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For Norman Lear, being an ally is a calling
Equality California to honor iconic producer this weekend
There aren’t a lot of 97-year-olds who are as actively engaged with the world-at-large as Norman Lear.
The television icon, who is set to receive Equality California’s Ally Leadership award at the first-ever Golden State Equality Awards in a virtual presentation on Sunday, still has his finger in a lot of pies at an age when most people are long retired. He has a first look deal with Sony Pictures Television (under his production banner, ACT III), and serves as executive producer for the critically acclaimed reimagining of his own classic “One Day At A Time,” a show embraced by critics for recasting of the original’s white central family as Cuban-Americans, and for its inclusion of a lesbian character whose coming-out journey is a prominent story arc. He also served as executive producer (and co-host!) for the Emmy- and Critics’ Choice-winning “Jimmy Kimmel, LIVE In Front of a Studio Audience…,” a two-part special recreating episodes of his own classic shows that earned record ratings for ABC in December of 2019.
His busy schedule might have something to do with momentum; for more than six decades, Lear has been one of the most prolific names in Hollywood. An early career in PR led him quickly into show business, where he was soon writing sketches for the likes of Dean Martin and Jerry Lewis; he created his first series (“The Deputy,” a Western starring Henry Fonda) in 1959, and went on to dabble in filmmaking during the 1960s.
But it was with a string of hit sitcoms in the ‘70s that Lear found his stride. “All in the Family,” “Sanford and Son,” “Maude,” “The Jeffersons,” “One Day at a Time,” “Mary Hartman, Mary Hartman” – all these shows and more were created, developed, written, and/or produced by Lear during those years; it was a peak period that would have been enough to cement his place as one of the medium’s most successful pioneers, even had he not gone on to a still-enduring career that has garnered him five Primetime Emmys and a Golden Globe to date.
It was, of course, with the first of these sitcoms that he built what we would now call his “brand.” “All in the Family” survived a low-rated first season to become one of the era’s most influential programs, challenging audiences even as it made them laugh. Using its central characters – the working-class Bunker family, polarized by the political divisions between blue-collar patriarch Archie and ultra-liberal son-in-law Mike – to explore topics rarely discussed on primetime TV, the series broke ground by addressing everything from sensitive personal issues like marital infidelity, breast cancer, menopause, and impotence, to controversial cultural hot-buttons like racism and other forms of bigotry, religion, rape, abortion, women’s lib, and the Vietnam War.
Among these remarkable, conversation-starting episodes are two milestones that cast a long shadow. “All in the Family” became the first American TV show to feature an openly gay character, in its very first season, when bigoted, blue-collar Archie discovers that his old friend Steve – who is also a former NFL linebacker – is queer. The episode, seen through modern eyes, thankfully plays as dated, a reminder of how far we’ve come in 45 years; in 1971, it was a bold stereotype-shattering step toward putting the subject of LGBTQ equality directly in front of mainstream American eyes.
“Family” didn’t stop there; four years later, the show introduced a character named Beverly LaSalle, a female impersonator (played by openly gay real-life drag performer Lori Shannon) who appeared in three episodes as a friend of Edith Bunker’s. In the third, he is murdered by muggers who discover he is a man in women’s clothing, leading to a crisis of faith for Edith, who questions how a God could exist that would allow such an act of violence against a person simply for being “different.” Suddenly, a character clearly identified as queer was no longer the butt of a joke, but a human being whose life mattered, and whose senseless and violent death left a hole in the lives of someone who loved them; moreover, in a time when few within mainstream culture had a clear understanding of gender identities that veered outside the binary “norm,” a storyline depicting the murder of a male presenting as female eerily evoked the subject of anti-trans violence decades before most Americans even knew the difference between a trans person and a drag queen.
For many queer viewers, these unequivocally sympathetic portrayals were watershed moments; millions of gay, trans, or otherwise non-heteronormative individuals suddenly felt seen and validated in a way they had never experienced from the pop culture that had always been a refuge for them. Just as important, it opened up a conversation in the households of countless straight Americans about a subject that would previously have been shrouded behind an unbreakable taboo.
During the same period, another Lear sitcom (“Hot L Baltimore”) featured the first gay couple to be included as regular characters in a TV show; and besides breaking ground in the area of LGBTQ representation, he proved with shows like “Sanford and Son” and “The Jeffersons” that programs featuring mostly black characters could be a hit with white audiences, too.
