Arts & Entertainment
In diverse slate of winners, Oscar is the biggest loser
Best Actor winner Anthony Hopkins (center) with co-star Olivia Colman in “The Father” (image courtesy Sony Pictures Classics)
We knew the Academy Awards were going to be different this year.
Forced by Covid to reimagine its traditional presentation format, the movie industry’s most prestigious awards show convened not at Hollywood’s Dolby Theatre — at least, not for most of it — and opted instead to broadcast the ceremony from the relative intimacy of Los Angeles’ historic Union Station, where a small audience of nominees, presenters and guests gathered under “live set” safety protocols while other participants connected from various remote hook-ups across the world. Instead of auditorium seating, tables; instead of an orchestra, Questlove. In addition, show producers Steven Soderbergh, Jesse Collins, and Stacy Sher chose to shoot the event cinematically, employing the tricks and techniques of film to transform the evening from the stodgy affair so many of us love to hate into something resembling a movie. As promised during the week ahead of the broadcast, the show was going to tell a “story.”
It was a gamble that didn’t pay off.
Things started out promisingly enough, it must be said, with an opening tracking shot that followed host Regina King from the bright L.A. sunshine into the cool darkness of Union Station. The motion, the music, and most of all King’s commanding presence, gave us the sense that something big was about to happen. Then, early in her opening comments to the audience, King brought substance to the weight by commenting that “if things had gone differently in Minneapolis this week, I might’ve traded in my heels for marching boots” — reminding us (as if it were needed) of the national focus on Black justice that hung alongside Oscar’s long-lamented struggle with diversity like a shadow over the evening. The central theme of this Oscar “movie,” it seemed, had been firmly established.
For awhile, it seemed to be working. The evening’s first winners were Emerald Fennell for Best Original Screenplay, for “Promising Young Woman,” and Florian Zeller for Best Adapted Screenplay, for “The Father,” appearing to set a tone for the ceremony in which recognition would be spread around to all — something very much in tune with the presumed subplot of the “story” we were being told, in which Oscar would redeem itself from the #OscarsSoWhite associations of its past and prove itself to be a champion for fair and equal diversity, after all.
Soon after, Daniel Kaluuya took the award for Best Supporting Actor – no surprise there, as his performance as slain Black Panther leader Fred Hampton in “Judas and the Black Messiah” had won the equivalent prize from every other major film awards so far — firmly establishing the “redemption” theme by celebrating the powerful work of a Black actor in a true-life story that addressed the corruption and tragedy of systemic racism in America. A pair of awards for “Ma Rainey’s Black Bottom” (Best Makeup and Styling, Best Costume Design), as well as a win for the police-violence-themed “Two Distant Strangers” as Best Live-Action Short, reinforced it even further. Better still, a shout-out to trans acceptance from “Ma Rainey” stylist Mia Neal in her speech, and a plea from “Strangers” writer/director Travon Free for audiences not to be “indifferent to our pain” in his, lent a powerful sense of earnestness that made the whole thing feel authentic. Maybe this year, Oscar was finally getting it right.
Unfortunately, the Oscar “story,” in its effort to be inclusive, allowed all the winners to talk until they were done. In other words, Questlove did not start playing anyone off when they had used up their time, and the ambitious “movie” of the Oscars soon began lose any momentum it had built. This is not to say that the winners don’t deserve their time in the spotlight, or that some of the things that were said were not worthy of being heard; but anyone in show business should know the importance of keeping your audience interested, and the Academy Awards have such a long history of running ponderously overtime that it seems some kind of middle ground might have been reached.
There were other familiar complaints, too. The annual “in memoriam” segment inevitably left out some important names (Ann Reinking, Jessica Walter, “Glee” star Naya Rivera, and former Oscar nominee songwriter Adam Schlesinger, to name just a few), and there was an awkward segment in which Questlove played “Oscar trivia” with audience members, who were asked to identify movie songs that did NOT win the Academy Award. The latter situation was almost saved by nominee Glenn Close, who did an “impromptu” rendition of “Da Butt” that was as goofily charming as it was obviously pre-planned.
As the show wore on, the cinematic conceit chosen to revitalize the proceedings became mostly irrelevant in the face of Oscar’s usual baggage. Further, the absence of any performances of the year’s nominated songs, typically a favorite feature of fans at home, meant there was little respite from the dullness, which was made all the more apparent by the increasingly bored faces of the onscreen audience. The omission may have been due to the difficult logistics of additional Covid protocols, but surely pre-taped performances might have helped to perk things up. For the record, Best Original Song went to “Fight For You,” from “Judas and the Black Messiah.”
