According to actor/producer Gareth Koorzen, half of the two-man team responsible for “The One You Feed,“ the concept for the movie came to him in a dream.
That advance knowledge might help when you sit down to watch this new, queer-skewed thriller, because without it, you’re likely to be very confused.
Set in an unforgiving wilderness, it follows a young man (played by Koorzen) who wakes up in an isolated farmhouse after being mauled by a mysterious animal during a desert camping trip. He is in the care of a woman (Rebecca Fraiser) in an old-fashioned pioneer dress, who has cleaned and bandaged his wounds but offers no information about where they are or how he got there; her muscular, long-haired buck of a husband (director Drew Harwood, the film’s other creative partner) is a mostly silent figure who tends the chickens that seem to serve as the couple’s only source of sustenance. As the stranger recovers, he becomes part of an unpredictable, sexually charged household dynamic that alternates between tenderness and abuse; gradually, he realizes that this enigmatic couple are both his rescuers and his captors, yet his impulse to escape is tempered by a growing attraction he feels to the husband, in whom he senses both a kindred spirit and a dim recognition of something from his own disjointed memories.
Even that brief synopsis is enough to tell you that “The One You Feed” draws inspiration from that certain genre of horror film centered around mysterious, possibly murderous hicks in a remote rural setting – the kind of movie that found its zenith in “The Texas Chainsaw Massacre” and spawned decades worth of similarly themed gorefests from there. But what becomes clear only upon watching are the roots that can be traced – albeit through a few tangles – to a range of cinema artists from Jean Cocteau to David Lynch. Esoteric and illogical (or rather, following a hidden logic of its own), the film as conceived by Koorzen and Harwood evokes not only a dreamlike reality, but plays like a surrealist morality play, a kind of parable about things so primal that they – like the characters themselves – don’t even have a name.
Fortunately, the filmmakers themselves have answered at least a few of the questions that arise from their ominous opus, which is now available on Amazon and other VOD platforms. For instance, we know there’s romance underneath all the backcountry creepiness. As Koorzen further explains in the film’s publicity material, “We wanted to tell this love story between two men in a dreamlike manner.”
“We really wanted to make an LGBTQ film that expanded our current understanding of sexuality,” adds Harwood, who besides directing also wrote the screenplay with his co-star. “We want to help normalize sexuality and sexual orientation and remove labels… We wanted to display sexuality and sexual expression in its simplest form and for that to be beautiful. I really feel like we succeeded.”
In fact, there is a kind of beauty to “The One You Feed.” Harwood brings a studied sensibility to his work behind the camera, displaying a knack for the visually striking in his choice of framing and angles; even more effective is the filtered, golden sheen of Samuel Ott’s cinematography, which goes a long way toward capturing the hallucinatory aesthetic required to render the impression of a lucid dream.
In terms of depicting the beauty of human sexuality, however, any claim of success would have to be described as subjective, at best. For one thing, the depictions of actual sex that occur – and they do, in both opposite-sex and same-sex pairings – are so intertwined with domination, punishment, and hostility that they will likely feel to most viewers like problematic expressions of a fetish. On top of that, though the film features many scenes of bare skin being caressed, washed, stroked, and otherwise sensually explored, each of these are so coupled with a tangible sense of non-consensually invasive transgression – along with more than a dash of body horror – that they become about as un-sexy as naked flesh can be.
The problem goes deeper than that, though. In building their ambitiously archetypal saga, Koorzen and Harwood have pushed so far into the realm of the unconscious that their film becomes not only opaque, but obtuse. Their messaging about sex and sexuality is jumbled together with observations about the struggle for power in personal relationships, the conflation of roles between oppressor and protector, the animalistic impulses that can blur the thin line between sex and violence, the projection of our own desires and fears onto the world and the people around us, and any number of other weighty, wide-open topics that could (and have) provide fodder, each to themselves, for a thousand other movies.
The result comes across mostly as a confounding muddle. While the deliberate vagueness of circumstance effectively serves the movie’s disorienting tone, it leaves the audience so distracted by trying to make sense of the situation in front of their eyes that they have little attention left for contemplating any of the deeper subjects being explored within it. It’s a problem that can’t be fixed by the simple suspension of disbelief necessary to avoid questioning the plot holes in similar horror movies; the questions we are forced to ask ourselves in this movie go far beyond watching a masked killer catch up to his fleeing victims even when he never moves faster than a shamble – they have to do with basic information that the characters not only never seek for themselves, but don’t even seem interested in finding out.
