When you’re watching reruns as background noise or zooming through a new series to see how it ends, binge-watching is perfectly fine.
But with this week’s curated collection of queer television shows from the Blade’s vaults, binge-watching is not allowed. Take the time to savor the writing, the acting and the design and to discuss what you’re watching with family and friends.
“Gentleman Jack” (HBO) is a rollicking portrait of Anne Lister, an English landowner often descried as “the first modern lesbian.” Like any cash-poor landowner, Lister decides that she needs a rich wife and sets her sights on Ann Walker, a local heiress who’s been dazzled by Lister’s charisma for years.
The splendid eight-part series, set in Halifax in 1832, features an excellent script by creator Sally Wainwright that is crammed with authentic period details gleaned from Lister’s diaries. The delightfully swaggering Suranna Jones leads a superb cast.
“Gentleman Jack” has been renewed for a second season. It’s a rousing tale and a rich contribution to our understanding of how same-sex desire and gender nonconformity are expressed in different times and places.
A much less authentic but equally fascinating view of history is on display in Hulu’s “The Great.” Over the course of 10 episodes that wonderfully combine witty repartee, Enlightenment philosophy, court intrigue, physical comedy and brutal violence, Elle Fanning transforms from a naïve Austrian princess to the ruthless Empress Catherine the Great of Russia. Fanning is terrific and Nicholas Hoult gleefully portrays her imperial husband in all of his mercurial magnificence.
“The Great” has been renewed for a second season, but Catherine’s coup may require some cast changes.
Powerful women are at the center of “Mrs. America,” (FX on Hulu), a fascinating nine-part series that recreates the battle over the Equal Rights Amendment. The Amendment is supported by the leaders of the women’s movement and the leaders of both political parties. The Amendment is opposed by frustrated housewife Phyllis Schlafly who mounts a grassroots movement that ultimately derails passage of the ERA and helps to usher in the Reagan Revolution.
Creator Dahvi Waller even-handedly captures the obstacles faced by both sides: the personal and professional sacrifices made by Schlafly and the challenges of working in coalition faced by the second-wave feminists. A superb Cate Blanchett leads an outstanding cast that includes Uzo Aduba (Shirley Chisholm), Rose Bryne (Gloria Steinem), Margo Martindale (Bella Abzug), Tracey Ullman (Betty Friedan), Niecy Nash (Flo Kennedy), and Elizabeth Banks (Jill Ruckelshaus).
With a phenomenal script by brilliant gay writer Russell T. Davies (famous for “Torchwood,” the original British version of “Queer as Folk” and several seasons of “Doctor Who”), “Years and Years” (HBO) is a visionary voyage into the near future.
The six-part series starts in Manchester, England in 2019 and follows the Deacon family over the next 15 years as Britain is rocked by a period of rapid technological, political and economic changes. On the political front, the wily Vivienne Rook (a stellar Emma Thompson), gradually seizes power. On the home front, matriarch Muriel Deacon (a fierce and feisty Anne Reid) fights to keep her sprawling family together.
Craftily extrapolating from current events, Davies creates a fascinating future that serves as a vibrant backdrop for the compelling family saga. The acting from the amazing ensemble cast is superb and Davies’ pitch-perfect casting displays a deep commitment to diversity.
Diversity was also a hallmark of “Vida,” which ran for three seasons on STARZ. The smart and sexy series centered on two estranged Mexican American sisters (Melissa Barrera and Mishel Prada) who return to their childhood home in Los Angeles following the unexpected death of their mother. They are surprised to discover that their mother was married to another woman (played by non-binary actor Ser Anzoategui) and that her business, a popular neighborhood bar, is on the verge of bankruptcy.
Created by award-winning playwright Tanya Saracho and scripted by an all Latinx writers room, the show pulsated with a gritty and truthful authenticity whether it was exploring the complex and fluid sexual lives of the central characters or the shifting economic tides of their rapidly gentrifying East Los Angeles neighborhood.
‘And Just Like That’ is clunky, but shows promise
SATC reboot suffers without Samantha’s irreverence
Just in time for the holidays, “And Just Like That,” the 10-part “Sex and the City” (SATC) revival has premiered on HBO Max.
The first two episodes of “And Just Like That” aired on Dec. 9. One episode will air weekly until the show’s Feb. 3 season finale.
I have only seen the first two episodes of “And Just Like That.”
The reboot has its awkward, clunky, annoying moments, but shows glimmers of tenderness, wit, and promise.
It’s not a lump of coal in your stocking. Yet, it’s too soon to tell whether it’s a gift from your loving, but clueless aunt or an awesome present from your BFF.