Along the way, there were noteworthy wins. The much-loved Pixar-Disney film “Soul” took the award for Best Animated Feature, as well as winning Best Original Score for composers Trent Reznor, Atticus Ross, and Jon Batiste; the virally popular “My Octopus Teacher” won for Best Documentary Feature; David Fincher’s black-and-white old-Hollywood homage “Mank” took the prizes for Best Production Design and Best Cinematography, continuing the trend of spreading out the wealth among the front-running contenders; in presenting Best Film Editing to “The Sound of Metal,” still-hunky Hollywood curmudgeon Harrison Ford gave an amusing nod to “Blade Runner,” the revered 1982 sci-fi film in which he starred, by reading the scathingly negative studio notes from a pre-release screening; and Best Supporting Actress went to veteran performer Yuh-Jung Youn for her work in “Minari,” making her only the second woman of Asian heritage to win the award (the first was Miyoshi Umeki for 1957’s “Sayanora”) — and making Close, who was nominated for her role in “Hillbilly Elegy,” tied with Peter O’Toole as the actor with the most nods without a single win.
By the time we reached the presentation of the four top prizes, there was little left of whatever enthusiasm had been drummed up by the opening segment of the show. Chloe Zhao’s expected win as Best Director, for “Nomadland,” making her the first Asian-American woman (and only the second woman, period) to receive the award, was an appreciated high point for her enthusiastic gratitude alone, but at this point, things had become pretty much business as usual, despite the grand designs and cinematic flourishes of the producers.
Then, the big twist came. Best Picture, always the final award of the evening, was being announced before the Lead Acting awards. What was happening? Was the Oscar “movie” about to give us a surprise ending?
The winner, “Nomadland,” had been favored, and star Frances McDormand helped to make the moment a highlight with a “wolf” howl (dedicated to sound mixer Michael “Wolf” Snyder, who passed away last month) when she joined the film’s other producers at the podium, but surely neither of those things warranted switching the order. Perhaps a clue to what was really happening could be found in the choice of presenter – Hollywood icon Rita Moreno, still fabulous at 89, whose Best Supporting Actress win for 1961’s “West Side Story” happened to have made her the first Hispanic woman to win an Oscar. Was this reminder of diversity from the Academy’s past a sign that the “redemption” theme was about to pay off?
It suddenly became obvious. The Oscar “movie” was leading up to an emotional finale, a big and uplifting triumph that would not only be a celebration of diversity, but a tribute to a gifted young man whose talents had been taken away from us too soon. The story of Oscar’s redemption would culminate in the posthumous awarding of the Best Actor prize to Chadwick Boseman, whose nominated performance in “Ma Rainey’s Black Bottom” was the last work he completed before losing his private battle with colon cancer and passing away at 43 last August. That would definitely be a “wow” finish.
Best Actress came first, accompanied by some suspense due to being one of the few categories without a clear front-runner. McDormand took the statue for “Nomadland,” joining a small handful of other performers as a three-time-winner and preventing “Ma Rainey” star Viola Davis from becoming the first Black actress to win twice. Her speech was refreshingly short and humble, a tribute to the joy of “the work” which included a quote from Shakespeare’s “Macbeth” (“My voice is in my sword”) – a play considered by actors worldwide to be “cursed,” which in retrospect casts an interesting light on what happened next.
To present the final award, last year’s Best Actor winner Joaquin Phoenix (looking exceptionally uncomfortable) came to the mike and, after a feeble joke about his reputation for method acting, read off the five nominees before opening the envelope to bring about the now much-anticipated denouement.
“And the Oscar goes to… Anthony Hopkins, ‘The Father.’”
It wasn’t quite “fade to black, roll credits” after that, but it might as well have been.
There was no uplifting finale, no redemption of the Academy as a reward for its show of diversity. There was only another in a long-running series of gaffes (remember the “La La Land” vs. “Moonlight” debacle from just a few years back?) that have made the Oscar show’s tendency to mess things up a running joke.
