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New films feature gay superhero, Tammy Faye, and feel-good drag

Cumberbatch takes on another gay role in ‘Power of the Dog’



‘Everybody’s Talking About Jamie’ is the feel-good queer movie of the season. (Photo courtesy Amazon)

It’s fall again, and that means it’s time to look forward to the things we love about this time of the year – and no, I’m not talking about pumpkin spice. I’m referring, of course, to the new movies headed our way, and there are quite a few this year that should be of interest to LGBTQ+ viewers. Fortunately, as usual, the Blade is here to help you plan your own must-see list for the season with the help of our handy guide below.

Giddy Stratospheres (Sept.14): If you’re a movie fan who also has a taste for musical nostalgia, this gritty love letter to the indie music scene of the 2000s from writer/director Laura Jean Marsh is definitely for you. Shot entirely during lockdown in the UK, it follows a pair of indie kids and best friends (Jamal Franklin and Marsh herself) as they party their nights away on a quest for the ultimate in hedonistic euphoria and excitement. If memories of donning boots, ripped tights, and eyeliner for a night at the club aren’t enough, there’s also a fabulously queer leading character and soundtrack featuring a smorgasbord of retro hits from the likes of Franz Ferdinand, The Futureheads, The Walkmen, Le Tigre, The Rapture, Art Brut, The Cribs, Black Wire, The Rocks, Theoretical Girl, Pink Grease and more. Available via VOD now.

Everybody’s Talking About Jamie (Sept. 17): Delayed due to COVID but finally here is this bubbling and buzzy film version of the hit West End musical by Tom MacRae, inspired by a 2011 television documentary, in which a gay 16-year-old named Jamie New (Max Harwood) overcomes teasing, bullying, and a complicated home life to realize his dream of becoming a drag queen – with help from a loyal best friend (Lauren Patel), a supportive mom (Sarah Lancashire), and an aging drag mentor named Loco Chanel (Richard E. Grant). Translated to the screen by original stage director Jonathan Butterell and adapted into a screenplay by MacRae himself, it’s won early praise by critics for its “infectious” spirit and is probably the odds-on favorite to be the feel-good queer movie of the season. With Shobna Gulati, Ralph Ineson, Samuel Bottomley, Sharon Horgan, and Charlotte Salt, it also features a cameo from Roy Haylock (better known as Bianca Del Rio, of course), who played the role of Loco Chanel onstage. VOD and streaming on Amazon Prime.

The Eyes of Tammy Faye (Sept. 17): Like the now-classic documentary of the same name, this much-anticipated biopic is an intimate look at the extraordinary rise, fall and redemption of televangelist Tammy Faye Bakker, who with her husband Jim Bakker created the world’s largest religious broadcasting network before financial improprieties, scheming rivals, and scandal toppled their carefully constructed empire. Legendary for her indelible eyelashes, her idiosyncratic singing, and her eagerness to embrace people from all walks of life, she went on to become an unlikely but beloved LGBTQ icon, vocally supporting the community and helping to reduce stigma around AIDS through the platform afforded by her celebrity. Directed by Michael Showalter, it stars Jessica Chastain as Tammy Faye, with Andrew Garfield as Jim and a supporting cast including Cherry Jones, Fredric Lehne, Louis Cancelmi, Sam Jaeger, Gabriel Olds, Mark Wystrach, and Vincent D’Onofrio. In Theaters.

On the Fringe of Wild (Oct. 13)

In this Canadian import set in the early 2000s, a sensitive and shy small town teen named Peter runs away from his homophobic father during a hunting trip designed to “make him a man.” Lost in the cold Ontario wilderness, he meets Jack – another teen on the run from his toxic family – and a romance buds between them as they hide away in a secluded cabin; when they are inevitably pulled back into the real world, they’re forced to confront their sexuality, their mental health, and the oppressive home life that threatens to drive them apart. Directed by Emma Caralfamo from a bleak but hopeful screenplay by Sorelle Doucet, it features trans actor Harrison Browne as Peter and Cameron Stewart as Jack, with Mikael Melo, Andrew Bee, Audrey Nesbitt, Bernadette Medhurst, Andrea Pavlovic, and Adam Jenner in support. VOD.