But, it’s definitely worth putting under your tree.
How I miss “funky spunk” “Father Fuck” and “The Rabbit!”
If you’re an SATC aficionado, you’ll know that while Samantha couldn’t abide “funky spunk,” she longed to canoodle with a hot priest. (Naturally, he was “Father Fuck” in Samantha’s fantasies.) And, you’ll remember how much pleasure “the Rabbit” (a vibrator) gave Charlotte and Miranda.
Those are just a few moments that “Sex and The City” fans have missed since the arch, fashion-trend maker, sexual-taboo-breaker, HBO show’s 2004 finale.
What we’ve pined for wasn’t just the sex. It was the wit and friendship of the four bright, badass, professional, witty and, it can’t be denied, privileged women, who were the stars of SATC: writer and sex columnist Carrie Bradshaw (Sarah Jessica Parker), lawyer Miranda Hobbes (Cynthia Nixon), art dealer Charlotte York (Kristin Davis) and public relations pro Samantha Jones (Kim Cattrall).
We missed hearing the ladies talk openly, and wittily, sometimes tenderly or thoughtfully, about everything from “funky spunk” to “shortcomings” to their affairs with married men to threesomes to their abortions.
After the SATC finale, there were two “Sex and the City” movies. The first, released in 2008, was mediocre. The second, released in 2010, was beyond horrible.
After all these years, it’s lovely to see Carrie, Miranda, and Charlotte (along with their husbands: Big, Steve and Harry respectively).
But, there’s a gaping hole! There’s no Samantha!
It’s no secret that Cattrall and Parker weren’t getting along off-screen. Cattrall didn’t want to be in “And Just Like That.”
You can’t blame the SATC folks for forging ahead with “And Just Like That.” Interest in the SATC characters has remained high, and shows with female characters in their 50s are few and far between.
Now that Miranda, Carrie and Charlotte are in their mid-fifties, “And Just Like That” could become “The Golden Girls” of our era.
But that’s not likely without Samantha, who was the essential queer sensibility of SATC.
Samantha’s irreverent, she loves sex, quiets babies down with vibrators, and though she’d never cop to it, has the proverbial heart of gold.
“And Just Like That” needs an infusion of irreverence.
SATC had problems of representation. Its characters were too white and too privileged. For its time, it had a queer quotient. Carrie’s best friend Stanford Blatch (the late Willie Garson) was gay, as was Charlotte’s best friend Anthony Marantino (Mario Cantone). But its depictions of bisexuals, lesbians, and trans people were stereotyped at best – bi and transphobic at worst.
“And Just Like That” works hard to correct those problems.
There are several characters who are people of color — from a law school professor to an upper-class mom.
Stanford and Anthony are now a bickering married couple. And there is Che Diaz (Sara Ramirez) a “queer, nonbinary, Mexican-Irish diva,” a podcaster, who is Carrie’s boss.
It’s great that the show is trying to do better with representation, but it’s trying too hard.
We face serious issues – from parenting to grief – as we age. But, as any “Golden Girls” disciple knows, you don’t lose your sense of humor or lustiness as you grow older.
If “And Just Like That,” learns that, then it’ll be a great show.
MTV ‘True Life Crime’ host reinvents genre
Dometi Pongo puts focus on victims of anti-LGBTQ violence
The last place most of us would expect to find a true crime show is on MTV. Yet that’s exactly where you’ll find “True Life Crime” and its host Dometi Pongo, who on Aug. 24 will take a journalistic deep dive into the Mississippi murder of trans teen Mercedes Williamson – just one of the brutal, tragic stories covered by the show since its debut in 2020.
They are the kinds of stories, of course, that make fans of the genre eagerly stay up late to binge watch old episodes of “Cold Case Files” or the latest Netflix serial murderer doc. But while those shows content themselves with being a guilty pleasure for their viewers, this one aims a little higher.
To begin with, it primarily covers violence against people from marginalized communities; and though it examines facts and evidence, those take a back seat to discussion of the social issues around the crimes. Instead of placing all the emphasis on the “how” and “who,” the show puts it on the “why,” taking the spotlight from the killer and shining it on the victim instead – a far cry from the kind of truncated treatment usually bestowed by mainstream news sources when covering crimes against marginalized people.
Pongo – a charismatic host whose passion for amplifying the stories of marginalized communities is tied to his roots in Chicago’s south side – spoke to the Blade about the intentions behind the show, and the need to include the stories of LGBTQ victims.
