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‘Better’ than ever: an interview with Harvey Fierstein

Beloved actor on pandemic, Broadway history and new biography

Published

4 years ago

March 10, 2022

Harvey Fierstein recounts his long career on Broadway in a new biography. (Photo courtesy Knopf)

One of the best things about reading a memoir by someone with a distinctive voice – both spoken and written – is that you hear them as your read their book. Let’s face it, award-winning writer and actor Harvey Fierstein qualifies as someone who has a distinctive voice and while reading his revelatory memoir, “I Was Better Last Night” (Knopf, 2022), you’d swear he was in the room with you, dishing away. Harvey was gracious enough to make time for an interview shortly before the book’s March 2022 publication date.

BLADE: Harvey, why was now the time to write your memoir, “I Was Better Last Night,” and does having a milestone birthday (70) in 2022 have anything to do with it?

HARVEY FIERSTEIN: What’s really funny is that so many sources, if you look online, have my birthday as 1954, even though it’s actually 1952. The reason is that when I turned 22, my friend Eric Conklin, who directed the original production of “Torch Song,” said “You should tell everybody you’re turning 21.” I said, “Why?” He said, “Because if you lie when you’re older, nobody believes it. But if you start at 21, who the fuck’s going to care!” That year, I moved my birthday to ‘53. The next year, we decided we’d do it again. But I never took it seriously. Things just get picked up by this one or that one. I think it was in New York magazine that they got the facts wrong and said my parents were Eastern European immigrants. They were actually third-generation Americans. But it got picked up by everyone and everywhere it said I was the son of Eastern European immigrants. My mother was born in Brooklyn and my father was born in the Catskills. So, I wrote the book, and there’s a fact checker, of course. Every time I mentioned my age he sent back a note, “Wikipedia says you were born in ‘54. This one says you were born in ’54,” I had to keep saying, “Why would I lie and make myself older? I’d only make myself younger!” It’s another one of those examples of why you should never lie. I am indeed as old as the mountains. So, did I write the memoir because of the birthday? No. Like everybody else in the fucking world, this pandemic hit. I was a very good boy. I sat down and did all the work on my desk. At that time, we were supposed to be doing a production of “Bye Bye Birdie” at the Kennedy Center. I finished the rewrites on that. I had rewritten “Funny Girl,” which was done in London and then went on tour in England, and we were bringing it to Broadway. I wanted to make some more changes to it, so I got all those changes done. “Kinky Boots” was sold to cruise ships, so I had to do an adaptation, a shortening of the show, as I had already done for “Hairspray” and other shows. That was off my desk and done. I’m working on a new musical with Alan Menken and Jeff Feldman, the guys I wrote “Newsies” with.

BLADE: Yes, I read about that in the book.

FIERSTEIN: So, I was all caught up with that. Basically, I was done. Then I sat down and, as I say in the book, I make quilts. I owed a couple of quilts as gifts. I went down to my little sewing room and I made seven quilts in a row [laughs]. Usually, I turn out one a year. Everybody got their birthday quilts, their wedding quilts, whatever it was that was owed. I had cleared my desk and we were still in the pandemic. Then my agent said to me, “Why don’t you write your memoir?” I said, “Because I don’t write sentences.”

BLADE: You wrote the children’s book. That has sentences.

FIERSTEIN: But that’s kid sentences. I’ve written op-eds, but for that you just have to get the voice of Edward R. Murrow in your head or something like that. That’s like writing dialogue, as well. All of a sudden, you’re Aaron Sorkin. I thought, “What the fuck? I’ve got a computer. Let me try.” I wrote four chapters, and I sent them to my agent. She said, “This is great!” She sent the chapters out to I think nine publishers, and eight of the nine made offers.

BLADE: There are numerous powerful moments throughout the book. Without giving away too much…

FIERSTEIN: Oh, go ahead, give it away! I already know what happens.

BLADE: But I don’t want to spoil it for the readers.

FIERSTEIN: That’s right. Goddammit.

BLADE: Chapter 57 contains one of the most emotional sequences involving your parents. Would it be fair to say that writing the book was a cathartic experience?

FIERSTEIN: Yes, the whole thing really is. When I started, I asked Shirley MacLaine because she’s written 300 books about her 700 different lives. She said, “Write what you remember because your brain has a way of editing, and it will give you what you need for this book. You’ll remember things for other books and other things, but write what you remember and just be true to what comes up.” I said, “Even about other people?” She said, “Yes. When you’re writing about other people, you’re really writing about yourself. Just trust that.” That’s what I did. There were hundreds of stories that I could have told. I just tried to sort of follow a line of thought and let it be.

BLADE: That’s interesting because the chapters in “I Was Better Last Night” are presented in chronological order, beginning in 1959 and concluding in 2022. Is that how they were written?