Eternals (Nov. 5)

Marvel Studios gets a jump on the holiday blockbuster rush with the long-awaited (and long-delayed) release of this new addition to their comics-to-screen franchise, an epic and ensemble-centered action fantasy that introduces, among other characters, Brian Tyree Henry’s Phastos – the first openly gay superhero to be depicted in a Marvel film. It even promises an onscreen kiss between Tyree and Haaz Sleiman, who portrays Phastos’ husband. We’ll take a wait-and-see attitude on whether or not it’s a blink-and-you’ll-miss-it moment. Directed by Oscar winner Chloé Zhao, it has an all-star cast that includes Gemma Chan, Richard Madden, Kit Harrington, Salma Hayak, Kumail Nanjiani, Lauren Ridloff, Barry Keoghan, Don Lee, and Angelina Jolie.

Isaac (Nov. 16):

Coming from Spain is this debut feature from writer/directors Angeles Hernández and David Matamoros, adapted from a stage play by Antonio Hernández Centeno and centered on two friends named Nacho and Isaac, who had an intense relationship as teens and meet again by chance after 20 years. Nacho, now financially successful and trying to have a baby with his wife Marta, proposes an arrangement with struggling entrepreneur Denis and his partner Carmen: If they will provide the “surrogate belly” for Marta’s pregnancy, he will give them the money they need to open their gourmet restaurant. The deal, of course, opens the door for a lot of resurfaced feelings that forces the two men to discover themselves at the risk of losing the apparent stability they now have. Starring Pepe Ocio and Iván Sánchez (who won the Best Actor prize for his performance as Nacho at the 2020 Malaga Film Festival), it also features Maria Ribera, Erika Bleda, and Nacho San José. VOD.

The Power of the Dog (Nov. 17):

Squeaking in just before the holiday season is this adaptation of the 1967 Thomas Savage novel by the same name, directed by renowned filmmaker Jane Campion and starring screen heavyweights Benedict Cumberbatch and Kirsten Dunst. Set in 1925 Montana, it’s a character-driven drama in which a brutal but charismatic rancher (Cumberbatch) finds his life disrupted when his brother (Jesse Plemons) brings a new wife (Dunst) and son (Kodi Smit-McPhee) home to the ranch. At first cold and cruel, he begins to take his new step-nephew under his wing, and a relationship begins to form that opens up memories of a buried past and awakens him to the possibilities of love. On the one hand, it’s garnered predictable controversy over the casting of the straight-identifying Cumberbatch in a high-profile queer role (his second after playing Alan Turing in “The Imitation Game”) – but on the other, it’s one of the best-reviewed upcoming films on the slate so far. In addition, Campion is a cinematic master whose work here won her the Silver Lion for directing at this year’s Venice Film Festival, so it’s worth taking that into consideration before you decide to give this one a pass. In theaters.

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‘Flatch’ delivers a ‘welcome’ dose of comfort comedy

A place where people are accepted, no matter their sexual orientation



Holmes and Sam Straley star in ‘Welcome to Flatch.’ (Photo courtesy of Fox)

Television, a medium less than a century old, has evolved so much since it became a fixture in our households that the pioneers who first produced its content would surely be overwhelmed by what it is today. Where there was once a limited selection of mostly middle-of-the-road (i.e., bland and banal) entertainment choices designed to amuse and distract us during our after-dinner family time, there is now a seemingly infinite array of channels to choose from, loaded with enough complex, provocative, stimulating, and otherwise challenging content to keep even the most intellectual viewers busy for the rest of their lives.

And yet, with all that, sometimes you just want to shut your brain off and laugh – and that’s when we are reminded that television, no matter how respectable it may have become, is still at its most essential when it gives us an outlet to do exactly that.

Take, for example, “Welcome to Flatch,” a new half-hour comedy from Fox that might seem, at first glance, to be about as mindless as they come.

Adapted from a BAFTA-winning BBC series titled “This Country,” “Flatch” has been brought to U.S. television by writer Jenny Bicks (“Sex and the City,” “The Greatest Showman”) and producer/director Paul Feig (“The Office,” “Bridesmaids”), who joined forces to executive produce it. It’s set in a small Midwestern town called, well, Flatch, and its unabashedly flimsy premise revolves around the idea that a documentary crew has been sent to explore small-town American life. That’s more than enough to let you know exactly what to expect going into it.

