a&e features
Mercado’s ‘Amor’ shines in Netflix doc
An invitation to celebrate the power of love
If you were Latinx during the final decades of the last century – and even if you weren’t – odds are good that the face of Walter Mercado was a familiar sight.
Already a local celebrity as a dancer and actor in his native Puerto Rico, Mercado began his rise to international stardom after an impromptu discussion of astrology during a TV interview proved so popular that he was asked to return to the show with regular daily reports on the same subject. Flaunting a carefully crafted yet unabashedly flamboyant persona, he became a staple of daily life in homes across Latin America and Europe, his popularity eventually spilling over into the U.S. and beyond to make him an icon at a level comparable to figures such as Oprah or even the Pope within Latinx cultures across the world.
The esteemed status to which he rose is even more remarkable considering the image he presented. Draped in ornate and theatrical robes, sporting make-up and a stylishly coiffed head of strawberry blond-ish hair, he made no effort to mask his feminine side; he wasn’t merely androgynous, he expressed gender in a way for which there was no non-insulting label back then, and yet he managed to transcend the stigma around sexual and gender non-conformity to find an audience within a community known – especially then – for traditional beliefs that often went hand-in-hand with homophobia and transphobia.
For a generation that grew up watching this larger-than-life figure with their abuelas on the couch, waiting eagerly for him to deliver his daily forecast for their own sign of the Zodiac, he was as comforting a presence as he was an outrageous one. Though these lifelong fans (such as fellow Puerto Rican Lin-Manuel Miranda) have remembered him with a bubbly, childlike reverence, few of them knew the reason behind his sudden disappearance from public view nearly a decade-and-a-half ago – at least until last week, when Netflix debuted its new documentary, “Mucho Mucho Amor: The Legend of Walter Mercado,” a loving portrait that provides answers to that mystery while allowing the octogenarian trailblazer to take a much-deserved final bow before his passing at the age of 87 a few months after filming completed.
Deriving its title from Mercado’s customary expression of love at the end of his forecasts, the film gets up close and – gradually – personal with its subject, who was 85 when the filmmakers (directors Cristina Costantini and Kareem Tabsch, and producer Alex Fumero) began working with him on the project in 2017. Warm and welcoming from the start, Mercado clearly relishes his return to a place in front of the cameras and endeavors to show us that age and a retreat from the limelight have done nothing to diminish the grandeur of his style or his radiance; later, as things progress and he grows more comfortable and trusting of his cinematic biographers, he relaxes enough to give us glimpses of vulnerability, both in his reminiscences and in his willingness to participate despite his declining physical health as filming progresses – but even in his most fragile moments, he is never anything less than regal.
Much is revealed over the course of the documentary’s 96 minutes. Some of it, like hearing about how Walter’s “Character” was inspired and defined by happenstance and costume, serves as illuminating trivia that further augments his legend; other parts, such as the chronicle of betrayed trust and legal wrangling that resulted in his departure from the airwaves, carry a sense of loss that make his story more bittersweet than our knowledge that his appearance on our screen is now a posthumous one.
While such biographical detail may be informative, however, it’s at least partly because of what is NOT revealed that “Mucho Mucho Amor” stands out as something more remarkable than just another stream-of-the-week documentary.
Never apologetic or misleading about his sexuality or gender identity, Mercado nevertheless declined throughout his public life to put a label on himself; he used masculine pronouns, but beyond that he was neither male nor female, gay nor straight – he was simply Walter. The aged pioneer of alternative gender presentation maintains the same coquettish coyness around these topics here; we are introduced to his longtime partner, Willy Acosta, but told by both that their relationship is not a romantic or sexual one; we watch him field the curiosity of TV hosts in archival footage from his heyday, and we are informed of his dislike for imitations of himself (such as that done by famous Mexican comedian Eugenio Derbez, who offers his own comments in the film) that he sees as parodying of those aspects of his persona.
This reticence to spill those kinds of secrets does not come off as obfuscation; rather, it is accompanied by a sparkly-eyed attitude that seems more like a friendly wink and smile than a deceptive dodge of the issue. The Mercado persona was always carefully crafted in a way which enveloped his gender-blending qualities in the shroud of his position as a populist spiritual leader, rendering acceptable that which might have been seen as taboo in someone with a more worldly role, and though a representative of his younger generation of fans might be able to describe him on camera as “non-binary” and “asexual,” it would be as disappointing as it was surprising were he to say those things about himself, even in today’s more welcoming atmosphere.
