Arts & Entertainment
Drag Isn’t Dangerous Telethon raises over $523,000
Final amount raised from the live broadcast was over $523,000. Recording of it will stay online for 48 hours after its conclusion

Into the third hour of Drag Isn’t Dangerous, a brief film makes the point that there have been article after article about children molested by church clergy and counselors, yet not a single bill has been proposed tackling that real issue. Then there are drag queens. Drag queens have never harmed a child, and there are no articles implying that they have. Yet … yet … state after state, bill after bill are going after drag queens.
With this telethon event, drag queens and all that they have inspired, have sent the message: They are not going to take this shit anymore. Clips of rightwing pundits and commentators were presented and the ignorant hatred expressed in each clip is both at once chilling, and pathetic.
The message of hate is juxtaposed with segments like one featuring “RuPaul Drag Race” alum Nina West. West told the story about her adventures doing storybook hours at Columbus, Ohio, libraries for children. It should be pointed out that the Nina West brand is one of classiness and kindness. She moved her popular book readings onto Instagram. The first hour where she did so was wonderful.
The second hour was not.
The audience turned “dark, terrifying and threatening.” Then it all got very personal. People showed up at his house where he was broadcasting and blew eardrum breaking airhorns outside his windows. They then started a campaign of harassment and doxing, targeting him, his parents and his sister. Signs appeared in his yard accusing him of being a groomer.
Last December he embarked on a Drag Christmas tour. The tour encountered protesters, bomb threats and required police escorts.

Hosted by Justin Martindale and Peppermint with a co-location hosted by Alaska and Adam Shankman, the telethon team declared a goal target of $250,000 for the evening. The evening was filled with performances from some of the Drag community’s best. Kicking off the evening were songs by Trixie Mattel and Alaska. The online crowd was gobsmacked with exclamations like “legends!” , “fierce!” “That voice!”.
The telethon was a recreation of the traditional telethon style with a phonebank of drag celebrities womaning the phones. Instead of the phone banks of years gone by the receptionists were not the first point of entry to make donations. In this modern version, donors first register their donation on the gofundme application and then are connected to the celebrity to receive thanks and conversation. Phone bank stars included Candis Cayne, Jinx Monsson, Ginger Minge, Laganja Estranja Trinity the Tuck, Monet Exchange and Queer Eye OG Jai Rodriguez.
As of 4:30 p.m., $55,000 had been raised.
Celebrity cameos and interviews were generously sprinkled through the broadcast. Many of them expressed gratitude and awe for the talents and artistic contributions of drag. Still others were downright angry. “I will f*ck anyone who messes with you,” Charlize Theron declared.
“Drag isn’t dangerous, but Leslie Jones IS!” Leslie Jones fumed.
Sarah Silverman also did not mince words. “It is an invented ‘problem’. It creates a REAL problem for the marginalized. I would trust RuPaul before any of you (Republican) hate mongers.” To the drag community, she declared, “If they come for you, they will have to come through me first.”
“Lawmakers are terrified of how bright we are shining,” Adam Lambert stated affirmingly.

As of 4:50 p.m. $100,000 had been raised.
Donors were interviewed through the phonebank. Jai Rodriguez had an impromptu conversation with a young woman who had come out as queer that day. Even though her experience has been “tough”, she wanted to celebrate her landmark day by donating.
Michele Visage gave RuPaul visibility and spoke from her heart. “I wish I could say that I am glad to be here,” she started. “I am appalled I have to be at something called ‘Drag Isn’t Dangerous.’ Imagine a world where dancers are told they can’t dance; imagine a world where artists are told they cannot take paint to canvas…because it is ‘bad for children.’ That is what is happening to drag right now.”
As of 5:40 p.m., $205,000 had been raised. Jinx Monsson whipped out her own checkbook and wrote a check for $10,000.
Other celebrities added perspective to the issue. Ocean Kelly stated, “They want us to stay quiet. Watching a drag queen won’t make a child queer. If a child is queer, it is because they are … queer.”
Billy Eichner discussed the historical use of scapegoats as distractions. “It is not new, but it is urgent and dangerous,” he warned. “We need to be relentless and loud,” he instructed.
Oscar winner Marcia Gay Harden demonstrated her queer chops by publicly outing her entire family. “All my children are queer,” she declared. “One is nonbinary, one is gay. My first boyfriend was gay and my conservative Naval Officer dad loved him. “ Of the drag controversy she said, “Why are we having to advocate for creativity and imagination? It is so fear-based. We know what love is.”
As of 7:38 p.m., half a million dollars had been raised.
The movement has started and this first outing is not yet over. Recording of it will stay online for 48 hours after it concludes.
Go here for tickets and then receive you email with the telethon link: https://www.moment.co/dangerous/dragisntdangerous-drag-isnt-dangerous-live
As for the end of the Telethon, Ginger Minge show stopped with the classic “I Am What I Am” from La Cage.
I don’t want praise I don’t want pity
I bang my own drum
Some think it’s noise I think it’s pretty
And so what if I love each sparkle and each bangle
Why not try to see things from a different angle
Your life is a sham til you can shout out
I am what I amI am what I am
And what I am needs no excuses
I deal my own deck
Sometimes the ace sometimes the deuces
It’s my life that I want to have a little pride in
My life and it’s not a place I have to hide in
Life’s not worth a danm til you can shout out
I am what I am
********************************************************************

Rob Watson is the host of the popular Hollywood-based radio/podcast show RATED LGBT RADIO.
He is an established LGBTQ columnist and blogger having written for many top online publications including The Los Angeles Blade, The Washington Blade, Parents Magazine, the Huffington Post, LGBTQ Nation, Gay Star News, the New Civil Rights Movement, and more.
He served as Executive Editor for The Good Man Project, has appeared on MSNBC and been quoted in Business Week and Forbes Magazine.
He is CEO of Watson Writes, a marketing communications agency, and can be reached at [email protected] .
Sports
English soccer bans transgender women from women’s teams
British Supreme Court last month ruled legal definition of woman limited to ‘biological women’

The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.
The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.
“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”
“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.
The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”
“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.
The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.
The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.
Theater
Theatre Prometheus spreads queer joy with ‘Galatea’
Two girls dressed as boys who find love despite the odds

‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org
In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them.
Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.
Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair.
Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.
“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.”
Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.
“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”
Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time.
There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.
She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.
“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”
Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it.
And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.”
And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”
Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.
In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.
With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”
Movies
Jacob Elordi rides high in ‘On Swift Horses’
Sony Pictures’ promotions avoid referencing queer sexuality of main characters

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.
Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.
Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.
Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.
Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it
That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.
Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.
As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.
But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.
Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.
That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.
-
Books4 days ago
Chronicling disastrous effects of ‘conversion therapy’
-
U.S. Federal Courts3 days ago
Second federal lawsuit filed against White House passport policy
-
Opinions4 days ago
We must show up to WorldPride 2025 in D.C.
-
District of Columbia3 days ago
Ruby Corado sentencing postponed for third time