The first episode introduces us to most of the townsfolk who will become our main characters, starting with a pair of young cousins and best buddies – the Mallets, Kelly and Lloyd (who goes by “Shrub”) – who quickly establish themselves as our unofficial guides; they’re your classic underachievers, two teens in a town where there’s nothing to do except indulge in juvenile pranks and concoct get-rich-quick schemes. Played by out queer newcomer Holmes and former “The Kids are Alright” actor Sam Straley, their effortless chemistry, combined with their endearingly dim-witted blend of false bravado and insecurity, wins us over right from the start.

We next meet Flatch’s local minister, “Father” Joe (Seann William Scott), whose enthusiasm for his role as the “youthful-and-hip” spiritual center of the community doesn’t quite keep him from missing his former girlfriend Cheryl (Aya Cash), now the plucky and determined editor of the town newspaper, for whom he still carries decidedly worldly feelings. There’s also Big Mandy (Krystal Smith), a large-and-in-charge force of nature whose confidence and street smarts make her as respected as she is incongruous in this tiny rural town; Nadine (Taylor Ortega), Kelly’s rival and “frenemy,” a teen socialite and mean girl who runs the Flatch historical society; and Mickey (Justin Linville), an eternally upbeat nerd who relentlessly attempts to become Shrub’s best friend.

There are others, too, that we meet as the show progresses, but you get the idea. It’s a cast of eccentrics – probably the number one ingredient in making a “mockumentary.”

Of course, it’s not enough for them just to be eccentrics. They have to be loveable, too – something that has been the hallmark of every great mockumentary since “This is Spinal Tap” more or less created the genre as we know it today. That film, and the series of comic masterpieces from Christopher Guest (“Waiting for Guffman,” “Best in Show,” “A Mighty Wind”) that followed in its wake, all made us laugh with the absurdity of the insular communities they were sending up, but they won our hearts with characters who never let us lose sight of their humanity even in their most wacky and embarrassing moments. It’s a formula that has proven to be comedy gold for TV shows from “The Office” to “Modern Family” to “What We Do in the Shadows” – not to mention “Parks and Recreation,” which along with “Guffman” is closest of these examples in tone and spirit to “Flatch” – and in every case, it only works when the characters are played by a remarkably gifted cast of actors.

In this regard, “Welcome to Flatch” is off to a good start. The performers make a strong showing from the very start, and while it’s hard to say this early in the series whether the character arcs they develop will be worthy of the players’ talent, they earn enough credit within the first seven episodes (all available if you’re a Hulu subscriber, doled out a week at a time if you’re not) to keep us watching longer.

That’s a good thing, because “Flatch” – perhaps unsurprisingly for a comedy about a place where nothing interesting ever happens – has some challenges if it’s going to have any staying power. Early on, the episodes are geared around skewering aspects of modern life by putting them into a small-town context; in one, for instance, Kelly starts her own version of a ride-share app, while in another an elderly resident is “catfished” on a dating site while attending an adult computer education class at the church. Others rely on bemusing us with the eternal tried-but-true tropes about small-town life; there’s a rivalry between Flatch and neighboring Pockton over an obscure historical dispute, and a contingent of outraged conservative women who try to close the town’s combination vape-and-magic shop for Satanism. These familiar scenarios are enough to conjure smiles, maybe even chuckles, for a while – but without some more substantial fodder to drive the show’s development, it won’t be long before they start to wear thin.

Fortunately, the seeds for future storylines are clearly planted within the first handful of shows. Most obvious is the will-they-or-won’t-they interplay between Father Joe and Cheryl, given a twist by their status as an ex-couple with second thoughts on their split, but Kelly’s unrequited need to be accepted by her estranged father (Jason MacDonald) is an early recurring theme, as is Shrub’s infatuation with home-schooled Beth (Erin Bowles). These and other beginnings seem promising as avenues toward opening the characters up and allowing the cast to flesh them out into the kind of people we look forward to spending time with.

Perhaps even more encouraging, the mockumentary format, rather than simply being a convention in which the actors talk to the camera, is taken a bit further in “Flatch.” Though we never see the documentary crew, we are reminded of their existence frequently – characters address them off-camera, and their presence in the room becomes a factor that affects outcomes, though to go into any more detail about that would warrant a spoiler alert.

