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Deep-dive docuseries reveals the ‘Warhol’ you never knew

You’ll like him for the human being he turns out to have been hiding all along

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Andy Warhol and Jean-Michel Basquiat in ‘The Andy Warhol Diaries.’ (Photo courtesy Netflix)

You might think that more than three decades after his death, there would be no need for another documentary about Andy Warhol.

Arguably the most iconic cultural figure of the late 20th century, his image, as much as his artwork, is so familiar to us that we take his fame for granted – and that’s exactly why we need it. Our familiarity leads us to assimilate the surface details of his life without pondering what lies beneath – something that the aggressively shallow artist himself almost certainly intended. After all, as we are deftly and elegantly reminded by the Ryan Murphy-produced “The Andy Warhol Diaries” (which begins streaming on Netflix March 9), Andy’s greatest and most ambitious work of art was Andy himself.

The titular diaries were published in 1989, two years after Warhol died at 58 due to complications from a gall bladder surgery. He had begun it in 1976, dictating daily entries over the phone for his longtime friend and collaborator Pat Hackett to type up. After his death, she compiled them with minimal notation and published them – something that Warhol had always planned. As Hackett (continuing her role as his editor and envoy) points out onscreen in the documentary, that day came much sooner than anyone expected.

When it hit the stands, response to the book was largely lukewarm. Poring through the minutiae of Andy’s daily life for scandalous tidbits about the galaxy of celebrities with whom he surrounded himself, readers with a hunger for gossip may have come away satisfied, but those who were hoping for more insight from behind the plastic curtain of his carefully cultivated public image found themselves sorely disappointed. There were plenty of pithy observations, maybe, and glimpses into the workings of his mind through his thoughts and feelings about people and things, perhaps – but there was no deeper discussion of his inner life, nor any exploration of how it may have expressed itself in the creation of his art.

This seeming dearth of personal revelation was not the only thing going against the book. The art world, which saw his post-1960s output as insignificant in comparison to his earlier work, had developed a dismissive attitude toward all things Warhol, branding him as an exploitative sellout who had sacrificed relevance for commercialism and fame; and his seeming refusal to address the AIDS epidemic – even as so many other queer artists were driven to activism – had disillusioned many of his fans. All these factors combined to result in a general disregard of his diaries as a final piece of glitzy nothingness from a man for whom lack of substance was the cornerstone of a career.

That was 33 years ago, however, and in the intervening time appreciation for Andy Warhol has exploded beyond anything he ever experienced during his lifetime. The influence of his legacy – not just the paintings, photographs, films, tchotchkes and other ephemera he prolifically produced for most of his adult life, but the “taste-making” through which he launched or elevated the careers of countless other legendary figures – has trickled into our cultural landscape over the years and shaped it with all the irresistible force of a glacier, so much that it is perhaps impossible to trace all the interconnected currents that have tangentially sprung from it back to their source. With the passage of time, and the 20/20 hindsight that comes with it, we can now see things with a widened perspective – and suddenly, Andy’s musings are a lot more revealing than most of us thought.

In the new six-episode miniseries, written and directed by Andrew Rossi, we don’t see or hear much about the “Factory Era” that cemented Warhol’s place as an architect of pop culture; those days were long over by the time he started the diary. Instead, the series essentially begins with Warhol’s 1968 shooting by Valerie Solanas – an incident after which the artist said he was always experiencing his life as if he were “watching TV” – and takes us from there through the ‘70s and ‘80s, mostly focused on events referenced in the diary but supplemented by “now-it-can-be-told” illumination from Hackett and a collection of other survivors from Warhol’s inner circle, who are all on hand to provide their own insights, reactions, and personal reminiscences. It’s this input that helps us to read between the lines and recognize, perhaps for the first time, the true Andy peeking out at us – and he is surprisingly, heartbreakingly human.

