friday, July 31. Performers included Tiara-Missou, Labianna and Darcy de la Cuadra.
(Washington Blade photos by Landon Shackelford)
Celebrity News
Madonna headlines World Pride Music Festival in Amsterdam
Kylie Minogue made surprise appearance alongside gay icon
AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.
The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.
“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.
Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.
Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”
(Washington Blade video by Michael K. Lavers)
“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”
Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.
Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.
Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.
“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”
Theater
Reggie White relishing first season as artistic director of Woolly Mammoth
First five shows a reminder that ‘pressure is a privilege’
Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.
White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.
A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.
White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”
Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.
“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”
WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?
REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.
BLADE: Are you curating the upcoming 2026–2027 season?
WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.
I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.
These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.
Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.
BLADE: As a queer artistic director, what makes you unique?
WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.
I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].
BLADE: Will we see familiar faces?
WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.
BLADE: How do you think queer audiences will receive the season?
WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.
Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.
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