Part of this has to do with the aforementioned surrealism that goes hand in hand with the movie’s dream-ish milieu. While at times “The One You Feed” might spark comparisons to the work of playwrights like Beckett and Pinter, whose characters often interact within a timeless setting and behave according to inexplicable motivations, it never approaches (or even seems to acknowledge) the absurdity inherent in its action – something that, arguably, almost defines the work of those pioneering artists. Likewise, while it seems imbedded with symbolism that is keyed to deeply personal associations from its creators – much like the work of David Lynch – those symbols are at once too ordinary and too oblique to make us care.
All of that could have been alleviated, perhaps, by a cast capable of finding truth within the conceits and translating them to the screen in a form that at least resonates with real human emotion. The performances we get instead are little more than adequate, perhaps the most obvious manifestation of the amateurish feel that keeps the movie from ever realizing its hypothetical potential.
Does that mean “The One You Feed” isn’t an interesting piece of filmmaking? Not necessarily. There is much to fascinate in this leisurely paced (but mercifully short) art film/horror hybrid, and curious fans of the genre may well find themselves engaged in spite of its shortfalls.
On the other hand, they might be better entertained re-watching “The Hills Have Eyes.”
Dorian Awards cast a queer eye on television
Netflix favorite ‘Heartstopper’ nabs three nominations
As Hollywood gears up for the year’s second “Awards Season” ahead of July 12’s scheduled announcement of the 2022 Emmy nominations, it seems only fitting for us to bring some attention to another awards organization that has already dropped its picks for the year’s best in TV content. We’re referring, of course, to the Dorian Awards, which have been bestowed by the Society of LGBTQ Entertainment Critics since 2009.
If you’ve never heard of the Dorians, that’s not surprising. In keeping with the entertainment industry’s frustratingly persistent skittishness when it comes to All Things Queer, the Dorians haven’t gotten much attention in the mainstream press – though with a 385-member voting body and a scandal-free history, they are arguably more reputable than the Golden Globes. Named in honor of iconic queer writer Oscar Wilde (as a reference to his novel “The Picture of Dorian Gray”), they are admittedly low profile when it comes to glitz and glamour, handing out their prizes at an annual “Winner’s Toast” day party instead of a formal evening affair. Nevertheless, they’ve gained traction as Hollywood’s attitudes toward LGBTQ inclusion and representation have shifted, and each of their two annual ceremonies – one for TV, one for film, held about six months apart – draw an increasing number of A-listers to participate, both as nominees and presenters; and while the Dorians may not hold the level of prestige enjoyed by some of the industry’s other awards, at least we can be sure their voting membership won’t overlook queer shows and talent as often as their counterparts at the Motion Picture and Television Academies.
That doesn’t mean the Dorians are exclusively focused on LGBTQ content. The Society of LGBTQ Entertainment Critics – formerly known as the Gay and Lesbian Entertainment Critics Association, or GALECA – explicitly states that its awards are to honor “the best in film and TV, mainstream to queer+”, while calling attention to the importance of queer contribution and sensibility within the wider culture and reminding “bullies, bigots, and our own at-risk youth that the world loves the sly Q eye on entertainment.” With some state governments and the SCOTUS itself dedicating themselves an all-out assault on the LGBTQ community and its hard-won rights, that last point seems particularly resonant; with so much homo- and transphobic hate pouring its efforts into erasing us, our visibility is more crucial than ever.
Fortunately, as the slate of Dorian nominees announced by GALECA on June 22 reveals, the queer presence on television is strong. No longer segregated to a “niche” genre, the LGBTQ community has finally begun to appear on our screens as it does in life – blended, alongside everyone else, into a world that has room for us all. That’s what ideal inclusion looks like, and it’s heartening – especially now – to see that it has become the norm in so much of the industry’s best offerings.
This year, HBO leads the pack in terms of nods. Two of its heavily queer-inclusive shows, “Hacks” and “Somebody Somewhere,” received five nominations each, while “Euphoria” and “The White Lotus” snagged 4 and 3, respectively. In total, the cable-and-streaming giant got 24, with an additional 13 for programming exclusively on HBO Max, bringing the total to 37.
Coming in second with less than half that number is Netflix. Among its 15 nominations are three nods for “Heartstopper,” the runaway queer fan favorite based on a sweet UK webcomic about two schoolboys in love, and two each for Natasha Lyonne’s brain-twisting time travel dramedy “Russian Doll” and the already-award-winning Korean thriller “Squid Game.”