The Warhol we meet here is the one he kept hidden during his life. Though he was never “in the closet,” he wasn’t exactly “out,” either, cultivating an image of asexuality that lingers to this day – yet in the diary his gayness is refreshingly on display. Moreover, though he elides and omits details that might have been too revealing for all parties involved, his friends fill in the gaps enough to reveal that he was engaged in at least two long-term relationships – three if you count Jean-Michel Basquiat – that had profound impact on both his life and his work. Though his sometimes glib, often insensitive comments about AIDS may shock us, they are mitigated by his frequent and obsessive complaints about his age and his health, which speak volumes about the omnipresent fear of mortality that haunted him and kept him moored to the Catholic beliefs of his upbringing. Perhaps most humanizing of all, despite the coldness of his demeanor and the distance at which he seemed determined to keep himself, the heartfelt emotions of his former collaborators and companions as they remember him on film provide proof of the deep connections it was possible for him to form with others.

As one might expect from a life as well documented as Warhol’s, much of the diary’s material is comprehensively supplemented by photos, films, drawings, and other archival embellishments; and to make things truly immersive, the diary excerpts are read to us by Andy himself – or rather, by a cutting-edge AI voice reconstruction layered over the voice of gifted performance artist Bill Irwin.

This latter flourish has generated considerable controversy from some critics, who question the authenticity of a documentary that leans so heavily into such elaborate artifice. But Warhol (as the series reminds us, multiple times) famously claimed to wish he was a machine, and there is something about hearing his words through the fusion of mechanism and artistry that lends his words – which are delivered, in true Warhol style, with as little emotion as possible – an augmented sense of meaning. Just like a soup can, their banality is transcended through duplication and presentation.

And what does “The Andy Warhol Diaries” tell us about the artist’s work? Does it offer a key that at last will allow us to decode his creative process and understand how the forces of the turbulent inner life at which it hints revealed themselves in his art? Is such a thing even possible?

You’ll have to watch to find out – and even if you’re already a Warhol superfan, you’ll likely come out the other side liking him, just a little bit more, for the human being he turns out to have been hiding all along.

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Dorian Awards cast a queer eye on television

Netflix favorite ‘Heartstopper’ nabs three nominations

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Kit Conner and Joe Locke in ‘Heartstopper.’ (Photo courtesy Netflix)

As Hollywood gears up for the year’s second “Awards Season” ahead of July 12’s scheduled announcement of the 2022 Emmy nominations, it seems only fitting for us to bring some attention to another awards organization that has already dropped its picks for the year’s best in TV content. We’re referring, of course, to the Dorian Awards, which have been bestowed by the Society of LGBTQ Entertainment Critics since 2009. 

If you’ve never heard of the Dorians, that’s not surprising. In keeping with the entertainment industry’s frustratingly persistent skittishness when it comes to All Things Queer, the Dorians haven’t gotten much attention in the mainstream press – though with a 385-member voting body and a scandal-free history, they are arguably more reputable than the Golden Globes. Named in honor of iconic queer writer Oscar Wilde (as a reference to his novel “The Picture of Dorian Gray”), they are admittedly low profile when it comes to glitz and glamour, handing out their prizes at an annual “Winner’s Toast” day party instead of a formal evening affair. Nevertheless, they’ve gained traction as Hollywood’s attitudes toward LGBTQ inclusion and representation have shifted, and each of their two annual ceremonies – one for TV, one for film, held about six months apart – draw an increasing number of A-listers to participate, both as nominees and presenters; and while the Dorians may not hold the level of prestige enjoyed by some of the industry’s other awards, at least we can be sure their voting membership won’t overlook queer shows and talent as often as their counterparts at the Motion Picture and Television Academies.