Yet, as the self-described “magician” at the center of this infectiously uplifting documentary might tell you himself, his refusal to identify is not a ploy to hide himself; he knows who he is, and he knows that we recognize him – even if we’re not sure whether to believe him entirely when he says his only relationship is with his faith. The ambiguity part of the image, and part of his message, too – an encouragement by example to embrace and live one’s truth without shame, and a loving challenge to those with closed minds about “otherness” to look past their judgments and open their hearts instead. It might be naïve to assume that Mercado, the veteran showman, would have intended all along for this elegantly polite subversion to be the entire point of the legend he created, but it’s probably fair to say it was always a light he intended to shine.
As for the legend itself, “Mucho Mucho Amor” leaves that more than intact. If anything, Mercado’s star shines brighter after viewing it, thanks to the persuasive authenticity of his belief in the mélange of spiritual and occult traditions he concocted around himself as he delivered his message – adamantly and always a positive one – to the millions of followers he touched throughout his life. For Walter Mercado, all religions were true, so why should he not take the things that spoke to him from each to create his own and believe in that one, too?
That sincerity, which came across in his broadcasts, still rings through loud and clear in “Mucho Mucho Amor,” and it carries, as always, an invitation to celebrate the power of love.
a&e features
The queer Asian comics building collective joy in D.C.
Spotlighting chaotic ways family, romance, identity take shape in their lives
Kevin Chen’s family tombstone has room for four: him, his parents and his boyfriend. The arrangement might prove to be a little awkward.
“My boyfriend is 100% white, and my parents are 100% disappointed,” Chen confessed.
Jokes about family traditions and the untraditional ways they’re practiced earned a burst of laughs at the bar where Chen was opening for the Pride Comedy Special. The D.C. stand-up event, produced by Comedy Bonfyre last month, spotlighted queer Asian comics who shared the chaotic ways family, romance and identity take shape in their lives.
From candid oral sex takes to top surgery hypotheticals like “Where do the boobs go?”, the night highlighted the loud camaraderie of the queer Asian experience — one that sounds like a cacophony of snorts, cackles and belly laughs. While the comics say they are not quite a community, there’s more than enough shared material to bring them together.
“It was such a magical experience. I loved performing in a queer API lineup. It feels so validating,” Chen said after the show. “I’m wondering, ‘Is this how white men feel all the time?’”
Each performance evoked queer Asian joy through a medium that could use more of its presence.
According to Chen, who is based in D.C., it’s hard to say whether there is a true queer Asian comedy presence in his city. There are only a scattered “handful” of Asian comics, and people of color are underrepresented in queer comic circles, he said.
When Tarunika Anand, a nonbinary lesbian comic, first entered the mainstream D.C. comedy scene, they mostly encountered straight white men, describing the experience as “a culture shock.”
“I feel like sometimes a lot of queer spaces are really white, and then a lot of Asian spaces are really straight,” Anand said. “I don’t feel like I fit into either.”
But feeling marginalized didn’t stop these comics from honing their craft and creating spaces for others like them. Alex Kim, who headlined the special and is based in Brooklyn, runs the queer Asian comedy group Boba Gays, which began on WhatsApp and has since made its way to Lincoln Center.
Every Wednesday, Anand co-produces a free comedy show called Funny Side Up. The queer-led group focuses on inclusivity and showcasing new talent.
“It’s really beautiful to speak about your experience and your existence in a way that’s uplifting,” Anand said.
Family is a major throughline of their comedic repertoires.
Chen, for instance, shared that he identifies with jokes about having Asian immigrant parents and the expectations they pass down.
“You see me, you know this part about me, you know this experience intimately, and I can see the truth that you’re trying to wrap a joke around,” he said. “That hits even harder because that’s my truth too. I think that’s what makes good comedy.”
Anand had the audience at the special howling when they explained that their parents’ be-more-like-them comparisons didn’t end when they came out. Instead, the expectations took on a new form.
“Now, my parents want me to be the best gay,” Anand said. “They’re like, ‘Do you know Ellen DeGeneres?’”