This one, however, was possibly the worst. In an arrogant attempt to shape a narrative out of real life events that hadn’t even happened yet, the Academy seems to have chosen to manipulate its audience into an emotional reaction — one that would have bolstered its own reputation and perhaps made up for some of its former perceived missteps — while exhibiting a cynical overconfidence in its own ability to predict the sentiments of its voters. As a result, its “wow” finish turned into an abrupt and uncomfortable faux pas, diminishing both Hopkins’ victory for a career-topping performance (which, at 83, makes him the oldest acting winner in Oscar history) and Boseman’s searingly powerful work by obscuring their accomplishments behind a colossal f*ck-up born of its own hubris.
It’s worth noting that a plan was (reportedly) in place in the supposedly “unlikely” event that Hopkins would win, in which “Father” co-star Colman – known for her disarming grace and humor in awards situations – would have accepted the award in his absence. As reported by The Guardian, Phoenix forgot to call her to the stage, resulting in the dull thud that was the end of the 93rd Academy Awards. Regardless, the Academy has only itself to blame. In its eagerness to tell the story it wanted to tell about itself, it appears to have forgotten that you have to know the ending first.
Ironically, when removed from all the drama, the list of winners does represent one of the most diverse and inclusive slates in Oscar history. It’s not enough, but it’s a start.
On that note, as a final observation, the LGBTQ community, despite recent strides in being acknowledged by Oscar, went largely unacknowledged at this year’s ceremony, with queer front-runners like “Two of Us” (a French contender for Best International Feature) and David France’s devastating “Welcome to Chechnya” (shortlisted for Best Documentary Feature) having been shut out of the nominations and no significant queer content among most of the nominated films. Apart from Neal’s aforementioned invocation of trans acceptance as part of a possible future in which the recognition of all women for their achievements would be “normal,” the only other time we came up was during Tyler Perry’s acceptance speech for the Jean Hersholt Humanitarian Award.
Perry, whose highly popular films are frequently criticized for embracing borderline homophobic and transphobic humor and perpetuating problematic tropes about gender and sexuality, gave a speech calling for people to “refuse to hate” anyone “because they are Mexican, or because they are Black or White, or LBGTQ” or “because they are a police officer” or “because they are Asian.” Apart from the conflation of being a police officer (a choice) with being an LGBTQ person or a person of color (not a choice), the fact that he mixed up the “B” and the “G” is a clear indicator that, while he may refuse to hate us, he’s not exactly a committed ally, either.
If the LGBTQ angle seems like a footnote to the story, that’s because it is. Once more, the queer community is left feeling like an uninvited guest by the Academy.
If Oscar wants its story to be about diversity, it’s clear that next year’s “story” needs some better writers.
While it’s not exactly a pressing topic in most people’s lives, the subject of Shakespeare’s sexuality has been hotly debated by literary scholars, theater artists, and historians for centuries. After all, not only are his plays filled with gender-swapping characters and sexual confusion, he also wrote a series of sonnets, widely considered the most romantic poems ever composed in English, and dedicated them to a mysterious young nobleman. Even in the Renaissance, when the “cult of male friendship” was a real thing and male artists could create breathtakingly erotic depictions of young men to be displayed in a church, such a bold gesture of affection from one man to another must have raised at least a few eyebrows.
It’s a controversy that isn’t likely to go away, considering the fact that anyone who might give us first-hand knowledge on the subject has been dead for about 400 years. And while some contemporary artists, across various media, have been willing to explore the playwright’s work through the lens of his possible queerness, most cinematic interpretations – with a few notable exceptions, like Derek Jarman’s “The Tempest” – have kept things decidedly hetero-centric.
Paul Warner, director of the soon-to-be-released “Hamlet/Horatio,” which riffs on a central but often overlooked relationship in Shakespeare’s most famous tragedy, can’t imagine why. A graduate of both Harvard and the American Film Institute, Warner is currently a senior instructor of acting, directing, and producing at The New York Film Academy. He’s also a Shakespeare veteran, having been involved in many stage renditions of the Bard’s work (including a rock musical version of “Twelfth Night”) throughout his career – and as he tells the Blade, it’s obvious to him that the revered wordsmith was either gay or bisexual.
“There’s a tremendous amount of exploration of gender fluidity in his work,” he says. “There’s never a label on it, but it permeates Shakespeare. There are a lot of characters who fall in love with the soul of the person, rather than the gender.”
While these themes may run through comedies like “Twelfth Night” or “As You Like It,” they are considerably less obvious in Shakespeare’s tragedies – but that doesn’t mean they aren’t there, and Warner’s new film hinges on using them to illuminate one of the most iconic male friendships in literature.