That doesn’t mean the Dorians are exclusively focused on LGBTQ content. The Society of LGBTQ Entertainment Critics – formerly known as the Gay and Lesbian Entertainment Critics Association, or GALECA – explicitly states that its awards are to honor “the best in film and TV, mainstream to queer+”, while calling attention to the importance of queer contribution and sensibility within the wider culture and reminding “bullies, bigots, and our own at-risk youth that the world loves the sly Q eye on entertainment.” With some state governments and the SCOTUS itself dedicating themselves an all-out assault on the LGBTQ community and its hard-won rights, that last point seems particularly resonant; with so much homo- and transphobic hate pouring its efforts into erasing us, our visibility is more crucial than ever.

Fortunately, as the slate of Dorian nominees announced by GALECA on June 22 reveals, the queer presence on television is strong. No longer segregated to a “niche” genre, the LGBTQ community has finally begun to appear on our screens as it does in life – blended, alongside everyone else, into a world that has room for us all. That’s what ideal inclusion looks like, and it’s heartening – especially now – to see that it has become the norm in so much of the industry’s best offerings.

This year, HBO leads the pack in terms of nods. Two of its heavily queer-inclusive shows, “Hacks” and “Somebody Somewhere,” received five nominations each, while “Euphoria” and “The White Lotus” snagged 4 and 3, respectively. In total, the cable-and-streaming giant got 24, with an additional 13 for programming exclusively on HBO Max, bringing the total to 37.

Coming in second with less than half that number is Netflix. Among its 15 nominations are three nods for “Heartstopper,” the runaway queer fan favorite based on a sweet UK webcomic about two schoolboys in love, and two each for Natasha Lyonne’s brain-twisting time travel dramedy “Russian Doll” and the already-award-winning Korean thriller “Squid Game.”

New series scored high among Dorian voters this year. Besides “Heartstopper” and “Somebody Somewhere,” ABC’s “Abbott Elementary,” Showtime’s “Yellow Jackets,” and Apple TV+’s “Severance” each received multiple nominations, with many other freshman titles picking up individual nods.

As for the awards themselves, the Dorians feature fewer overall categories – instead of being split into “gendered” divisions, actors of all genders compete for a single award in each category – and set themselves apart by striking a mildly tongue-in-cheek pose in the presentation of its “special” accolades. In presenting awards like Campiest TV Show or the brand new “You Deserve an Award” award, the Dorians give a tip of the lavender hat to the tradition of Wildean wit at their back – but they also assert the importance of queer perspective when it comes to taste-making and the aesthetic arts.

Nominees for the 14th Annual Dorian TV Awards (honoring shows which debuted June 1, 2021-May 31, 2022) are listed below. Winners will be revealed on Wednesday, Aug. 12.

BEST TV DRAMA: “Better Call Saul”; “Heartstopper”; “Yellowjackets”; “Severance”; “Succession”

BEST TV COMEDY: “Abbott Elementary”; “Barry”; “Hacks”; “The Other Two”; “Our Flag Means Death”

BEST LGBTQ SHOW: “Hacks”; “Heartstopper”; “The Other Two”; “Our Flag Means Death”; “Somebody Somewhere”; “RuPaul’s Drag Race”

BEST TV MOVIE OR MINISERIES: “Dopesick”; “The Dropout”; “Midnight Mass”; “Station Eleven”; “The White Lotus”

BEST NON-ENGLISH LANGUAGE TV SHOW: “Elite”; “Lupin”; “My Brilliant Friend”; “Pachinko”; “Squid Game”

BEST UNSUNG SHOW: “Better Things”; “The Other Two”; “Our Flag Means Death”; “Russian Doll”; “Somebody Somewhere”; “We Are Lady Parts”

BEST TV PERFORMANCE: Quinta Brunson (“Abbott Elementary”); Kit Connor (“Heartstopper”); Bridget Everett (“Somebody Somewhere”); Bill Hader (“Barry”); Lily James (“Pam & Tommy”); Natasha Lyonne (“Russian Doll”); Melanie Lynskey (“Yellowjackets”); Amanda Seyfried (“The Dropout”); Jean Smart (“Hacks”); Zendaya (“Euphoria”)