If Lear’s contributions had ended in the ‘70s, that would still be enough to warrant the honor being bestowed upon him by Equality California; but away from the camera, he has built a monumental reputation for himself as an advocate for social justice and equity. He put his career on hold in 1980 when his concern over the rise of the so-called “Moral Majority” prompted him to found People For The American Way, an organization of more than one million members and activists that still continues to fight right-wing extremism while defending constitutional values like free expression, religious liberty, equal justice under the law, and the right to meaningfully participate in our democracy. Even before that, he was part of an informal group of wealthy Jewish businessmen (dubbed the “Malibu Mafia” by the press) that donated money to liberal and progressive causes and politicians from the 1960s to the 1990s. These, and other powerful efforts to aid the progressive cause, may not have all been centered around LGBTQ equality, but have provided immeasurable aid to that struggle, just the same.
Now, at nearly 100 years old, Lear is still a warrior. His tirelessness may simply be due to the fact that he loves his work, but his own words, explaining the meaning of his bumper sticker (it reads, “Just another version of you”) in a 2015 Variety interview, speak volumes about the core beliefs that keep him going.
“I’m very proud of that,” he told the magazine. “It says it all. We’ve become a culture or a nation that takes itself far too seriously. We believe we’re God’s chosen. Well, God’s chosen is the entire human species and every other species.
“We are simply versions of each other.”
It’s that kind of empathy that arguably defines what being an ally truly means, and it makes Equality California’s recognition of Lear arguably the most well-deserved award of his career.
a&e features
Gay Men’s Chorus celebrates 45 years at annual gala
‘Sapphire & Sparkle’ Spring Affair held at the Ritz Carlton
The Gay Men’s Chorus of Washington held the annual Spring Affair gala at the Ritz Carlton Washington, D.C. on Saturday. The theme for this year’s fete was “Sapphire & Sparkle.” The chorus celebrated 45 years in D.C. with musical performances, food, entertainment, and an awards ceremony.
Gay Men’s Chorus of Washington Executive Director Justin Fyala and Artistic Director Thea Kano gave welcoming speeches. Opening remarks were delivered by Spring Affair co-chairs Tracy Barlow and Tomeika Bowden. Uproariously funny comedian Murray Hill performed a stand-up set and served as the emcee.
There were performances by Gay Men’s Chorus of Washington groups Potomac Fever, 17th Street Dance, the Rock Creek Singers, Seasons of Love, and the GenOUT Youth Chorus.
Anjali Murthy, a member of the chorus and a graduate of the GenOUT Youth Chorus, addressed the attendees of the gala.
“The LGBTQ+ community isn’t bound by blood ties: we are brought together by shared experience,” Murthy said. “Being Gen Z, I grew up with Ellen [DeGeneres] telling me through the TV screen that it gets better: that one day, it’ll all be okay. The sentiment isn’t wrong, but it’s passive. What I’ve learned from GMCW is that our future is something we practice together. It exists because people like you continue to show up for it, to believe in the possibilities of what we’re still becoming”
The event concluded with the presentation of the annual Harmony Awards. This year’s awardees included local drag artist and activist Tara Hoot, the human rights organization Rainbow Railroad as well as Rocky Mountain Arts Association Executive Director, Dr. Chipper Dean.
(Washington Blade photos and videos by Michael Key)
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Yes, chef!
From military service in Syria to cooking in coastal Delaware, Justin Fritz delivers comfort and connection
Driving down the long stretch of road that connects Rehoboth to Bethany Beach, I’m thinking about the morning ahead of me. I’ve done tough jobs before on subjects I knew nothing about. But when it comes to this assignment – profiling a local chef – I can’t help but worry that I’ve bitten off more than I can chew.
I eat food. I love food. Ironically, I can’t cook.
Sure, I can make a passable meal in a pinch, but when it comes to innate culinary skills, I don’t have the gene. That means I eat out often. Even when the food is good, the experience is rarely inspiring. I have no doubt that the guy I’m about to profile can cook, but for me, food is fuel, not fun. Writing about eating feels like reading about dancing. You can understand the mechanics, but the magic is harder to capture.
Sooner than I expected, I reach my destination. Rising quietly from the dunes, the weathered cedar shingles and wraparound porch of The Addy Sea Inn gives off the kind of understated confidence money can’t buy. Built in 1904, it doesn’t try to impress you. It just does. I pull into a gravel parking space, step out of the car, and take a breath. Already, I sense that I’ve misjudged what this morning will be.