Kim said he’s been trying to unlearn things from his Christian Korean mom. Yet he described a moment when he was getting ready for the club and realized he looked just like his mother getting ready for church.
“I’ve been finding it hard to escape her,” Kim said.
Mutual recognition also radiates through the different ways queer love can take shape. From singlehood to death-do-us-part commitments, the comics cover just about every corner.
Anand is holding out hope for settling down with “a nice, pretty, Indian girl.” They recently went through a breakup and said they felt they dodged a bullet.
“As a person of color, I just don’t think I should be with a Swiftie,” they said.
Chen, touching on what it’s like to be in a queer interracial relationship, said that meeting his white boyfriend’s baby nephew for the first time felt like he was forced to participate in a diversity, equity and inclusion training.
“The dad was like, ‘Please welcome Kevin. Be curious about his culture, his history, his foods,’” Chen joked.
Laughter is not the only reward for the comics.
To Anand, comedy is a space where they can say whatever they want. “It gives me a voice,” they said.
Nik Narain, a North Carolina-based trans and nonbinary South Asian comic who performed at the special, said meeting older trans comedians and taking the stage helped him feel reassured in his identity during his transition.
“Stand-up was a really cool way to process that onstage,” he said. “[It] became a way for me to repackage my thoughts.”
Queer Asians are still figuring out their place in the greater D.C. comedy scene. The group is small in numbers and many are still working toward a full-time comedy career. But Narain feels he’s already made it.
Narain is reluctant to pin it all on one moment. He feels that success is already peeking through in milestones — opening for celebrities, traveling to performances and self-producing shows.
“As long as I can keep doing this, I’m super happy,” he said.
This story was produced as part of the AAJA VOICES fellowship program, a student journalism project of the Asian American Journalists Association (AAJA).
a&e features
Mr. Henry’s celebrates 60 years of proud inclusivity
Capitol Hill staple remains ‘a caring community’
America’s 250th isn’t the only milestone birthday D.C. is celebrating this year.
Beloved D.C. restaurant Mr. Henry’s, that Capitol Hill staple, celebrates its Diamond Jubilee all year long. Named for its original owner Henry Yaffe, the restaurant opened on a warm day 60 years ago in the summer of 1966 and has never looked back.
Yaffe took over what was then a country western restaurant, renovated the interior to his liking, and created an institution. Yet Yaffe had another goal. As a gay man, “he created Mr. Henry’s to be a place where everyone felt welcome — not easy in 1966 — and he succeeded,” says current owner Mary Quillian.
“Mr. Henry’s has long been a place the LGBTQ community has supported because they felt and still feel welcomed,” says Quillian. Even in the current administration, “the gay community and the diversity-minded community continue to come.”
Since then, Mr. Henry’s has changed hands, opened and closed its second floor, welcomed famed musical acts, and played host to politicians, date nights, breakups, and birthdays. But it still feels like home (and has a note in the National Trust for Historic Preservation) at 601 Pennsylvania Ave., S.E.
Its wood-paneled, Victorian-inspired art-filled décor in the downstairs dining room and bar serves American pub fare for lunch and dinner daily, with brunch on weekends (and a dog-friendly patio). Upstairs, Mr. Henry’s hosts live jazz performances and special events most nights, continuing a musical tradition that has defined the venue for decades. That upstairs bar has played host to names like Roberta Flack and Woody Allen.
Musician Kevin Cordt said that, “Mr. Henry’s has been a part of my life for more than 30 years. I started as a customer, then became a bartender and server, and now I have the good fortune to play trumpet at one of the best live music venues in Washington, D.C.”
Aaron Myers, executive director of the D.C. Commission on the Arts and Humanities, is also a supporter. “Not many cities can sport venues that have consistently served the community in the space of culture for more than 50 years, let alone can brag as the birthplace of culture defining talent.”
From the start, Yaffe promoted a rare yet celebrated combination of locals’ bar and soulful nightlife venue. Mr. Henry’s has attracted a diverse crowd at a time when such spaces were – and perhaps still are – uncommon, a diversity that is credited with helping protect the pub during the 1968 D.C. riots.
Longtime customer Evelyn Branic said, “Mr. Henry’s has been my ‘Cheers’ hangout since my wife and I moved to the Hill in 1987. I’ve experienced many iconic moments meeting politicians, reporters, civic activists, and neighbors engaging in spirited conversations. Whether political, LGBTQ, historians, neighbors, or out-of-towners, everyone could find a special place to be greeted as a friend.”