BEST SUPPORTING TV PERFORMANCE: Murray Bartlett (“The White Lotus”); Anthony Carrigan (“Barry”); Jennifer Coolidge (“The White Lotus”); Hannah Einbinder (“Hacks”); Jeff Hiller (“Somebody Somewhere”); Janelle James (“Abbott Elementary”); Matthew Macfadyen (“Succession”); Christina Ricci (“Yellowjackets”); Rhea Seehorn (“Better Call Saul”); Sydney Sweeney (“Euphoria”)

BEST TV MUSICAL PERFORMANCE: Beyonce, “HYPERLINK “https://www.youtube.com/watch?v=4aeDlZOD-B0″Be Alive” (94th Academy Awards); Kristin Chenoweth and cast, “HYPERLINK “https://www.youtube.com/watch?v=_PmS5JIfSkk”Tribulation” (“Schmigadoon!”); Bridget Everett and Jeff Hiller, “HYPERLINK “https://www.youtube.com/watch?v=As-a_bzFrl0″Don’t Give Up” (“Somebody Somewhere”); Jean Smart, “You Make Me Feel Like a Natural Woman” (“Hacks”); Cecily Strong and cast, “HYPERLINK “https://www.youtube.com/watch?v=Dj5mJGyoYIM”Corn Puddin’” (“Schmigadoon!”); Hannah Waddingham and cast, “HYPERLINK “https://www.youtube.com/watch?v=4B0HktX4xqQ”Never Gonna Give You Up” (“Ted Lasso”)

BEST TV DOCUMENTARY OR DOCUMENTARY SERIES: “The Andy Warhol Diaries”; “The Beatles: Get Back”; “How to with John Wilson”; “Spring Awakening: Those You’ve Known”; “We Need to Talk About Cosby”

BEST CURRENT AFFAIRS PROGRAM: “The Amber Ruffin Show”; “The Daily Show with Trevor Noah”; “Full Frontal with Samantha Bee”; “Last Week Tonight with John Oliver”; “The Late Show with Stephen Colbert”; “The Rachel Maddow Show”; “ZIWE” (Showtime)

BEST ANIMATED SHOW: “Arcane”; “Big Mouth”; “Bob’s Burgers”; “Q Force”; “Tuca & Bertie”; “What If…?”

BEST REALITY SHOW: “Legendary”; “The Real World Homecoming: New Orleans”; “RuPaul’s Drag Race”; “Survivor”; “Top Chef: Houston”; “We’re Here”

MOST VISUALLY STRIKING SHOW: “Euphoria”; “The Gilded Age”; “Loki”; “Severance”: “Squid Game”

CAMPIEST TV SHOW: “Diana: The Musical”; “Euphoria”; “Girls5Eva”; “Nine Perfect Strangers”; “Schmigadoon!”

WILDE WIT AWARD (to a performer, writer or commentator whose observations both challenge and amuse): Joel Kim Booster; Quinta Brunson; Jerrod Carmichael; Jennifer Coolidge; Bowen Yang

THE “YOU DESERVE AN AWARD!” AWARD (to a uniquely talented TV icon we adore): Gillian Anderson; Christine Baranski; Lynda Carter; Kim Cattrall; Cassandra Peterson

GALECA LGBTQIA+ TV TRAILBLAZER (for creating art that inspires empathy, truth and equity): Jerrod Carmichael; Margaret Cho; Russell T. Davies; Kate McKinnon; Bowen Yang

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‘Wildhood’ explores queer Indigenous experience

An example of personal filmmaking at its most sublime

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Joshua Odjick and Phillip Lewitski star in ‘Wildhood.’ (Photo courtesy Hulu)

It’s hardly news to say that the movies have a less-than-ideal track record when it comes to authentic representation – or, really, any representation at all – of Indigenous people. For most of its history, Hollywood’s “dream machine” dutifully perpetuated the narrative that, with very few exceptions, “the only good Indian is a dead Indian,” and even after the cultural tide began to turn, filmmakers who attempted to propagate a more compassionate viewpoint usually muted their efforts with stereotyped portrayals of Native Americans that presented them either as comic relief or tragic victims of oppression – when they weren’t being idealized as magical fonts of ancient wisdom, that is – and did little to convey the reality that they were really just human beings like the rest of us.

