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Top 10 pop culture moments of 2021

A gay Playboy cover boy, a Satanic lap dance, the ‘Pose’ finale, and Colton’s drama

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It was a memorable year for pop culture, as productions resumed after COVID lockdowns. Here’s our list of the top 10 pop culture moments of 2021.

#10: Lesbian nuns get it on in ‘Benedetta’

(Photo courtesy SBS Productions)

Director Paul Verhoeven (“Basic Instinct,” “Showgirls”) delivered his latest film “Benedetta,” which tells of an Italian nun in the 1600s who receives erotic visions of a nude Christ as well as stigmata before having a lesbian relationship with a novitiate in her convent. 

The title character (played by Virginie Efira) plays “a randy nun whose religious visions and lustful cravings are rolled into a single ball of blasphemy,” as the New York Times wrote. “Verhoeven might have aged, but his love of the lurid has dimmed not one bit.”

The Times also said the movie “presents lesbianism as a middle finger to church power.” 

A modest release, it gained steam on the festival circuit and screened in competition at Cannes. 

#9: Sapphic love in ‘Squid Game’

(Photo courtesy Netflix)

(SPOILER ALERT) It was subtle but the relationship between players 067 (HoYeon Jung) and 240 (Lee Yoo-mi) on the “Gganbu” episode of “Squid Game,” Netflix’s monster K-drama, was embraced by fans as a tale of doomed lesbian love.

While other teams use the 30 minutes allotted for a nerve-wracking series of marble games, the two young women spent all but the final seconds of their time telling each other their life stories. Player 240 loses intentionally, sacrificing her life for her partner’s. She expresses her love just before getting shot.

The show has been deemed Netflix’s “most watched series.”

#8: Olly’s big year

Olly Alexander in ‘It’s A Sin.’ (Photo courtesy WarnerMedia)

It was a big year for Olly Alexander, the Years & Years singer. He drew raves for his role in the five-part British series “It’s a Sin” as Ritchie, one of a group of gay U.K. men dealing with AIDS in the ‘80s. 

In March, Alexander announced that his band was now a solo venture. Kylie Minogue showed up as guest artist on a remix of single “Starstruck” in May. In October, Years & Years guested on Minogue’s song “A Second to Midnight.” A full album is expected in 2022. 

Alexander performed a sensuous cover of the Pet Shop Boys’ “It’s a Sin” with Elton John at the BRIT Awards in May. 

#7: Bretman dons bunny ears

(Photo courtesy Playboy Enterprises)

Bretman Rock, the 23-year-old Filipino YouTuber and beauty influencer known for his makeup tutorials and MTV reality show, made history as the first openly gay man to make the cover of Playboy magazine.

Aside from Playboy’s late founder, Hugh Hefner, Rock is only the second man to appear on the cover (in July, 2020, Puerto Rican rapper Bad Bunny was the first). 

Sporting a nipple-baring bustier and the famous bunny ears, Rock called the historic moment “so surreal” on Instagram. Sadly, the issue is digital only as Playboy suspended its print product in 2020 after 66 years citing COVID “disruption.” 

Model Ariel Nicholson became the first trans person on the cover of Vogue in September. She was featured with seven other models dubbed “Generation America.” 

#6: Ewan bends over for ‘Halston’

(Photo courtesy Netflix)

Straight actor Ewan McGregor drew strong reviews for his portrayal of late gay designer Roy Halston Frowick (who died of AIDS in 1990) in the Netflix miniseries “Halston,” which premiered in May.

Another Ryan Murphy-produced project, “Halston’s” five episodes follow the designer’s work with Liza Minnelli, booming business, drug use and comeback. 

McGregor, no stranger to screen sex scenes and nudity (he even filmed one with Jim Carrey in “I Love You Phillip Morris”), gets pounded by soon-to-be-boyfriend Ed (Sullivan Jones) in the first episode, though ultimately, the series focuses more on drugs than sex. He won an Emmy for the role in September.

#5: ‘Pose’ wraps

(Photo courtesy FX)

The groundbreaking FX series “Pose,” wrapped in June and was lauded for being the first show to center on trans women of color and cast trans actors in its roles.

The show, which depicted New York City drag ballroom culture of the ’80s and ’90s, only ran for three seasons (26 episodes) but followed the characters over the course of a decade. 

Created by Steven Canals, Brad Falchuk and Ryan Murphy, the New York Times called the show “a celebration, a juicy soap and one of TV’s most kinetic and dance-intensive shows.” 

Star Billy Porter told the Hollywood Reporter in May he’s been HIV-positive since 2007. 

In September, Mj Rodriguez, who plays Blanca, was the first trans actor to receive an Emmy nomination.

#4: JoJo makes ‘Dancing’ history

(Photo courtesy ABC)

YouTuber JoJo Siwa, 18, one of Time’s “most influential people in the world” last year, came out as pan (she’s also comfortable with “queer” and “gay,” she said) in January.

In September, the dancer/singer made history on the 30th season of “Dancing With the Stars” as the first contestant to compete with a same-sex partner. She and Jenna Johnson came in second. 