FIERSTEIN Yes, I wrote it exactly as it is. As you say, that particular chapter, I knew was coming because I knew what happened to bring that memory back. I’m trying to say it as you said, to not give it away. What happened between me and my brother, when he sat down to watch the last revival of “Torch Song.” My editor was incredibly gentle with me. Now and then he’d say, add more here or there. But the only real note that I got from him was he wanted to move that story into chronological order since the rest of the book is. I said, “No. That’s in emotional order.”

BLADE: It needed to be where it was.

FIERSTEIN: Exactly! Most celebrity autobiographies begin “I was a kid and I saw a show and I said, ‘I wanna be a star, too!’” Which is obviously not my story. I never wanted to be in show business. I didn’t want to be a writer. I didn’t want to be an actor or a drag performer. It was not my dream at all. That’s why it was so important to do it chronologically. I wanted to show how I lived my life being true to the moment I was in.

BLADE: In “I Was Better Last Night” you take readers on a journey through modern theater, from The Gallery Players and La Mama to off-Broadway and Broadway. With that in mind, would you agree that in addition to being a memoir, the book also functions as a theater history lesson?

FIERSTEIN: I guess it does. I have certainly been told that by a bunch of people who’ve read the book. When I was talking to Patti LuPone about it, she said, “Geez, I wish I had done what you did. She came through theater school and right into the legitimate, not through the experimental. As I say in the book, I came from an art school, so I always approached it as an art. Theater was part of an art movement, and I got involved because I wanted to meet Andy Warhol. Little did I know they would put me in drag. I guess there is a history there. Certainly, when I look around me, and I look at the people that I grew up with – Kathleen Chalfant and Obba Babatundé — and, of course, La Mama became something bigger. There were lots of others. Meeting Matthew (Broderick) at 18, or Estelle Getty who was a housewife from Bayside, Queens. She wouldn’t even admit she was from Bayside. She told everybody she was from Long Island [big laugh]. I said, “Estelle! Bayside is in Queens. Shut up!” What is history? After all, history is just day after day after day after day. I did start, as a baby, in this experimental theater. I wish that experimental theater still really existed. There were a few of us that I would say destroyed off-off-Broadway. I think greed is what destroyed off-off-Broadway. I think what happened was when people saw Tom O’Horgan make it, when “Hair” became a hit, that had a lot of people going, “Where’s my ‘Hair’?”

BLADE: But don’t you think that experimental theater might exist in cities where it’s a little more affordable to do that kind of thing? Say, Austin, Texas.

FIERSTEIN: There will always be experimental theater. It’s just, how is it looked at? Is the government funding there for it? I hear a lot of people saying, “Let’s not waste money on theater.” “Torch Song Trilogy” wouldn’t have been what it was if not for a government grant. I don’t know if you know this, but I just gave a grant to the New York Public Library at Lincoln Center to build a theater laboratory because rehearsal space is incredibly expensive in New York and almost impossible to find. David Rockwell is designing it and I’m hoping it’ll be open in two years. I tell a story in the book about how years ago we were rehearsing up at the YMCA, and the director just disappeared and left us with the bill for the rehearsal room. If I can leave a rehearsal room behind… Lin-Manuel (Miranda) developed “Hamilton” in the basement of the Drama Book Shop. For my shows, I used the basement of La Mama which was this small space, but big enough for us to rehearse and develop what we needed to do. I even did a couple of shows down there.

BLADE: Chapters 19 through 22 give readers insight into the inspiration for and the writing of “Torch Song Trilogy” and then much later you write about the recent revival with Michael Urie. What was it like to revisit the creation and the revision of “Torch Song Trilogy?”

FIERSTEIN: They’re your children, so they never really leave you. You may not think about them in the same way all the time, but they don’t leave you. You ask a mother about her son when he was six, and she can tell you a story about that time. It doesn’t mean you live with those stories every day. But they’re always there. Unfortunately, as you get older and people die on you, you remember them, or you go back to those stories time and again to remember how you all met and all that. With something like Torch Song, which is so much a part of my life, there was no real shock to going back and looking at that stuff again. Seeing Michael do it was not a shock either, because I cast all of my understudies. The show ran on Broadway for five years, but I didn’t play it all five years. There were other Arnolds and I saw all of them. There were matinee Arnolds, and then we had a bus and truck tour, and a regular tour. I saw all of those guys play it. I saw it in London with Tony Sher, who died a few weeks ago. He won the Olivier for “Torch Song.” Writing a memoir is not a time to blame other people [laughs]. When you’re writing plays, it is.

BLADE: I’m so glad you said that because one of the things that I think will strike readers about “I Was Better Last Night” is the brutal honesty with which you write about alcoholism and sobriety, as well as your suicide attempt. What do you hope readers will take away from that?