Its welcoming tables come dabbed with a bit of tea: In 1971, in a moment that has since become part of Capitol Hill lore, Yaffe lost the pub in a poker game to Larry Quillian. The Quillian family, recognizing the special role Mr. Henry’s played in the neighborhood, took over ownership, and committed to preserving its spirit. Today, Larry’s daughter Mary owns the bar, having given it a bit of a facelift for the bar’s 50th birthday, bringing in new tables and some fresh menu items.
For example, the menu has some of those dishes that regulars would riot if they disappeared. The Reuben and the hamburgers, the chili and in-house roasted turkey have never departed the menu. Dishes do evolve, says Quillen: they added wings about two decades ago.
In 2026, the restaurant is hosting monthly ticketed “decades” parties, celebrating each of the 10-year periods the restaurant’s been open, plus there were specials in June for Pride. The official 60th anniversary gala takes place Aug. 29, featuring performers, beverages, timeless favorite foods, swag – and the unveiling of a new cocktail.
Inclusive, eccentric, eclectic, Mr. Henry’s is looking forward to maintaining its centrality to diverse crowds in Capitol Hill. Battling inflation, rising menu prices, changing tastes, and thin margins, Quillian says that Mr. Henry’s has — and will always be — “a caring community for so many different folks. And THAT is why I am committed to keeping us going. Society needs places like Mr. Henry’s, now more than ever.”
a&e features
Television loses a legend, longtime ‘Will & Grace’ director James Burrows
Iconic hitmaker leaves behind a legacy of telling LGBTQ stories
You don’t have to be a pretentious film major to name 10 movie directors. But naming television directors is not that simple. They’re the unsung heroes of your favorite shows, and the late James Burrows was the television director. He passed on June 19, but his DNA runs through television history.
He directed over 1200 episodes of television and over 50 pilots. He co-created “Cheers” and directed many episodes of long-running series like “Friends,” “Taxi,” “Frasier,” “The Big Bang Theory,” and “Two and a Half Men.” You also may remember him from playing a heightened version of himself on the Lisa Kudrow comedy “The Comeback.”
He has left an indelible mark on the LGBTQ community. As recently as last year, he directed the series run of “Mid-Century Modern” starring Nathan Lane, Matt Bomer, and Linda Lavin. He was also a longtime director of “Will & Grace” and directed every episode of the series revival. He even directed the unaired “Absolutely Fabulous” pilot with Kathryn Hahn, Kristen Johnston, and Zosia Mamet.
Not to mention he’s worked with queer icons throughout history, including Betty White and Stockard Channing on their single-season series, and Jennifer Coolidge in “2 Broke Girls.”
He started his career on shows like “The Mary Tyler Moore Show,” “Rhoda,” “Laverne & Shirley,” and the first four seasons of “Taxi.”
He continued to work steadily and directed successful pilots that went to series for “Roc,” “3rd Rock From the Sun,” “Dharma & Greg,” and “Wings.” He directed multiple episodes of “Friends,” “Caroline in the City,” and “Frasier.”
This magic continued into the 2000s with him directing the pilots for “Two and a Half Men,” “The Big Bang Theory,” and multiple episodes of “Mike & Molly,” and the entire return series of “Will & Grace.”
What was the secret to his success? He’d enact the “fun clause” in his contract. In his words, “Life is too short to deal with obnoxious leads,” he shared. “So as long as the writing is good and the cast is fun, I’m going to enjoy the experience.”
He had the magic touch, having multiple pilots turned into long-running series. He was nominated for an Emmy 24 times in 26 years and worked consistently until a year before his death.
The secret was the way he brought the cast together. He describes, “it was my job to mold them into an ensemble, and they did round into a group of people who loved each other.”
This earned him 11 Emmy Awards and five Directors Guild of America Awards, including being awarded the inaugural DGA’s Lifetime Achievement Award for Television Direction.
In a 2003 interview by the Television Academy, he was asked how he wants to be remembered, and he said, “That every night forever you can tune in somewhere, and there’ll be a show I did.”
He’s survived by his wife, Debbie, four daughters, seven grandchildren, and the countless people whose careers he launched and the countless viewers he inspired with his television legacy.
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