Finally, though, what makes “Welcome to Flatch” worth jumping on board for might just be its refreshing – and frankly, for the genre, unprecedented – diversity. Though our expectations of a rural Midwest community tend to lean toward a very white and very straight demographic, the series goes out of its way to defy them. Much like “Schitt’s Creek,” “Flatch” is a place where people are accepted, no matter their race, gender, body type, or sexual orientation – just as long as they’re not from Pockton.

“Welcome to Flatch” airs on Fox on Thursday nights.

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New TV season promises abundant queer content

A gay medium and ‘Joe vs Carole’ among highlights



Kate McKinnon as Carole Baskin in ‘Joe vs Carole.’ (Photo courtesy Peacock)

As with the movies, spring television can be a hit-or-miss affair. The Blade has put together a list of offerings that are likely to stand out in the sea of choices. With comedy, drama, romance, and even a little reality, we think you’ll find something of interest among the following queer and queer-adjacent offerings.

JOE VS CAROLE (March 3, Peacock) Technically, this one is not a preview so much as a “what are you waiting for?” Even if you had enough of gay redneck/cowboy/convicted murder conspirator/big cat enthusiast Joe Exotic and his arch-nemesis “that bitch Carole Baskin” from watching the Netflix hit docuseries “Tiger King,” there’s every reason to tune into this six-part miniseries about their rivalry, based this time on the podcast “Joe Exotic” and starring John Cameron Mitchell and Kate McKinnon as the eccentric (to say the least) rival animal lovers. Not only is it loaded with queerness – after all, Joe goes through husbands like the Liz Taylor of the Big Cat World – but it gives us a chance to watch two of our most gifted LGBTQ actors go to town with two larger-than-life characters who are perfectly suited to their copious talents. Throw in the always criminally underrated Kyle MacLachlan as Carole’s husband (the second one, not the one she may or may not have fed to her tigers), as well as a game supporting cast that includes Brian Van Holt, Sam Keeley, Nat Wolff, Marlo Kelly, William Fichtner, Dean Winters, and David Wenham, and you have no excuse not to binge watch all six hours of this one at your earliest possible convenience.

LIFE AFTER DEATH WITH TYLER HENRY (Netflix, March 11) This one may not be for everyone, but out-and-proud TV medium Tyler Henry has no shortage of fans, and this new series will surely be a must-watch for them when it drops on Netflix this spring. For those who are unfamiliar, Henry spent four seasons as the host of “Hollywood Medium” on the E! Television Network, where he exhibited his clairvoyant skills for a wide range of celebrities. Now, according to the new show’s description, the “world-renowned medium” travels across the country to offer readings to as many of the [more than 300,000] people on his waiting list as he can, bringing them the hope, healing, and closure they are seeking.” Promises of a “transformational and emotional series” that will provide “proof that there is more to this world than what we see and that our loved ones never really leave us” may not carry much weight with the many skeptics who accuse Henry of being a manipulative charlatan, but they weren’t likely to watch, anyway – and for the many who find him irresistible, all nine episodes will surely be a treat.

WELCOME TO FLATCH (Fox, March 17) Inspired by the BAFTA-winning UK series, “This Country,” this half-hour comedy series comes from writer Jenny Bicks (“Sex and the City”) and director Paul Feig (“The Office”) is a single-camera “mockumentary” about a small midwestern town and the many eccentric personalities who live there – particularly cousins, best friends, and town trouble-makers Kelly and Lloyd “Shrub” Mallet (out actress Holmes, billed as Chelsea Holmes, and Sam Straley). Part “Parks and Recreation,” part “Waiting for Guffman,” it has all the earmarks of a good TV comfort show – humor, a hip factor, and an ensemble full of lovably quirky characters, at least one of which is bisexual. The cast also includes Justin Linville, Taylor Ortega, Krystal Smith, and Seann William Scott as the town preacher.

INSOMNIA (March 18, Revry) With Neilsen reporting that fewer than 3 percent of the characters on our television screens are Asian, this queer South Asian dramedy – originally a digital series – created and written by Vishaal Reddy is a welcome addition to the lineup. Reddy stars as Nikhil Sharma, a bisexual Indian-American writer who is going through an identity crisis when a chance encounter leads him to secretly start moonlighting as a male escort in New York City. Through his often-absurd late-night adventures, he finds himself on a journey to discover love, happiness, and his true identity – while dealing with racism, sexuality, loneliness, and a lack of sleep along the way. According to Vishaal, the concept for the show was spawned by his own real-life experience, and inspired by shows like “Master of None,” “Fleabag”, “Louie,” and “High Maintenance.” Directed by Michele Cutolo, it also stars Nikki Renee Daniels, Aneesh Sheth, Cheech Manahar, Alison Barton, Verma Kuhoo, Nandita Shenoy, Jason Veasey, James Seol, and Daniel Burns.