BLADE: Besides the upcoming episode about Mercedes, this season has already covered two other cases involving anti-LGBTQ violence: the murders of Britney Cosby and Crystal Jackson, who were a lesbian couple, and Muhlaysia Booker, a trans woman of color. Did you come into the show wanting to bring visibility to these kinds of cases?
DOMETI PONGO: It’s my connection to marginalized communities that made me want to do it, to talk about other marginalized communities that I’m not even a part of, but which deserve a voice as well. I’ll be honest with you, at a high level I understood the dangers of homophobia and transphobia in our communities, but I didn’t know the numbers. I didn’t know how often victims were dead-named, how under-reported anti-trans violence goes. I didn’t realize how deep this really got, until I was in the thick of it, reporting on these issues.
The first season we did the story of Kedarie Johnson, who was a gender-fluid teen that was killed in Iowa. That story really helped to open my eyes, and so for this season we wanted to double down.
BLADE: The show differs from other crime shows because it’s more concerned with exploring motives and issues around the cases than it is about the facts. Is that a conscious choice?
PONGO: There’s a conscious idea of either answering questions that the family never had answered, or looking at elements of the person’s identity, or the world around the crime, and figure out how we can tell a fuller story. You know, in some states they can secure a murder conviction without proving motive, so you can have a family go through the entire litigation process, all the way up to the killer being convicted, and they’ll never know why their loved one was killed. The pain that comes from that is gut-wrenching. So, aside from just taking you through the crime and how the person is caught, what can we add to the conversation that can give some solace to the families?
BLADE: As a host, you bring a lot to the show. You’re great on camera and your passion really shines through – but you always deflect the attention toward the family and the community around the victim.
PONGO: Thank you, I appreciate you noticing that. I’m the lens through which the subject gets to tell their story. If I share something about losses and experiences that I have, it’s because I know that human-to-human connection will help the subject open up. As journalists, we’re told never to become the story – and now we’re in this age where you have to have a social media presence, you have to have some charisma about you, you have to be a host of sorts. But I want to make sure that I’m a human first when I’m talking to these families, and I’m glad if that shines through.
BLADE: It does, and so does the fact that your show doesn’t sensationalize the way others do. There’s nothing tabloid about it.
PONGO: We do want to differentiate ourselves. Why would you come to MTV for a true crime story rather than other networks that have been doing them for years? We’ve got to put our bent on it. We’re focused on talking to young folks who live in the pop culture space, and the “True Life” franchise is the perfect avenue for that, because it’s all about the true lives of the subjects, and we wanted to be sure that that was highlighted.
BLADE: The focus on social justice issues certainly gives the show a youthful perspective.
PONGO: They say the young have the energy, and the elders have the wisdom, and we want to arm the energy of these young people – these bright, action-oriented young people who mobilized with the racial reckoning of 2020, who are leading the charge – we want to arm them with context and information about more stories, and how everything in our society kind of folds into what happens. Many of our episodes end with a call to action. Who do you call to change this law? Who do you email? As effective a tool social media is, so is voting, so is emailing legislators, so is getting involved in advocacy groups. We arm our audience with the information that they need to keep doing the great work they’re doing.
BLADE: It’s really activism taking the form of entertainment.
PONGO: That’s it, 100 percent. I started out at a Black-owned radio station on the South Side of Chicago. Al Sharpton held the afternoon slot for his show, each host was very community oriented, so I cut my teeth at that intersection of information and social justice – but I’m also a fan of hip-hop, I’m a fan of music, so when I’m not doing “True Life Crime” I’m doing MTV News interviews with my favorite artists. Investigating that intersection of social justice and pop culture is where I think a lot of our power lies. I think that’s where the young people are sitting right now.
BLADE: What do you hope they take away from these stories?
PONGO: If there’s anything that I want people to take away it’s this: After the show, whatever social justice issue we talk about, research it. Dig into it. That guilty pleasure feels a little bit less guilty if you do the work after that TV cuts off.
“True Life Crime” airs on MTV at 9 p.m. on Tuesdays. All past episodes are available to watch on the MTV website.
Show must go on- Lil Nas X’s embarrassing wardrobe malfunction on SNL
NEW YORK – Montero Lamar Hill, known by his stage name Lil Nas X, was performing his latest hit single ‘Call Me By Your Name’ from his album MONTERO on NBC’s Saturday Night Live when his pants ripped at the crotch.
The openly out singer-songwriter- rapper glanced down then back up at the audience, covered the affected area with his hand and kept singing in what reviewers and commentators are calling “the gayest performance ever on national television” and “iconic.”
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