For those unfamiliar, Shakespeare’s “Hamlet” is the tale of a Danish prince, who is visited by the ghost of his recently murdered father and told to seek revenge against the murderer – none other than Hamlet’s uncle Claudius, who has not only murdered the former king but taken both his throne and his queen, Gertrude, who is also Hamlet’s mother. Seeking confirmation of the crime, Hamlet engages in a game of cat-and-mouse with his uncle, in which both Hamlet’s presumed future bride Ophelia and her brother Laertes become unwitting pawns. It goes without saying that things don’t turn out well – but through it all, one steadfast and trusted figure stands at Hamlet’s side: his confidant and companion, Horatio.
“Hamlet/Horatio,” which Warner directed from a script by playwright (and frequent stage collaborator) David Vando, reimagines the original play through an unusual conceit. In his dying moments, Hamlet (Andrew Burdette) sees his life flashing before his eyes, unfolding through a film that Horatio (Themo Melikidze) directs to tell his story. By shuffling dialogue, resetting scenes, and leaning deeply into subtext, Warner reframes Hamlet’s experience into a story of spiritual and humanistic transcendence – and reveals a deeply intimate, loving bond between these two young men that has perhaps been “hiding in plain sight” all along.
Despite his interest in exploring the relationship between Hamlet and Horatio, Warner insists that he didn’t set out to make a “gay Shakespeare movie.” Indeed, he is adamant even now that the intention behind Vondo’s script (which he helped to adapt into a screenplay) was to “move past” that conception.
“Part of it was trying not to make things ‘gay’ or ‘straight,’ or ‘this’ or ‘that’ anymore, but really it’s about two people who are flip sides of each other,” he explains. “They are spiritually two sides of the same coin. And they’re in a relationship – it’s clear that there is a repressed love there. And there’s definitely an exploration of their homosexuality, but also of the fluidity of their sexuality.
“This is why the characters don’t wear their ‘identities’ on their sleeves. We wanted to show something more closely resembling a non-binary, gender-fluid vision of love and sexuality that is part of a bigger story about human truth.”
To that end, he envisioned a version of “Hamlet” in which the Denmark’s Elsinore castle bears a striking resemblance to the Trump White House. The usurping king is a despot posing as a benefactor, exerting an authoritarian rule and setting the people close to him against each other to prove their loyalty, while his queen turns a blind eye to his increasingly obvious misdeeds.
“Maybe I’m one-sided, but I tried to depict the ‘ickyness’ of that Melania-Donald dynamic between Claudius and Gertrude,” he says, not without a hint of relish. “I’ve made her trapped, like Melania, and she’s constantly drinking – she’s an immigrant, and she doesn’t speak up because she’s controlled by his finances.”
In this light, as Warner puts it, Hamlet becomes a hero of resistance, who rises to “slay” fascism, while Horatio is the filmmaker who documents it.
“It’s ultimately about Hamlet’s spiritual journey to fullness. It’s about him letting go of rage and embracing the light.”
Yet, when all is said and done, it’s the love between these two men that shines above all else.
“Hamlet eventually sacrifices his life to root out the corruption and to save those who are still alive – which is basically Horatio, his boyfriend, because everybody else is dead.”
“Hamlet/Horatio” has already played in front of audiences at a number of festivals, and has taken honors at several of them – including a Best Feature Film Jury Award at last year’s inaugural FFTG (Film Festivals to Go) Fest. The enthusiastic response has given Warner reason to hope that, despite his “queering of Shakespeare,” his film will find a “wider audience” when it debuts on digital platforms in June.
Of course, Warner fully expects to be raked across the coals for some of the liberties he has taken, such as the choice to cast transgender Native American actor Ty Defoe as the Player King and the inclusion of a scene where Hamlet and Horatio take a steam bath together – “which is not anywhere in ‘Hamlet,’ of course,” he says with a laugh.
Still, for him, his approach to the material rings true to the source.
“There’s a timelessness in the way Shakespeare deals with the danger of rage, and how that threatens spirituality. In his plays, you always have the autocrats, who want to control others, and then you have the purer people, usually younger characters, like Hamlet, who propose love, who pursue a humanitarian vision against them. That’s Shakespeare, who was, of course, writing under a monarchy.
“And after four years of authoritarian rule under Trump, I think he was way ahead of his time.”