New series scored high among Dorian voters this year. Besides “Heartstopper” and “Somebody Somewhere,” ABC’s “Abbott Elementary,” Showtime’s “Yellow Jackets,” and Apple TV+’s “Severance” each received multiple nominations, with many other freshman titles picking up individual nods.
As for the awards themselves, the Dorians feature fewer overall categories – instead of being split into “gendered” divisions, actors of all genders compete for a single award in each category – and set themselves apart by striking a mildly tongue-in-cheek pose in the presentation of its “special” accolades. In presenting awards like Campiest TV Show or the brand new “You Deserve an Award” award, the Dorians give a tip of the lavender hat to the tradition of Wildean wit at their back – but they also assert the importance of queer perspective when it comes to taste-making and the aesthetic arts.
Nominees for the 14th Annual Dorian TV Awards (honoring shows which debuted June 1, 2021-May 31, 2022) are listed below. Winners will be revealed on Wednesday, Aug. 12.
BEST TV DRAMA: “Better Call Saul”; “Heartstopper”; “Yellowjackets”; “Severance”; “Succession”
BEST TV COMEDY: “Abbott Elementary”; “Barry”; “Hacks”; “The Other Two”; “Our Flag Means Death”
BEST LGBTQ SHOW: “Hacks”; “Heartstopper”; “The Other Two”; “Our Flag Means Death”; “Somebody Somewhere”; “RuPaul’s Drag Race”
BEST TV MOVIE OR MINISERIES: “Dopesick”; “The Dropout”; “Midnight Mass”; “Station Eleven”; “The White Lotus”
BEST NON-ENGLISH LANGUAGE TV SHOW: “Elite”; “Lupin”; “My Brilliant Friend”; “Pachinko”; “Squid Game”
BEST UNSUNG SHOW: “Better Things”; “The Other Two”; “Our Flag Means Death”; “Russian Doll”; “Somebody Somewhere”; “We Are Lady Parts”
BEST TV PERFORMANCE: Quinta Brunson (“Abbott Elementary”); Kit Connor (“Heartstopper”); Bridget Everett (“Somebody Somewhere”); Bill Hader (“Barry”); Lily James (“Pam & Tommy”); Natasha Lyonne (“Russian Doll”); Melanie Lynskey (“Yellowjackets”); Amanda Seyfried (“The Dropout”); Jean Smart (“Hacks”); Zendaya (“Euphoria”)
BEST SUPPORTING TV PERFORMANCE: Murray Bartlett (“The White Lotus”); Anthony Carrigan (“Barry”); Jennifer Coolidge (“The White Lotus”); Hannah Einbinder (“Hacks”); Jeff Hiller (“Somebody Somewhere”); Janelle James (“Abbott Elementary”); Matthew Macfadyen (“Succession”); Christina Ricci (“Yellowjackets”); Rhea Seehorn (“Better Call Saul”); Sydney Sweeney (“Euphoria”)
BEST TV MUSICAL PERFORMANCE: Beyonce, “HYPERLINK “https://www.youtube.com/watch?v=4aeDlZOD-B0″Be Alive” (94th Academy Awards); Kristin Chenoweth and cast, “HYPERLINK “https://www.youtube.com/watch?v=_PmS5JIfSkk”Tribulation” (“Schmigadoon!”); Bridget Everett and Jeff Hiller, “HYPERLINK “https://www.youtube.com/watch?v=As-a_bzFrl0″Don’t Give Up” (“Somebody Somewhere”); Jean Smart, “You Make Me Feel Like a Natural Woman” (“Hacks”); Cecily Strong and cast, “HYPERLINK “https://www.youtube.com/watch?v=Dj5mJGyoYIM”Corn Puddin’” (“Schmigadoon!”); Hannah Waddingham and cast, “HYPERLINK “https://www.youtube.com/watch?v=4B0HktX4xqQ”Never Gonna Give You Up” (“Ted Lasso”)
BEST TV DOCUMENTARY OR DOCUMENTARY SERIES: “The Andy Warhol Diaries”; “The Beatles: Get Back”; “How to with John Wilson”; “Spring Awakening: Those You’ve Known”; “We Need to Talk About Cosby”
BEST CURRENT AFFAIRS PROGRAM: “The Amber Ruffin Show”; “The Daily Show with Trevor Noah”; “Full Frontal with Samantha Bee”; “Last Week Tonight with John Oliver”; “The Late Show with Stephen Colbert”; “The Rachel Maddow Show”; “ZIWE” (Showtime)
BEST ANIMATED SHOW: “Arcane”; “Big Mouth”; “Bob’s Burgers”; “Q Force”; “Tuca & Bertie”; “What If…?”