QUEER AS FOLK (May 27, Peacock) Depending on who you ask, this one is a biggie. The groundbreaking 1999 British series already had an American adaptation in 2000, and each has its fans – many of whom have expressed their qualms (to put it mildly) over the idea of a new reboot. That hasn’t stopped original writer/creator Russell T. Davies (“It’s A Sin”) from joining forces with new writer/creator Stephen Dunn (“Closet Monster”) to executive produce one, however, this time centered on the lives of several LGBTQ characters in New Orleans – promised to be a much more diverse assortment than the group of gay men predominantly featured in the original shows. The highly anticipated return of the franchise also differs from its predecessors by using queer actors to portray all its queer roles – and the resulting cast list is an impressive lineup, which includes Ryan O’Connell (“Special”), Johnny Sibilly (“Pose”), Devin Way (“Grey’s Anatomy’), Jesse James Keitel (“Alex Strangelove”), Fin Argus, Candace Grave, Benito Skinner, and Juliette Lewis, and even Kim Cattrall as a “martini-soaked, high society Southern debutante with trailer park roots.” Shade from old-school fans aside, this new iteration looks poised to make some welcome improvements as it reinvents the beloved series for a new era. Tentatively scheduled for a May 27 premiere.

HEARTSTOPPER (Netflix, TBA) You might think this upcoming series adapted from Alice Oseman’s YA webcomic is just another of the growing number of queer teen romances popping up every season – but as one of the few LGBTQ shows to be streamed under the banner of Neflix’s “Family” division, it will be marketed to the kids for whom it’s actually meant. That doesn’t mean older viewers won’t also be interested in the following the relationship between openly gay teen Charlie and sweet-but-seemingly-straight school rugby player Nick (Joe Locke and Kit Connor, respectively), as they explore their new friendship and navigate the feelings that blossom as in the process. With all eight episodes penned by Oseman herself, the series promises to expand on her popular webcomic by including “all the small stories of Nick and Charlie’s lives that together make up something larger”, and is sure to please its many fans while winning over a legion of new ones. It also stars Yasmin Finney, Sebastian Croft, William Gao, and Jenny Waiser. There’s no official release date yet, but the streaming platform has previously announced it would debut the show in the Spring – so keep your eyes out!

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GLAAD TV report acknowledges progress — and some setbacks

Media watchdog challenges industry to do better



Charlie Barnett (left) and Rushi Koti in ‘Ordinary Joe.’ (Photo courtesy NBC)

As we move further into 2022 and away from the pandemic-fatigued rollercoaster that was 2021, it’s perhaps more important than ever for us to look back together and take stock of where we are. This is particularly true when it comes to matters affecting communities that have historically taken the hardest hits in times of cultural stress – the disenfranchised among us are always the ones who slip most easily between the cracks, after all. Obviously, that includes the LGBTQ population, whose advances in recent years often tempt us to assume that, while all things may not yet be entirely equal, they are at least so much improved that we can stop paying attention.

There’s a danger, however, in taking our progress for granted. That’s why it’s wise for us all to take heed when GLAAD issues its annual “Where We Are On TV” report, as it did last week. Its findings show that, despite some shortfalls, there’s clear reason to celebrate our progress since the days when the only queer representation on our home screens was coded, stereotyped, and mostly tragic when it wasn’t played for laughs at our expense – but there’s still a long way to go before we can safely pause to rest on our laurels.

Looking at that report, which analyzes the overall diversity of primetime scripted series regulars on broadcast networks, as well as assessing the number of LGBTQ regular and recurring characters on primetime scripted cable programming and original scripted streaming series, it’s impossible not to acknowledge the good news.

While LGBTQ representation was down in last year’s report among regular characters on broadcast scripted series, this year saw a 2.8% increase in that total. Even better, this increase brings the total figure up to 11.9% – a new record-high percentage since the inaugural report 17 years ago. That means that out of the 775 series regular characters appearing in content that premiered or is expected to return between June 1, 2021 and May 31, 2022, 92 of them are LGBTQ. In addition, there are 49 recurring LGBTQ characters, bringing the total number of queer characters on broadcast television up to 141.