Travel
Palm Springs remains an ideal outdoor getaway
Safe fun with hiking and other socially distanced activities
Palm Springs, Calif., is a perfect vacation destination when you feel safe to travel again. With outdoor hiking and adventures, there is plenty of room to spread out and enjoy the desert and mountain scenery. The LGBTQ life is back open (socially distanced, outdoor dining and drinking, masks required). The LGBTQ scene includes a vibrant downtown street, Arenas, where most (but not all) of the bars are located.
The city is nestled against the dramatic San Jacinto Mountains. The often-snow-capped peaks tower over the desert community, which is arguably the most LGBTQ friendly in the country. Palm Springs is one of seven or so cities in the Coachella Valley.
GETTING THERE: I took Southwest Airlines, which has stared service from Oakland, Denver, and Phoenix, to the very handy Palm Springs Airport. To get downtown, walk across the street to the Civic Center bus (#2) to get to your hotel. I took American back through Phoenix. Service was top notch on my favorite legacy carrier, which had great in-flight entertainment and charging stations for your devices in the seat. You can also take Amtrak direct three times a week or do an Amtrak bus/train combo to get to Palm Springs. The Sunline system also runs a bus to Riverside to connect with the commuter rail system into Los Angeles.
WHAT TO DO: Hike the Indian Canyons, the ancestral home of the Agua Caliente Band of Cahuilla Indians. The desert oasis features the native Washington fan palm trees, which are the only palms actually native to the Golden State. Both Andreas and Murray Canyons are great for hiking. Palm Canyon runs along a river filled with palms and is an easy hike for all. Bring plenty of water as it can get hot on the trail.
Also hike the Henderson Trail as well or the trails at the end of Ramon Street. Both are free. Check out the modern mid-century architecture including north of downtown.
Don’t miss the LaQuinta Farmers Market on Sundays in Old Town LaQuinta (down the valley a bit). The LaQuinta Resort nearby was the destination for movie stars like Greta Garbo where you can still see her house. The beautiful grounds are worth a visit even if you don’t stay at this posh resort. Stop by Lulu’s Home and Fashion Accessories in Old Town La Quinta.
Visit the Lotus Garden Center in Palm Desert for art work and garden accessories. Take the Tram to the top of the mountain. Advance reservations are required.
Early risers may want to go for a walk or a run with the Palm Springs Front Runners/Walkers. Get the meeting times and locations at psfr.org. Work out at the World Gym. Day passes available.
WHERE TO EAT: The Public Greens Café has great juices. Enjoy the French pastries at Peninsula Pastries. Bouschet Wines also serves food in the parking lot on weekends. The creative bistro food is a must (www.boushet .com). You will find all three just south of downtown in the Sun Center strip mall. Nature’s Health Food (555 Sunrise) has great and healthy salads and other treats. Enjoy the take-out food at the park across the street.
Sherman’s Restaurant is great for New York-style deli food. You will find them downtown. The Native Food Café has a great meat free taco salad. Casa Mendoza’s Restaurant in La Quinta has great Mexican Food.
NIGHTLIFE: There’s a bar for everyone on Arenas Avenue downtown. Stacy’s has jazz and piano. Hunter’s is great for happy hour. You will find the leather crowd at the Eagle 501. Quad Z and Chill Bar are also fun as are Black Book Bar and Grill and Streetbar. Do some shopping at Gay Mart while you are in the neighborhood. All have set up outside seating to maintain social distancing and masks are required.
The Tool Shed at 600 E. Sunny Dunes Road is also fun. Enjoy a slice of pizza for $1. Farther out is the Barracks, which has a packed Sunday beer bust.
WHERE TO STAY: You cannot beat the value of the Motel 6 Downtown (660 S. Palm Canyon Drive). Just steps from Starbucks, the French Bakery, the Organic Restaurant, the Antiques District, and the Tool Shed Bar. Other options include the LGBTQ resorts, including those on Warm Sands Drive (just east of downtown). The Best Western downtown is also handy (and is right next to the Arenas area). I have also stayed at the Courtyard by Marriott. Also recommended is the Ace Hotel and Saguaro. You will find the LGBTQ resorts on Warm Sands and other locations. The Santiago resort is also very nice.
UPCOMING EVENTS: The Dinah Shore golf tournament has been moved to this fall. The Pride Parade may (or may not) be held in November.
TRAVEL TIPS: Summer is your value season as temps can be toasty. Also, you will need a reservation on weekends as the city is quite popular with the LA crowd. During the week is quieter.