BEST REALITY SHOW: “Legendary”; “The Real World Homecoming: New Orleans”; “RuPaul’s Drag Race”; “Survivor”; “Top Chef: Houston”; “We’re Here”
MOST VISUALLY STRIKING SHOW: “Euphoria”; “The Gilded Age”; “Loki”; “Severance”: “Squid Game”
CAMPIEST TV SHOW: “Diana: The Musical”; “Euphoria”; “Girls5Eva”; “Nine Perfect Strangers”; “Schmigadoon!”
WILDE WIT AWARD (to a performer, writer or commentator whose observations both challenge and amuse): Joel Kim Booster; Quinta Brunson; Jerrod Carmichael; Jennifer Coolidge; Bowen Yang
THE “YOU DESERVE AN AWARD!” AWARD (to a uniquely talented TV icon we adore): Gillian Anderson; Christine Baranski; Lynda Carter; Kim Cattrall; Cassandra Peterson
GALECA LGBTQIA+ TV TRAILBLAZER (for creating art that inspires empathy, truth and equity): Jerrod Carmichael; Margaret Cho; Russell T. Davies; Kate McKinnon; Bowen Yang
‘Wildhood’ explores queer Indigenous experience
An example of personal filmmaking at its most sublime
It’s hardly news to say that the movies have a less-than-ideal track record when it comes to authentic representation – or, really, any representation at all – of Indigenous people. For most of its history, Hollywood’s “dream machine” dutifully perpetuated the narrative that, with very few exceptions, “the only good Indian is a dead Indian,” and even after the cultural tide began to turn, filmmakers who attempted to propagate a more compassionate viewpoint usually muted their efforts with stereotyped portrayals of Native Americans that presented them either as comic relief or tragic victims of oppression – when they weren’t being idealized as magical fonts of ancient wisdom, that is – and did little to convey the reality that they were really just human beings like the rest of us.
It goes without saying that the LGBTQ community can relate. But though things have gotten somewhat better for us in recent years, we are still hard pressed to think of many examples of films in which Indigenous people have not been essentially marginalized – and when we try to think of movies with Indigenous people who are also queer, the best most of us can do is “Little Big Man,” the 1970 Arthur Penn western in which Dustin Hoffman is raised by a Sioux Nation tribe and grows up with a Two Spirit character named Little Horse (played by Native actor Robert Little Star) as his friend. For the record, it’s a sympathetic portrayal, if not quite fully drawn. It was also nearly 60 years ago, and we’re still waiting for another mainstream movie to show us a more authentic vision of queer Native experience.
While Hollywood continues to drag its feet on correcting that gap, however, Canadian/L’nu Two Spirit/nonbinary filmmaker Bretten Hannam has been hard at work to bring their own perspective to the screen – and their debut feature film, “Wildhood,” which launches on Hulu June 24, is as much a breath of trope-free air as one could wish.
Disregarding expectations about Indigenous identity right out of the gate, it centers on Link (Phillip Lewitski), a half-Mi’kmaq teenager who lives with his younger half-brother Travis (Avery Winters-Anthony) in a rural trailer park on the coast of Nova Scotia. Their home life is toxic, with an abusive father (Joel Thomas Hynes) more interested in training them for a life of crime than in taking care of their basic needs; when Link learns that his Mi’kmaw mother may still be alive – despite what he had been told since early childhood – he abruptly decides to steal away with Travis and make a run for it, hoping to locate her and find a better life in the process.
Ill-prepared for a cross-country journey, an early encounter brings them quickly under the wing of Pasmay (Joshua Odjick), a Two Spirit Mi’kaq pow wow dancer traveling from gig to gig. Though Link is hesitant to trust this interloper and the two are frequently at odds, he gradually warms to Pasmay, and an emotional bond begins to grow between them as the three young travelers make their way across the Canadian wilderness together.
It’s not hard to gather where things go between Link and Pasmay, and together with the quest to reconnect Link to his estranged mother and the Native heritage she represents, it should be obvious enough that this is a coming-of-age tale whose protagonist yearns to embrace more than one neglected facet of his identity. Yet though it might be easy to classify “Wildhood” as a teen “coming-out” movie, it would also be misleadingly dismissive.
