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Mercado’s ‘Amor’ shines in Netflix doc

An invitation to celebrate the power of love

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Walter Mercado, gay news, Washington Blade
Walter Mercado in ‘Mucho Mucho Amor.’ (Photo courtesy Netflix)

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.

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Summer in D.C. brings sports, Restaurant Week, festivals, and more

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Washington Spirit CEO Kim Stone hosts Pride Night OUT on Sunday, Aug. 23. (Photo courtesy of Washington Spirit)

Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.

Dining

Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.

New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:

  • Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
  • The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
  • Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
  • Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.

Sports

  • Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements. 
  • Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.

Festivals

  • Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
  • Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods. 
  • The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
  • All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
  • Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.

Art and Music

  • United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club. 
  • The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
  • Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
  • ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
  • 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
  • Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
  • Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Tickets on sale for chef Patrick O’Connell’s book launch event

Sept. 18 kickoff to feature José Andrés, Tom Sietsema

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Acclaimed chef Patrick O’Connell is preparing to publish his new memoir, “Main, Middle & Gay” in September and he’s launching the book with an event on Sept. 18 at 6 p.m. at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema.

Tickets for the event go on sale Tuesday, July 21 at Ticketmaster; prices start at $55.

 O’Connell, who’s gay, is the pioneering Michelin-starred chef and longtime proprietor of the Inn at Little Washington. He spoke with the Blade about the September event and the launch of his first memoir.

 “I’ve known [Andrés and Sietsema] for more than 25 years and I have great respect for them,” O’Connell said. “I felt that it would allow us to add a different dimension rather than just have an interviewer. The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”

O’Connell has published cookbooks but this is his first memoir. The event will feature a short film that will highlight his work and the Inn.

“What I hope to do with the event is bring the book to life visually,” he said. “So we’re producing a short film that will be part of it. Most of the audience will not have read the book so it’ll give them a visual flavor of the book. It parallels the evolution of American cuisine over 50 years. It’s a rare perspective to be in the trenches for that long.”

The book’s title refers to the location of the garage on the corner of Main, Middle, and Gay streets in Washington, Va., where he launched his restaurant that became an international culinary destination. 

The Blade will publish the rest of its wide-ranging interview with O’Connell in September in conjunction with the book’s release.

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The queer Asian comics building collective joy in D.C.

Spotlighting chaotic ways family, romance, identity take shape in their lives

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Alex Kim performs at the Pride Comedy Special in Washington, D.C., on June 18, 2026. (Photo by Christina Lee/VOICES)

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).

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