Check current COVID-19 restrictions before any travel. When I was there, masks were required everywhere – inside and out including on hiking trails and sidewalks. Check COVID-19 travel recommendations from the CDC, the state of California, and Riverside County before booking your reservation to the area.
For more information, Visit Palm Springs, the official tourism website, has all you need to plan your Palm Springs vacation (visitpalmsprings.com). Check out their LGBTQ guide which has all the information you need including on the variety of LGBTQ resorts.
Bill Malcolm is America’s only LGBTQ value travel writer. Based in Indianapolis, he has written more than 30 columns that have appeared in LGBTQ publications around the country. His opinions are his own. He is not recommending travel unless authorized by the CDC, the State of California, and Riverside County. Check current COVID travel recommendations and restrictions before deciding to travel.
COVID-19 will make travel a bit more complicated this summer. Going to Europe? Taking a cruise? Visiting Hawaii, San Juan or St. Lucia? Or maybe you are planning a road trip? The rules for traveling responsibly during COVID vary greatly. Be ready to encounter a patchwork of confusing rules and requirements this summer.
Depending on what you choose to do for your well-earned escape, it is going to be necessary to educate yourself on what to expect; how to travel by the rules; and be ready to prove you have a negative COVID-19 test (and it may cost you to prove it). Trust, prepping for your trip in advance will pay off.
Your health, safety, peace of mind, and fun are an important part of the travel experience. Here are five essential tips for to ensure you have a fabulous summer getaway.
1. Research before booking your trip. Before you book your trip, be sure to understand how COVID-19 has changed the experience. Nearly everything about travel has changed due to COVID-19. Hotels, airplanes, trains, theme parks, destinations and resorts have all have modified safety precautions in place. The good news is that you will likely find fewer crowds, more space and enhanced cleaning. You may also find limited services such as curfews with bars and restaurants closing early. A driving trip within the U.S. likely will find fewer restrictions compared to an island trip.
2. Make reservations and buy tickets in-advance. Before leaving for your trip, you should book your restaurant reservations and reserve your tickets to a museum or attraction. While you might not like having to plan out your vacation in advance, you will likely find it hard to do all the things you want to do by waiting. COVID-19 means capacity restrictions, so there is limited availability especially on weekends and during peak periods. You can always make changes when you are there.
3. When flying give yourself extra time at the airport. Many stores and food establishments may still be closed or have limited service, so it will take longer to buy food and drink. Some airlines have also eliminated beverage and snack service in coach, so be ready to “Bring Your Own.” If you are used to flying first class, be ready for a curtailed (i.e. downgraded) experience as well.
4. Stay at a trusted hotel. Staying at a hotel is perhaps one of the most important travel decisions you will make. Most hotels have developed respected cleaning protocols to keep you and their employees safe. Among the hotel industry’s leaders is The Four Seasons. The Four Seasons has developed “Lead With Care” that includes both obvious hotel guest protocols and enhanced procedures behind-the-scenes including employee trainings. The Four Seasons also developed an app that provides guests with the high-standard customer service the luxury chain is known for while providing guests with privacy and limiting interactions with the team. COVID-19 has increased the costs for many hotels so it is important to stay with a trusted brand that you can count on to deliver on the safety measures promised.
5. Proof of a negative COVID test. The most complicated and expensive part of COVID-free travel will be meeting a requirement, if needed, to prove you have a negative COVID test. Hawaii, San Juan, cruise ships and other travel experiences are requiring that travelers prove they are COVID negative upon arrival at the destination or before starting your trip. Some destinations even require a mid-trip test to prove, again, that you are still COVID negative. Hawaii implemented a program that requires travelers to the islands to use a ‘trusted partner’ (so you can’t use any test and vaccinations are not accepted). You must create an account at travel.hawaii.gov, download an app, and submit results upon arrival from a COVID test within 72 hours of arrival from a trust partner. Coming from Philadelphia through Chicago, that means I had to order an expensive test from American Airlines that was sent to me by UPS, the test included a virtual call to prove my identity and a virtual assistant to show me how to properly take the nasal smear.
Within a day of sending my test back via UPS, I had my results. I printed out my negative test, uploaded my results and also downloaded the QR code to my phone. Aloha! Are you negative? Mahalo.
Jeff Guaracino is the author of two books on LGBT travel, a syndicated travel columnist and a tourism executive with more than two decades in the industry.
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