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Netflix doc ‘Disclosure’ explores Hollywood’s history of offensive trans depictions

Laverne Cox, Candis Cayne, Chaz Bono featured in sweeping survey of film, TV past

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Laverne Cox recalls her thorny history with Hollywood in the new documentary ‘Disclosure’ out today on Netflix. (Photo courtesy Netflix)

Dil (Jaye Davidson) disrobes for Fergus (Stephen Rea) in “The Crying Game” and he runs to the bathroom to vomit. The scene is later parodied in “Ace Ventura.”

Candis Cayne makes history as a trans actress in a trans role as Carmelita on ABC’s “Dirty Sexy Money” only to discover watching it they’ve lowered her voice electronically in her first scene. 

Actress Candis Cayne says she’s played every offensive trans stereotype imaginable in her career in the new documentary ‘Disclosure.’ (Photo courtesy Netflix)

Trans is a trope used for cruel comedic effect in dozens of movies and shows from “Soapdish” to “Married … With Children” and used to exploit guests on trashy ‘90s talk shows such as “The Jerry Springer Show.”  

A new eye-opening and mostly comprehensive documentary on Hollywood’s depiction of the transgender experience titled “Disclosure” created by trans filmmaker Sam Feder starts streaming on Netflix on June 19. 

The documentary follows several transgender media industry leaders and their experiences watching transgender representation on screen throughout their lives and later becoming actors and filmmakers themselves. Well-known creatives such as Laverne Cox, Lilly Wachowski and Chaz Bono are featured as well as clips from everything from early silent D.W. Griffith movies to classic Hollywood fare like the Cary Grant vehicle “I Was a Male War Bride” to Flip Wilson and Milton Berle to “The Jeffersons,” “Paris is Burning,” “Boys Don’t Cry,” “The Crying Game,” “Ace Ventura” and dozens more. 

“Disclosure” covers a wide range of topics, from studying the dawn of the film industry in the early 20th century to problematic storylines in the present day. 

Feder, who directed, and Cox, executive producer, spoke by Zoom Monday about the process with the Blade and the Windy City Times, a Chicago LGBT newspaper. 

WASHINGTON BLADE: How did this film get made and what was the impetus for it? 

SAM FEDER: There were two documentaries that really changed my life. One was “The Celluloid Closet,” and that’s about gay and lesbian representation in Hollywood. The other is “Ethnic Notions” by Marlon Riggs, which is about black representation in film in Hollywood. I always wanted to see that history for trans people with that type of critique and analysis and nuance. Then fast forward to 2014 and trans visibility was increasing and mainstream society was talking about us more than ever before, and I wanted to give trans and non-trans people more context to understand these changes in our culture, this history and how we got to this point of visibility. And, it was really important that we not lose sight of the fact that visibility in itself is not a goal. It is the means to an end. So, I felt like there was more to the story than what the public was seeing and talking about and I wanted to tell that story. 

WINDY CITY TIMES: Why do you call it “Disclosure”?

FEDER: I don’t even know where to start with this one. So the idea that the responsibility of the trans person is to disclose their identity is so pervasive and it is such a violent assumption that anyone owes someone else an explanation of their history. It’s framed in this way, that you have done something wrong if you do not disclose.  I think most trans people can relate to that tension and that understanding and I think a lot of us have internalized that as well, that we feel this anxiety around like, “Do we need to tell? Do they know?” But that is always upfront, first and foremost, so it really came from the idea that also all the images we see really also rely on the fact that we’re not real. They just say, over and over again, that we’re not who we say we are. Laverne, do you have anything to add to that because that’s you know, I mean, it’s your thing. You came up with the title and I assume it resonated with you in some way. 

LAVERNE COX: Absolutely. I was on a reality show in 2008 called “I Want to Work for Diddy” and I remember I met a guy at the Duane Reade Pharmacy, I think around 2009 or 2010-ish. I am in the Dwayne Reade Pharmacy, and then he asked for my number, and then we meet like an hour and a half later or something for drinks at a nearby bar. We are sitting at the bar and I was just like, “So yeah, I’m trans” and “I’m transgender, whatever.” This was like 2009. He knew that I was trans but he was just so surprised that I just sat down and just was like, “Yeah, I’m trans, whatever.” He had dated trans women before who were scared to disclose, who were not always comfortable disclosing. It was obviously for safety reasons, too —  to disclose sometimes meant violence. Unfortunately that is their history of what it means to be trans and so I just — it was so empowering for me to just sit there at that bar and just be like, “I’m trans. What’s the problem?” 