Inside, breakfast service has just wrapped, but the dining room is still humming with energy. Plates clink. Fresh coffee is brewing. After a quick round of introductions with the staff, I’m ushered back to the kitchen, where Executive Chef Justin Fritz is waiting.
The room is modest, only slightly larger than my kitchen at home, anchored by a narrow stainless-steel island that serves as the operational center. Whatever the kitchen lacks in space it makes up for in technology. The appliances are state-of-the-art and the multi-tiered glass oven on the wall looks smarter than I am.
There’s no brigade of line cooks. No shouted orders. No “Hands” or “Yes, chef!” echoing off the walls. There’s just me and him. It’s a one-man show.
His first wedding tasting is less than an hour away, but instead of rushing, Justin offers me the grand tour. Pride radiates from him — not ego, but something quieter. We move through the inn, past guests and staff he greets by name, out onto a porch overlooking the beach and Atlantic, where meticulously planned weddings unfold like carefully choreographed dreams.
“This whole place transforms,” he says, gesturing toward the lawn. “We pitch a 90-foot tent in a yard that can accommodate 150 guests. We set the DJ and the bar up in the back on a floating deck that becomes a dance floor.”
On our way back inside, we stop to see herbs growing in a double row of hanging planters — mint, basil, strawberries trailing down the wall like decorations you can eat. It’s not performative. It’s practical. Everything here has a purpose.
Back in the kitchen, the tempo shifts. There are no printed-out recipes or neatly arranged mise en place. Justin stops talking just long enough to consult the whiteboard hanging on his refrigerator. There are notes – words, not sentences – cueing him on all the things he needs to remember.
When he finally goes into action, it’s intense, but controlled. Justin knows every inch of his kitchen and moves efficiently to gather what he needs to get five different entrees into the oven. I try to be a fly on the wall, but I’m the elephant in the room. I try, and fail, to move out of his way.
After our fifth near-collision, he laughs. “You just stay there,” he says. “I’ll move around you.” And he does.
Justin’s path to The Addy Sea Inn wasn’t linear, and in many ways, that’s what defines him. After culinary school and early professional success, he made a decision that shifted everything: He enlisted in the Army Reserves alongside his younger brother. In an unexpected twist, Justin completed the enlistment process first, while his brother’s path was delayed pending a medical waiver.
Initially, Justin’s role had nothing to do with food. He worked as a computer technician, repairing advanced equipment — a technical, methodical position that stood in stark contrast to the creative environment of a kitchen. Then, as often happens in Justin’s stories, his circumstances changed. A casual conversation with a commanding officer one afternoon led to a sudden reassignment.
“He said, ‘You’re supposed to be at the range. Get in the car — I’ll explain on the way.’” Justin recalls. “Next thing I know, I’m deploying.”
The destination was Syria. And instead of working with electronics, he found himself back in a kitchen — only this time, under conditions that redefined what cooking meant.
“They didn’t want military cooking,” he says. “They wanted home cooking.”
That expectation, simple on the surface, became extraordinarily complex in practice. Ingredients had to be sourced from local markets where quality and safety were inconsistent. Refrigeration was limited. Water couldn’t be trusted. Meat arrived butchered in ways that required improvisation rather than precision.
“One time I ordered lamb,” he says. “It came back as bones. Just bones. I scraped the meat off and turned it into sausage because I couldn’t waste it.”
So, Justin adapted. He baked bread from scratch, created meals that could be eaten days later, and found ways to bring a sense of normalcy into an environment defined by uncertainty. French toast, burritos, pretzels, tiramisu — dishes that, under different circumstances, might have felt routine became something else entirely.
“I think people underestimate what food means,” he says. “It’s not just eating. It’s memory. It’s comfort. It’s safety.”
That last word lingers.
By the time Justin arrived at The Addy Sea Inn, he carried more than just professional experience. He brought discipline, resilience, and a perspective shaped by environments far removed from coastal Delaware. But he also brought uncertainty.
The new role required something different from what he’d done before. Here, he wasn’t executing someone else’s vision — he was responsible for creating one.
“I realized I get to do this,” he says. “I get to build this.”