It goes without saying that the LGBTQ community can relate. But though things have gotten somewhat better for us in recent years, we are still hard pressed to think of many examples of films in which Indigenous people have not been essentially marginalized – and when we try to think of movies with Indigenous people who are also queer, the best most of us can do is “Little Big Man,” the 1970 Arthur Penn western in which Dustin Hoffman is raised by a Sioux Nation tribe and grows up with a Two Spirit character named Little Horse (played by Native actor Robert Little Star) as his friend. For the record, it’s a sympathetic portrayal, if not quite fully drawn. It was also nearly 60 years ago, and we’re still waiting for another mainstream movie to show us a more authentic vision of queer Native experience.

While Hollywood continues to drag its feet on correcting that gap, however, Canadian/L’nu Two Spirit/nonbinary filmmaker Bretten Hannam has been hard at work to bring their own perspective to the screen – and their debut feature film, “Wildhood,” which launches on Hulu June 24, is as much a breath of trope-free air as one could wish.

Disregarding expectations about Indigenous identity right out of the gate, it centers on Link (Phillip Lewitski), a half-Mi’kmaq teenager who lives with his younger half-brother Travis (Avery Winters-Anthony) in a rural trailer park on the coast of Nova Scotia. Their home life is toxic, with an abusive father (Joel Thomas Hynes) more interested in training them for a life of crime than in taking care of their basic needs; when Link learns that his Mi’kmaw mother may still be alive – despite what he had been told since early childhood – he abruptly decides to steal away with Travis and make a run for it, hoping to locate her and find a better life in the process.

Ill-prepared for a cross-country journey, an early encounter brings them quickly under the wing of Pasmay (Joshua Odjick), a Two Spirit Mi’kaq pow wow dancer traveling from gig to gig. Though Link is hesitant to trust this interloper and the two are frequently at odds, he gradually warms to Pasmay, and an emotional bond begins to grow between them as the three young travelers make their way across the Canadian wilderness together.

It’s not hard to gather where things go between Link and Pasmay, and together with the quest to reconnect Link to his estranged mother and the Native heritage she represents, it should be obvious enough that this is a coming-of-age tale whose protagonist yearns to embrace more than one neglected facet of his identity. Yet though it might be easy to classify “Wildhood” as a teen “coming-out” movie, it would also be misleadingly dismissive.

Like its central character, it’s a movie with many questions to be asked and answered, and sexuality is only one of the many elements woven together in Hannam’s briskly paced yet intricately layered screenplay. No one in the movie needs to “come out,” exactly; it’s easily gleaned that Link knows from the start that he is gay, or at least someplace on the queer spectrum, even if he doesn’t know that getting comfortable with that fact might be tied up in the journey ahead of him. As for Pasmay, they’re fully comfortable with their Two Spirit nature, yet the past trauma of family rejection is something they have yet to fully overcome. As these two walk together – accompanied by the one-eyed but clear-sighted Travis, who is working through family issues of his own – their growing closeness requires them to grapple with these lingering fears, providing a framework through which Hannam can subtly illuminate the differences between the world views held by white and Indigenous cultures.

With an Indigenous queer filmmaker behind the camera, the takeaway from that contrast inevitably emphasizes the opposition between two different cultural conceptions of queerness itself, and rightly so. As for their direction, Hannam’s remarkably self-assured visual storytelling effortlessly complements the nuances of their screenplay to mesmerizing effect, making all these intellectual-sounding themes arise like thoughts in a meditation, to be noted as they pass and remembered later. No doubt it helped that “Wildhood” was expanded by Hannam from an award-winning 2019 short; in any case, the result is a film with an easy, natural flow that neither shies from emotion nor dwells in it, and culminates exactly where we hoped while taking us places we never expected to go. 