When we add streaming platforms to the mix, the picture gets even brighter. On original scripted programming across eight platforms (expanded from the three tracked in previous reports), there are 245 regular and 113 recurring LGBTQ characters, bringing the combined total to 358.

When it comes to cable, however, there’s a deficit. While the report from two years ago (covering the last pre-pandemic TV season) featured 215 queer cable characters, that number fell to 118 with last year’s report and has only risen by 20 this year, bringing the total to 138 (87 regular, 51 recurring) – still far fewer than counted in the prior report.

Despite that disappointing nuance, LGBTQ people clearly enjoy a greater presence on TV overall than ever before. In the more granular details, however, it’s obvious there’s room for improvement.

This year, lesbian characters represent a majority of LGBTQ regular or recurring characters on broadcast television for the first time in the report’s history. Lesbians make up 40% (56 characters), up six points from the previous season. Gay men make up 35 percent (49 characters), a decrease of five points from last year (though still an increase of 9 characters), but bisexual+ representation, after decreasing for the past two years, has increased – albeit slightly – to reflect 19% (27 characters) of the total, up a single point from the 2021 report. Notably, bisexual+ representation is still skewed heavily in favor of women (124 total characters), with bi+ men (50 characters) and bi+ nonbinary individuals (9) trailing far behind.

In addition, the number of transgender characters has increased across broadcast, cable, and streaming programming, with 42 regular and recurring transgender characters tracked across all three platforms, an encouraging improvement over last year’s 29. Of those characters, 20 are trans women, 14 are trans men, and eight are nonbinary trans characters. A further 17 characters are nonbinary and not trans. Yet there were only two asexual characters – one of which appeared on HBO Max’s now-cancelled “Genera+ion”, and one slated for inclusion in an unspecified upcoming streaming series. No asexual characters are expected to be featured on broadcast or cable.

More troubling are the figures on racial diversity among LGBTQ characters, which has increased on broadcast and streaming, but dropped significantly on cable. GLAAD previously issued a challenge to ensure that more than half of LGBTQ characters on television were also people of color, and while this year’s report confirms that broadcast content continues to meet that challenge, with LGBTQ people of color representing 58% of its LGBTQ characters for the fourth year in a row, cable programming – which met and surpassed the challenge last year – shows an alarming drop to only 45% of overall total LGBTQ representation. Representation of LGBTQ people of color still lags on streaming but increased to 49% in this year’s report.

Similarly underwhelming are the figures on representation for people with disabilities, down to 2.8% of all series regular characters from last year’s 3.5%. This number is disproportionately lower than the actual number of those with disabilities in the United States (13.3%) and includes only a small handful of LGBTQ characters within the overall total.

Perhaps the most disappointing finding is the decrease of representation for people living with HIV or AIDS – a demographic with an already-abysmal showing on TV. This year’s report marks only two HIV+ characters across all platforms (down from last year’s three, all of whom appeared on FX’s “Pose”), and a significant decrease from the nine tallied in the study prior to that. Both of this year’s POZ characters are recurring. These findings are particularly worrisome considering the challenge issued by GLAAD and Gilead Sciences with last year’s study, which called on the entertainment industry to grow representation of HIV with the goal of driving cultural and societal change in ending the stigma around the millions who live with it.

What does all this mean, and why does it matter? For those who recognize the dire importance of positive queer representation in the media in the ongoing struggle to expand LGBTQ+ acceptance, the answer is obvious. For anyone who questions the need for advocacy groups like GLAAD to continue placing pressure on content providers in their effort to ensure continued progress, the answer is summed up in the statement issued with the report by GLAAD President and CEO Sarah Kate Ellis:

“The growing state of LGBTQ representation on television is a signal that Hollywood is truly starting to recognize the power of telling LGBTQ stories that audiences around the world connect with. At a time when anti-LGBTQ legislation and violence continues to increase, it is cultural institutions like television that take on the crucial role of changing hearts and minds through diverse and inclusive storytelling. Networks and platforms must continue to prioritize telling LGBTQ stories that have been long overlooked, with a specific focus on the trans community, LGBTQ people of color, people living with HIV, and LGBTQ people with disabilities.”

Read the full report at

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