What he has built is both ambitious and carefully controlled. Under new ownership and with a growing team, The Addy Sea Inn has evolved into a sought-after destination for weddings and events. The scale has increased, but the operation remains intentionally lean, which puts more pressure on Justin to deliver.
A single day might include breakfast service, take-away lunch preparation, afternoon tea, wedding tastings, and a full-scale event execution. Layered on top of that are cooking classes, early-stage digital content, and a catering business Justin has deliberately paused so he can focus on something more cohesive.
“I want to grow the culinary side of this place,” he says. “Not just more events, but better experiences. Classes, tastings — things that bring people into it. I love teaching. I love sharing it.”
It’s a vision rooted less in expansion and more in depth. Not more for the sake of more, but more meaningfully.
When I return a few days later for breakfast service, the experience feels both familiar and entirely new.
The day begins with sunrise. Before anything else, Justin pauses and brings his team outside. It isn’t a long break, and it isn’t framed as anything formal. It’s simply a moment — watching the light shift over the water, occasionally catching sight of dolphins moving just beyond the shoreline.
Then, without ceremony, the work begins.
Eggs crack. Bacon sizzles, potato pancakes bake on the grill. Orders move in and out with steady consistency. There’s no frantic energy, no sense of scrambling to keep up. Instead, there’s a flow — continuous, measured, almost meditative.
“It doesn’t always feel like work,” he says.
Watching him move through the morning, it’s easy to understand why.
Hours later, after the hustle and bustle of the first meal has ended, Justin turns his attention to a larger, albeit more creative task — cupcakes for two themed parties. Already inspired, he lifts a heavy electric mixer onto the counter and pushes a flour-dusted binder in front of me.
“I’ll bake the cupcakes. You make the butter-cream frosting,” he says, flipping to the page with the recipe. “Double it.”
The request sends me into a mild panic, especially since it requires math. But Justin believes I can do it. To my surprise, so do I. The first batch of chocolate cupcakes are already out of the oven before I finish the first bowl of frosting. Since all I have to do is repeat the process, I’m starting to feel relieved and maybe even a little cocky. That’s when it hits me.
“Chef, I made a mistake…I forgot to double the amount of vanilla. I need to do it over.”
“It’s fine,” Justin says casually, swiping a small disposable plastic spoon across the silky surface. “It tastes great. Focus on the next batch.”
The result, two exquisitely decorated cupcakes, are almost too pretty to eat.
“These are yours to take home,” he says as he carefully packs them away in a to-go box.
I start to protest, to tell him he should save the best for himself or the other guests. But I stop myself and pause and savor the moment. This one, I keep.
Chef Justin Fritz resists easy categorization, and that may be part of what makes him so compelling. He is classically trained, but without pretense. His military background suggests rigidity, yet his approach is flexible and intuitive. He carries himself with a quiet confidence, never needing to announce it. Part Jason Bourne, part Willy Wonka. Justin isn’t just cooking food, he’s making magic.
By the time I leave, my understanding of the assignment has shifted. What I expected to be a story about food has become something broader, more nuanced. It’s about care. About connection.
That sense of purpose extends beyond the kitchen. When I ask Justin what’s next, he speaks not just about growth and ambition, but about balance — about building a life that allows space for both. There’s a quiet acknowledgment of Cheyenne, his partner of five years, woven into that answer. Not as a headline, but as something steady and grounding, part of how he measures what comes next.
I arrived thinking I would write about a chef. What I found instead was someone who uses food as a language — a way to communicate, to connect, and to create something that stays with you.
The only way to experience Chef Justin’s cooking is to step inside his world — by checking into The Addy Sea Inn (www.addysea.com) or securing a ticket to one of the inn’s limited public events, including the Spring Soirée and the Toys for Tots Holiday Fundraiser. There’s no standalone restaurant, no reservation to book online. His food exists within the rhythm of the inn itself.
In louder, larger kitchens, “Yes, chef!” is a command — sharp, immediate, unquestioned.
But here, at the edge of the ocean, it lands differently.
Not as an order.
As trust.
And maybe that’s the real story — not the food, not the title, but the quiet, deliberate way Chef Justin Fritz makes people feel something they don’t forget.
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Memorial for groundbreaking bisexual activist set for May 2
Loraine Hutchins remembered as a ‘force of nature’
The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m.
Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com.
An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all.
Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.
In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”
“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.
“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”
“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”
“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day.
Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.
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