Like its central character, it’s a movie with many questions to be asked and answered, and sexuality is only one of the many elements woven together in Hannam’s briskly paced yet intricately layered screenplay. No one in the movie needs to “come out,” exactly; it’s easily gleaned that Link knows from the start that he is gay, or at least someplace on the queer spectrum, even if he doesn’t know that getting comfortable with that fact might be tied up in the journey ahead of him. As for Pasmay, they’re fully comfortable with their Two Spirit nature, yet the past trauma of family rejection is something they have yet to fully overcome. As these two walk together – accompanied by the one-eyed but clear-sighted Travis, who is working through family issues of his own – their growing closeness requires them to grapple with these lingering fears, providing a framework through which Hannam can subtly illuminate the differences between the world views held by white and Indigenous cultures.
With an Indigenous queer filmmaker behind the camera, the takeaway from that contrast inevitably emphasizes the opposition between two different cultural conceptions of queerness itself, and rightly so. As for their direction, Hannam’s remarkably self-assured visual storytelling effortlessly complements the nuances of their screenplay to mesmerizing effect, making all these intellectual-sounding themes arise like thoughts in a meditation, to be noted as they pass and remembered later. No doubt it helped that “Wildhood” was expanded by Hannam from an award-winning 2019 short; in any case, the result is a film with an easy, natural flow that neither shies from emotion nor dwells in it, and culminates exactly where we hoped while taking us places we never expected to go.
As for the acting – a crucial element in making any film rise to its highest aspirations – Hannam’s cast not only serves them well, but are so perfectly attuned to their movie’s delicate spirit that they seem not to be performing at all. The nonbinary Odjick, charismatic without being showy, exudes a confident compassion that makes a perfect complement to Lewitski’s awkward and angry teen rebel, and the easy chemistry between them helps to make the latter’s lowering of defenses all the more believable. Winters-Anthony gives a stunningly genuine performance as Travis, helping to bring full weight to the all-important theme of chosen family; and Michael Greyeyes (the film’s most recognizable face, thanks to TV roles in “True Detective” and “Fear the Walking Dead,” among other titles) gives a memorable turn as a helpful stranger who facilitates Link’s eventual reunion with his mother – in exchange for a favor, of course.
“Wildhood” comes to Hulu after becoming a hit on the Festival Circuit in 2021, where it was an official selection at both TIFF and AFI Fest and won awards at both the Canadian Screen Awards (for Odjick’s performance) and the Palm Springs International Film Festival. That provenance is a testament to the importance of such festivals in amplifying the voices of marginalized artists and allowing them to tell their stories – but it’s not the reason for putting the movie at the top of your must-stream list, nor is the fact that it’s an embarrassingly rare example of Indigenous queer inclusion on the screen. Ultimately, the reason for watching “Wildhood” is that it is an example of personal filmmaking at its most sublime, existing at the intersection of personal experience, public enlightenment, and popular entertainment.
That’s a big burden to bear, but “Wildhood” never feels weighed down. On the contrary, it leaves us with a sense of freedom and acceptance that is lighter than air.
Summer of 2022: a queer screen roundup
Kevin Bacon stars in queer horror flick ‘They/Them’
Since the summer season starts with Pride month, we can always count on June bringing plenty of great LGBTQ entertainment options to our screens. This year has been particularly bountiful – we’ve already highlighted several standout titles for our readers, like the smart, sophisticated, and stingingly funny rom-com “Fire Island” (now streaming on Hulu) and the dazzlingly diverse re-imagination of the iconic series “Queer as Folk” (available to watch on Peacock), as well as the return of “Love, Victor,” Hulu/Disney’s popular coming out/coming of age series (beginning its third and final season on June 15) – so it’s understandable if viewers are still making their way through these and some of the other movies and shows on our must-see list.
If you’re one of those who are still catching up, however, you’d be well advised to do it quickly. June is not quite done rolling out its offerings, and that’s just the beginning. The rest of summer has more in store for queer viewers – and once again, the Blade is here to offer some suggested titles that we think are worth looking out for in the weeks to come.
Being BeBe (Now streaming, Apple TV/Prime Video/broadcast premiere June 21 on Fuse)
Director Emily Branham brings us this intimate documentary charting 15 years in the life of drag performer Marshall Ngwa (aka BeBe Zahara Benet), who immigrated to America from the homophobic environment of his native Cameroon before becoming the first champion on “RuPaul’s Drag Race” and launching a career as one the leading artists celebrating Black Queer Excellence today. It’s an up-close look at a performer whose emotional journey raises timely concerns at the intersection of LGBTQ, BIPOC, and immigrant lives today.