As for the acting – a crucial element in making any film rise to its highest aspirations – Hannam’s cast not only serves them well, but are so perfectly attuned to their movie’s delicate spirit that they seem not to be performing at all. The nonbinary Odjick, charismatic without being showy, exudes a confident compassion that makes a perfect complement to Lewitski’s awkward and angry teen rebel, and the easy chemistry between them helps to make the latter’s lowering of defenses all the more believable. Winters-Anthony gives a stunningly genuine performance as Travis, helping to bring full weight to the all-important theme of chosen family; and Michael Greyeyes (the film’s most recognizable face, thanks to TV roles in “True Detective” and “Fear the Walking Dead,” among other titles) gives a memorable turn as a helpful stranger who facilitates Link’s eventual reunion with his mother – in exchange for a favor, of course.

“Wildhood” comes to Hulu after becoming a hit on the Festival Circuit in 2021, where it was an official selection at both TIFF and AFI Fest and won awards at both the Canadian Screen Awards (for Odjick’s performance) and the Palm Springs International Film Festival. That provenance is a testament to the importance of such festivals in amplifying the voices of marginalized artists and allowing them to tell their stories – but it’s not the reason for putting the movie at the top of your must-stream list, nor is the fact that it’s an embarrassingly rare example of Indigenous queer inclusion on the screen. Ultimately, the reason for watching “Wildhood” is that it is an example of personal filmmaking at its most sublime, existing at the intersection of personal experience, public enlightenment, and popular entertainment.

That’s a big burden to bear, but “Wildhood” never feels weighed down. On the contrary, it leaves us with a sense of freedom and acceptance that is lighter than air. 

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Summer of 2022: a queer screen roundup

Kevin Bacon stars in queer horror flick ‘They/Them’

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Kevin Bacon stars in queer horror film ‘They/Them.’ (Photo courtesy Peacock)

Since the summer season starts with Pride month, we can always count on June bringing plenty of great LGBTQ entertainment options to our screens. This year has been particularly bountiful – we’ve already highlighted several standout titles for our readers, like the smart, sophisticated, and stingingly funny rom-com “Fire Island” (now streaming on Hulu) and the dazzlingly diverse re-imagination of the iconic series “Queer as Folk” (available to watch on Peacock), as well as the return of “Love, Victor,” Hulu/Disney’s popular coming out/coming of age series (beginning its third and final season on June 15) – so it’s understandable if viewers are still making their way through these and some of the other movies and shows on our must-see list.

If you’re one of those who are still catching up, however, you’d be well advised to do it quickly. June is not quite done rolling out its offerings, and that’s just the beginning. The rest of summer has more in store for queer viewers – and once again, the Blade is here to offer some suggested titles that we think are worth looking out for in the weeks to come.

Being BeBe (Now streaming, Apple TV/Prime Video/broadcast premiere June 21 on Fuse)

Director Emily Branham brings us this intimate documentary charting 15 years in the life of drag performer Marshall Ngwa (aka BeBe Zahara Benet), who immigrated to America from the homophobic environment of his native Cameroon before becoming the first champion on “RuPaul’s Drag Race” and launching a career as one the leading artists celebrating Black Queer Excellence today. It’s an up-close look at a performer whose emotional journey raises timely concerns at the intersection of LGBTQ, BIPOC, and immigrant lives today.

