When we hear the name “Halston,” our first thought is not likely to be of his status as an LGBTQ hero – except in the sense that he designed clothes for best friend Liza Minnelli.
Yet Roy Halston Frowick, who became the first “celebrity designer” in a career that defined women’s fashion for an era and paved the way for the age of influencers by making his identity synonymous with his brand, can be clearly seen today as a queer pioneer. A gay midwestern boy whose grandmother gave him a love of sewing, he rose to fame after designing the famed pillbox hat worn by Jacqueline Kennedy at her husband’s 1961 inauguration, and spent the next decade building a reputation fueled by the celebrity of a growing list of famous clients while honing a style that combined functionality, elegance and comfort in a way that seemed perfectly in tune with the rising women’s liberation movement.
The empowering ease and “effortless” sex appeal of his designs came to epitomize ‘70s style, a signature feature of the Disco Era that has cast its not-so-subtle influence on every generation since, and the fashion house he started became legendary in an industry that was still tightly controlled (like every other industry) by straight men. It was an accomplishment that might have gone unheralded by most at the time, but which historical perspective reveals as a groundbreaking moment in the LGBTQ community’s rise from the shadows.
Unfortunately, Halston’s fall from glory – marked by his loss of control over the company he started, through a series of corporate acquisitions that might fairly be described as nefarious – and subsequent 1990 death from AIDS-associated Kaposi’s sarcoma still largely overshadows his reputation (if not the fashions he created) in the popular imagination. But thanks to the arrival of the new Netflix limited series “Halston,” which drops on May 14, that is about to change.
Created and directed by Emmy-winner Daniel Minahan, the five-episode biographical portrait stars Ewan McGregor as Halston, and follows the legendary designer as he leverages his single, invented name into a worldwide fashion empire synonymous with luxury, sex, status, and fame, literally defining the ‘70s and ‘80s era New York in which he lives, before a hostile take-over forces him to battle for control of his most precious asset – the name Halston itself. McGregor is joined by a cast that includes Bill Pullman (as Halston’s business associate David Mahoney), Krysta Rodriguez (as Minnelli), Rebecca Dayan (as Elsa Peretti, another close Halston friend), Gian Franco Rodriguez (as Halston’s sometime lover, Victor Hugo), David Pittu (as Halston illustrator and creative director Joe Eula), Rory Culkin (as Joel Schumacher), Kelly Bishop, Sullivan Jones, and Vera Farmiga – and as even a quick look at the publicity shots of each of them in full costume for their roles is enough to verify that the series has gone out of its way to meticulously recreate the look and feel of Halston’s glamorous world.
The series found its way to the screen thanks to Minahan’s interest in “Simply Halston,” a bio penned by Vanity Fair writer Stephen Gaines. Working with producer Christine Vachon, he began work on adapting the book as a feature-length film, but the scope of the story made honing it into a two-hour-ish running time a daunting task, and the idea was shelved. The option on the book then passed through a series of other hands, but when the rights became available again, Vachon approached Minahan with the idea of revisiting the project as a mini-series, and, as Minagan says, “it just clicked.” It wasn’t long until Ryan Murphy reached out (through Alexis Martin Woodall, president of his production company) to express his interest, and things “started moving very quickly.”
“Working with Ryan is a unique experience,” says Minahan, who previously worked with the powerhouse producer on “The Assassination of Gianni Versace.” “He draws the best out of people, and he demands excellence from everyone who works with him. He has an uncanny sense for story, and I’ve been fascinated for years by the tone he’s able to strike in his work and the depth of emotion that he’s able to express.
He also says Murphy had “a unique relationship” with the material that helped inform the end product. “[He] grew up in Indiana […] then he worked building an empire as a gay man in a corporate world as Halston did, so he was really generous with his experience. A lot of that made it into our scripts. We were very lucky to have him be involved.”
As for McGregor, Minahan says that although he had considered a whole list of actors for the starring role, the “one and only meeting” he had was with the popular and prolific Scots actor. Though McGregor identifies as straight, he has long been an LGBTQ ally, with a history of sensitive and insightful performances in gay roles (most notably the fictionalized amalgam of Iggy Pop and Lou Reed he portrayed in Todd Haynes’ glam-era fantasy, “Velvet Goldmine”), and according to Minahan, his work as Halston is nothing short of immersive.
“Watching Ewan transform into Halston was fascinating,” he says. “When he arrived in New York, he asked for a room where he could work undisturbed with some props — True cigarettes, which are the same brand Halston smoked, cigarette holders, Flair pens like Halston used, scissors, fabric, a black turtleneck, a tape measure, and some yellow lined notepads.” The actor also worked with costume designer Jeriana San Juan, acquiring a detailed familiarity with the technical minutiae involved with designing and assembling clothes – even going so far, according to San Juan, as studying her eye movements while she worked “so he could better track his eyeline when he’s designing as Halston in the show.”
Of course, it’s one thing to capture the physical reality of a true-life character, and quite another to infuse that character with an inner life that honors their experience. From the fabulous ferocity he displays in the show’s trailer, the versatile star of movies as wide-ranging as “Trainspotting,” “Moulin Rouge,” and the middle “Star Wars” trilogy looks to have delivered a career-topping performance – and if there’s any doubt whether he can convey the authenticity required to illuminate the drive that took Halston to the pinnacle of the fashion world when it was still run by a conservative and closed-minded “boys’ club,” his delivery of the line, “I’ve been an outsider my entire life, till one day I just stopped giving a flying fuck,” should put it to rest.
With what could become one of the season’s most acclaimed performances at the center, and its sumptuous depiction of an iconic era through San Juan’s costumes and the world-building of production designer Mark Ricker, “Halston” looks to be a benchmark for “prestige” TV in 2021.
In any case, thanks to the enduring fascination its subject and his legacy still hold for millions of fans and admirers, queer and straight alike, it’s sure to be at the top of a lot of “must watch” lists when it debuts on May 14.
‘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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