The Umbrella Academy, Season 3 (June 22, Netflix)
The popular comic-book-inspired fantasy drama series comes back for a much-anticipated third installment after leaving its titular collection of superhero siblings stranded in a strange timeline at the end of the last one. Hip and irreverent, this violent, decidedly adult superhero saga had a huge cult following even before Netflix brought it to the screen, and show creator Steve Blackman’s slick, stylish adaptation of it has spawned a whole new army of fans – many of them queer, thanks to the material’s inclusion of two queer characters among the leads and an “outsider” vibe that gives it a generally queer sensibility. This season will surely be essential viewing for LGBTQ viewers, since it marks the return of Elliot Page to the character he originated before transitioning, in a storyline carefully crafted by Blackman (who consulted with GLAAD and brought in writer Thomas Page McBee to consult, alongside Page himself) in which the character (formerly Vanya) transitions to become Viktor and begins using he/him pronouns – a historic moment in television, whether you’re a fan of superhero shows or not. Besides Page, the series stars Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, Justin H. Min, Colm Feore, Ritu Arya, and Justin Cornwell.
Where the Crawdads Sing (July 15, in theaters)
Though Delia Owens’ best-selling novel does not tell a specifically queer story, it has drawn many queer fans. That’s probably because its lead character Kya, an abandoned girl who raised herself to adulthood in the dangerous marshlands of North Carolina, is relegated to the status of “other” when she is drawn into the nearby town community by two young men – and it doesn’t help matters when one of them turns up dead. Starring Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., and David Strathairn, this screen adaptation was written by “Beasts of the Southern Wild” scribe Lucy Alibar and directed by Olivia Newman.
Anything’s Possible (July 22, Prime Video)
We may have thought we had seen all multi-hyphenate performer Billy Porter’s many talents, but we were wrong. The Tony- and Emmy-winning Porter makes his debut as a feature film director with this “delightfully modern” Gen Z coming-of-age story about a confident trans high school girl named Kelsa who is busily navigating her way through senior year when she discovers that a shy classmate has developed a crush on her. Written by Ximena García Lecuona, the story is described as “a romance that showcases the joy, tenderness, and pain of young love,” and it stars Eva Reign, Abubakr Ali, and Renée Elise Goldsberry. And in case you’re wondering, Porter does not appear, himself – though he is credited as Executive Music Producer alongside Justin Tranter, which is yet another reason to look forward to this one.
Uncoupled (July 29, Netflix)
Neil Patrick Harris returns to the sitcom milieu that has brought him fame in a sitcom so perfect for him it’s shocking nobody ever thought to make it before – but perhaps we had to wait for him to be the right age to play Michael, a 40-something gay man who thinks he has a picture perfect life until his husband blindsides him by walking out the door and away from their marriage after 17 years together. He’s now confronted with the nightmare scenario of being middle-aged, queer, and single in New York City – but when he starts to recognize the possibilities of living a single life, he decides to make the most of it. From “Emily in Paris” creator Darren Star and longtime “Modern Family” producer Jeffrey Richman, it looks to be a prime opportunity to enjoy Harris at his comedic best in a sharp, sexy, and very queer eight episodes of television.
They/Them (August 5, Peacock)
From horror cinema heavy-hitters Blumhouse Productions comes this queer fright flick (pronounced “they-slash-them”) described as a “queer empowerment story set at a gay conversion camp” and starring Kevin Bacon as a counselor hoping to help his “guests” find “a new sense of freedom” by shedding their queerness. Unfortunately, a mysterious killer starts claiming victims, and the campers must work together to protect themselves from more than just heteronormative programming. Oscar-nominated screenwriter John Logan (also responsible for the beloved horror series “Penny Dreadful”) created, wrote, and directs, bringing his vision as an out gay man to a classic genre with surprisingly few queer entries. Kevin Bacon, Anna Chlumsky, Theo Germaine, Carrie Preston, Quei Tann, Austin Crute, Monique Kim, Anna Lore, Cooper Koch, and Darwin del Fabro star.
Besides all these, don’t forget we also have new seasons of queer-inclusive sitcoms “Rutherford Falls” (June 16, Peacock) and “What We Do in the Shadows” (July 12, FX), so there will be more than enough strong LGBTQ content to hold us over until the release of Billy Eichner’s hotly anticipated gay rom-com “Bros” in September – but you’ll have to wait until our Fall Preview issue to find out more about that.
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