FIERSTEIN: There’s a certain point when you’re writing something like that…I don’t really care [laughs]. I needed to tell the truth and you hope that the truth will do good. When you’re writing fiction, you care more about how it’s read and what somebody gets out of the fiction. When you’re writing non-fiction, it’s like, “This is what happened, like it or not, Cookie.” The only hope is that I hope you know I’m telling it the best I can and being truthful. Because the truth does affect people, that I know. When you’re writing drama, you are manipulating an audience, and a story, and emotions. When I was writing the book, of course, there’s still an art to it, but I’m not turning away from something because it’s not comfortable. I’m going to say it. If somebody thinks I’m an asshole, let them think I’m an asshole. You read the book, and thank you very much for doing so.

BLADE: That’s my job!

FIERSTEIN: You see in the book that I don’t have an answer for my own gender. Had I been born in 1980, instead of 1952, would I be a woman now? I don’t know. I don’t have those answers. I don’t have the luxury of being born in a different society. The first (trans) person I knew was Christine Jorgensen, who died owing me money, that bitch [laughs]. When I was writing the book, I was going through photographs. There’s a picture in the book of me and Marsha P. Johnson and Jon Jon marching in a Gay Pride march. I put that picture up and somebody wrote to me telling me about Marsha, like you should know who this person was. I was like, “What are you talking about? This was a friend of mine!”

BLADE: Thank you for mentioning pictures. I live four blocks south of Wilton Manors in Fort Lauderdale. In the book you include a photo of the WiltonArt.com street sign that features a quote by you. What does it mean to you to be immortalized in this way?

FIERSTEIN: While it’s very flattering, another place I looked had it that Walt Whitman said it! With one hand, you’re flattered, and with the other, you’re slapped across the face.

BLADE: At least they got the attribution right in Wilton Manors.

FIERSTEIN: That’s lovely, it really is lovely. It’s a lovely thing to see something link that. I was watching some interview with Billy Porter and as if by accident, they walked down the block where there was a mural on the side of a building of his portrait. As if, “Oh, I didn’t know that was there!” You sort of laugh, like, yeah, right! You brought a film crew because you didn’t know your picture was there on the wall [laughs]. That sort of stuff of celebrity is always funny. Especially when you have friends who are famous and you try to just be human beings together, but then you go out in public, and you realize that they mean a whole other thing to the public than to you.

Related Topics:Broadway Harvey Fierstein I Was Better Last Night Knopf Torch Song Trilogy

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Jason DePuy on coping with homophobia in ‘Big Brother’ house

First drag queen contestant on CBS show fought to stay positive

Published

2 days ago

August 12, 2026

Susan Hornik

Jason DePuy on Big Brother (Photo courtesy of CBS Broadcasting,Inc.)

One week after Jason DePuy (known as Salina EsTitties on “RuPaul’s Drag Race”) was bullied and eventually evicted from CBS’s “Big Brother” house, the queer drag performer is still emotionally processing his feelings.

During his 24 days in the reality TV competition, DePuy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.

In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”

Former “Big Brother” contestant Frankie Grande called his words ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.

Now that he is out of the house, DePuy has been shocked and deeply touched by the love from “Big Brother” fans and former contestants. We chatted with DePuy for this Blade exclusive.

“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”

He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”

Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself.

“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”

DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain “Drag Race”moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the ‘Big Brother’ house was amazing.”

While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling.

“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”

He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’”

Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.

“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”

One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.

“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”

DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”

DePuy was thrilled to be the very first drag queen to ever be cast on the show.

“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”

Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.

“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”

If you missed Jason on “Big Brother: Unlocked,” the episode can be seen on CBS.com. He will be back on the show for the finale.

a&e features

Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard

Published

2 weeks ago

July 29, 2026

Kyle Rood

Lily Erin, one of Rainbows in Revolt’s signature artists, performed at Capital Pride in June. (Photo courtesy of Rainbows in Revolt)

Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!

The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?

There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?

Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.

The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.

Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.

Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.

In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.

I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.

Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.

Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.

A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”

Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”

The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.

Rainbows in Revolt is just getting started bridging gaps and building community.

a&e features

Summer in the City: Free exhibits, movies, more fill D.C.’s calendar

America 250 celebrations continue

Published

3 weeks ago

July 26, 2026

Emma LaPointe

Cynthia Erivo and Ariana Grande star in ‘Wicked,’ screening Sept. 12 at Union Market. (Photo courtesy of Universal Pictures)

From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.

Museum exhibitions

The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.

The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.

The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.

The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.

Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.

The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.

At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.

The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.

The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.

Live performances

On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.

Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.

From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.

Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.

DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.

Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.

Other events

Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.

Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.

The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.

For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.

Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.