The Umbrella Academy, Season 3 (June 22, Netflix)

The popular comic-book-inspired fantasy drama series comes back for a much-anticipated third installment after leaving its titular collection of superhero siblings stranded in a strange timeline at the end of the last one. Hip and irreverent, this violent, decidedly adult superhero saga had a huge cult following even before Netflix brought it to the screen, and show creator Steve Blackman’s slick, stylish adaptation of it has spawned a whole new army of fans – many of them queer, thanks to the material’s inclusion of two queer characters among the leads and an “outsider” vibe that gives it a generally queer sensibility. This season will surely be essential viewing for LGBTQ viewers, since it marks the return of Elliot Page to the character he originated before transitioning, in a storyline carefully crafted by Blackman (who consulted with GLAAD and brought in writer Thomas Page McBee to consult, alongside Page himself) in which the character (formerly Vanya) transitions to become Viktor and begins using he/him pronouns – a historic moment in television, whether you’re a fan of superhero shows or not. Besides Page, the series stars Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, Justin H. Min, Colm Feore, Ritu Arya, and Justin Cornwell.

Where the Crawdads Sing (July 15, in theaters)

Though Delia Owens’ best-selling novel does not tell a specifically queer story, it has drawn many queer fans. That’s probably because its lead character Kya, an abandoned girl who raised herself to adulthood in the dangerous marshlands of North Carolina, is relegated to the status of “other” when she is drawn into the nearby town community by two young men – and it doesn’t help matters when one of them turns up dead. Starring Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., and David Strathairn, this screen adaptation was written by “Beasts of the Southern Wild” scribe Lucy Alibar and directed by Olivia Newman.

Anything’s Possible (July 22, Prime Video)

We may have thought we had seen all multi-hyphenate performer Billy Porter’s many talents, but we were wrong. The Tony- and Emmy-winning Porter makes his debut as a feature film director with this “delightfully modern” Gen Z coming-of-age story about a confident trans high school girl named Kelsa who is busily navigating her way through senior year when she discovers that a shy classmate has developed a crush on her. Written by Ximena García Lecuona, the story is described as “a romance that showcases the joy, tenderness, and pain of young love,” and it stars Eva Reign, Abubakr Ali, and Renée Elise Goldsberry. And in case you’re wondering, Porter does not appear, himself – though he is credited as Executive Music Producer alongside Justin Tranter, which is yet another reason to look forward to this one.

Uncoupled (July 29, Netflix)

Neil Patrick Harris returns to the sitcom milieu that has brought him fame in a sitcom so perfect for him it’s shocking nobody ever thought to make it before – but perhaps we had to wait for him to be the right age to play Michael, a 40-something gay man who thinks he has a picture perfect life until his husband blindsides him by walking out the door and away from their marriage after 17 years together. He’s now confronted with the nightmare scenario of being middle-aged, queer, and single in New York City – but when he starts to recognize the possibilities of living a single life, he decides to make the most of it. From “Emily in Paris” creator Darren Star and longtime “Modern Family” producer Jeffrey Richman, it looks to be a prime opportunity to enjoy Harris at his comedic best in a sharp, sexy, and very queer eight episodes of television.

They/Them (August 5, Peacock)

From horror cinema heavy-hitters Blumhouse Productions comes this queer fright flick (pronounced “they-slash-them”) described as a “queer empowerment story set at a gay conversion camp” and starring Kevin Bacon as a counselor hoping to help his “guests” find “a new sense of freedom” by shedding their queerness. Unfortunately, a mysterious killer starts claiming victims, and the campers must work together to protect themselves from more than just heteronormative programming. Oscar-nominated screenwriter John Logan (also responsible for the beloved horror series “Penny Dreadful”) created, wrote, and directs, bringing his vision as an out gay man to a classic genre with surprisingly few queer entries. Kevin Bacon, Anna Chlumsky, Theo Germaine, Carrie Preston, Quei Tann, Austin Crute, Monique Kim, Anna Lore, Cooper Koch, and Darwin del Fabro star.

Besides all these, don’t forget we also have new seasons of queer-inclusive sitcoms “Rutherford Falls” (June 16, Peacock) and “What We Do in the Shadows” (July 12, FX), so there will be more than enough strong LGBTQ content to hold us over until the release of Billy Eichner’s hotly anticipated gay rom-com “Bros” in September – but you’ll have to wait until our Fall Preview issue to find out more about that.

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