#3: Marvel depicts gay superhero

(Photo courtesy Walt Disney Studios)

“Eternals,” the 26th movie in the Marvel Cinematic Universe, was released in November, features the franchise’s first LGBTQ superheroes with Phastos (Brian Tyree Henry), a genius inventor, who’s married to Ben (Haaz Sleiman) and father of Jack. The couple even gets an onscreen kiss.

Though the movie itself drew mixed reviews but solid box office, the inclusion was widely praised.

“Seeing a powerful gay superhero kiss his husband and feeling the reaction in that theater was a real-life example of why it is important for our stories to be told – especially in films that travel to big cities and small towns around the world,” Variety noted.

Several countries in the Middle East — Saudi Arabia, Kuwait, et. al. — denied release; others only agreed to a version that edited the love scenes. 

“It made these Arab countries look so ignorant and pathetic,” Sleiman told Variety. “I have no respect for those governments.”

#2: Colton Underwood comes out — and it gets messy

(Photo courtesy Netflix)

The 29-year-old former NFL linebacker, whose alleged virginity gave him a novel angle on “The Bachelor” two years ago, came out in April on a “Good Morning America” interview. This month, a six-episode reality show dubbed “Coming Out Colton” arrived on Netflix in which he comes out to family and friends and learns gay culture. 

In November, an online petition with more than 35,000 signatures asked Netflix to cancel the series because of stalking and harassment allegations that Underwood’s ex-girlfriend, Cassie Randolph (his choice on “The Bachelor,” though they didn’t end up marrying), claimed in a 2020 restraining order. The order was dropped, but the incident as well as the docuseries raised gay eyebrows. 

“To some, that appears more like a monetized career move than an unvarnished emotional reckoning,” the New York Times wrote. 

#1: Lil Nas X scores big with ‘Montero’

(Photo courtesy Columbia)

Out rapper Lil Nas X proved he’s not a one-hit wonder when his single “Montero (Call Me By Your Name)” debuted atop the Billboard Hot 100 in April.

Its video, which depicts the artist giving Satan a gay lap dance, won “Video of the Year” at the MTV Video Music Awards and People’s Choice Awards and three Grammys are pending. 

The accompanying album, “Montero,” dropped in September at No. 2 to solid reviews and featured two other Hot 100 top-10 hits.

Nas shot to fame in 2018 when his song “Old Town Road” became the longest-charting No. 1 song in Hot 100 history.

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Theater

Talented pair of local queer actors tackles ‘Little Shop of Horrors’

Ford’s production features terrific score

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Chani Wereley (Audrey) and Derrick D. Truby Jr. (Seymour) in the 2024 Ford’s Theatre production of Little Shop of Horrors. (Photo by Scott Suchman)

‘Little Shop of Horrors’ 
Through May 18
Ford’s Theatre
511 10th St., N.W.
$33-$95
Fords.org 

Ever since premiering off-Broadway in 1982, “Little Shop of Horrors” has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Ford’s Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors who’ve longed to appear in the show since they were kids. 

Set in the urban 1960s, Alan Menken and Howard Ashman’s hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.  

Chani Wereley, 28, who plays Seymour’s love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, “Audrey’s been around the block more than once, but I approach her as a person who moves through the world with love and hope.”

The queer D.C. native adds, “On long trips to visit family in Canada or Florida, the first thing we’d do is pop a ‘Little Shop of Horrors’ video [film version] into the car’s VHS player. I’ve watched is so many times, I could quote the whole movie to you.”

After auditioning to play Audrey in director Kevin S. McAllister’s production at Ford’s, Wereley never thought she’d book the part, and when they said she got it, she cried.  

Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: “I started watching the film in ’86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didn’t know much about musicals at the time, but I was absorbed.” 

When asked by Ford’s to play the voracious plant Audrey II without auditioning, his reply was an unhesitant “yes.” 

Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, “people ask if I’m singing from inside of the ever-growing, scary plant. No, I’m not, and that’s fine. But let’s face it, actors love to be seen on stage, but I don’t feel entirely unseen as Audrey II.”

He’s worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant — his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show. 

Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereley’s striking rendition of Audrey’s “Suddenly Seymour,” and Young’s soulful “Feed Me (Git It).” Additionally, both actors are also big on queer representation in theater. 

When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like “Mashed Potato Time,” and her favorite song to this day, the Shirelle’s girl group anthem “Will You Still Love Me Tomorrow.” As Audrey, Wereley eschews the character’s usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo. 

“It’s important for people to see themselves on stage,” she says. “Seeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. It’s important.”

In 2011, a couple years after finishing high school, Young landed a part in “Dream Girls” at Toby’s Dinner Theatre, and he’s been working professionally ever since. Growing up, he didn’t see a lot of himself – Black and queer – on social media. He now wants to be open and honest for those out there who might not feel seen, he says

An introvert who lets everything loose on the stage, Young says, “theater is a safe space for queer people. That’s the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.”

He adds, “What’s great about Ford’s is its surprises, especially when they switch up casting. It’s meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.”

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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