And it’s been such a beautifully empowering thing for me to just be able to stand up, or I’m like, “oh Google me” … I love owning my transness. It’s so freeing to be in this space of full ownership of who you are, for me personally. I’m not saying this needs to be, you know, the situation for other trans folks — but my God. How freeing it’s been you just be able to sit at that bar, and I’m like, “You have an issue? OK, let’s go. I have stuff to do, if you have a problem then I can move on.” It is just a beautiful thing. 

BLADE: How did you get permission to use all those movie and TV show clips in the film? 

FEDER: All the clips that we use in the film came from personal stories and personal anecdotes and that was the nexus of telling this history. I did about 80 interviews with trans people who have worked on one side of the camera or the other and wanted to gather their memories of transgender representation, and from there accrue the database from which became the primary document of the film. While we were creating the story, it was crafted in such a way that you create original arguments with the footage. When you can create an original argument among certain context, you have fair use over material. So, we practiced our first amendment right.

TIMES: How do you think things could change where we can have trans people playing non-trans roles?

COX: It takes a casting agent, it takes a showrunner, or a director or a producer. It’s a few different entities. I mean, I’m proud to say that in the Netflix series “Inventing Anna,” that we are on hiatus from shooting because of COVID-19, I play a woman named Kacy Duke who is a naughty trans woman. I was cast because … the team thought I was the best person for the job. I mean, there are other instances too, like Candis Cayne plays a non-trans character. Hari Nef on “You” plays a character that is not trans in the first season. So it’s already happening, which is great. 

FEDER: I want to just add to that though. I think you know, what does it mean to play a trans or a non-trans character, right? Just because there’s … no disclosure we still don’t know what’s happening. I’m always curious to know that emphasis on whether the characters trans or not. 

COX: That’s a brilliant point. I think with Kacy Duke because she is a real walking, talking, human being in real life, we can’t say, “In case he’s not trans.” But with fictional characters, the character could be trans, and does it matter? Should it matter? You know, years ago,I had a joke that was if it doesn’t involve periods or pregnancy I can play it. 

BLADE: Do you think the era of cis actors swooping in and winning Oscars for trans roles is over? 

COX: You know, I don’t know. I mean, I don’t like to predict the future. My therapist told me years ago that making positive or negative predictions of the future is not reality. I think it’ll be really interesting after “Disclosure” and after the consciousness that hopefully we’ll be raised because of this film, if that happens again. I think that’ll be really interesting and curious and we’ll have a much more educated audience and industry winning if that is the case. 

Trans activists Sylvia Rivera and Marsha P. Johnson have not received the credit they deserved in early gay rights history, filmmakers say in the new documentary ‘Disclosure.’ (Photo courtesy Netflix)

(Editor’s note: The Blade covered many of these topics last fall in a story on the 20th anniversary of “Boys Don’t Cry” called “Boys Don’t Cry” at 20: rethinking trans actors.”) 

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

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Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.

 The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.

He said the sale price will be disclosed to “those who are interested.” 

“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.

 “Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”

It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”

“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says. 

Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price. 

News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets   

In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.

The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.

The sales brochure can be accessed here.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in. 

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on. 

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones. 

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,”  Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film. 

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.” 

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present. 

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series,  Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say,  celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond,  prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you? 

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for. 

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach? 

SCHUKRAFT: This year, we held the first-ever National PrEP Day.  Dua Lipa performed, and Cardi B was there.  After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.  

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.  

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years? 

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.  

For many sexually active gay men, taking PrEP is simply part of the gay experience.  For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door. 

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level? 

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance. 

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic? 

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States.  We have everything we need today.  All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years. 

HIV transmissions don’t pause because budgets change. 

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health? 

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding,  we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results. 

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.  

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs. 

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business. 

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening. 

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding? 

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care. 

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs? 

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together. 

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level? 

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP. 

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026? 

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal. 

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