Commentary
When queerness and art collide: My journey as a writer
Peter Pan, ‘Poor Things,’ and the power in pleasure

Gay Carrie Bradshaw. Wannabe Dan Savage. Writing about barbacking like it’s some sort of mission trip. I’m not unaware of the perceptions surrounding this column, which, when directed toward me, often presents as, “How exactly did this happen?”
That question is valid, in part because it happened so fast that I never processed the events leading up to it. It’s even more valid considering my dream was never to be a columnist at all, if one could call me that (delusional blogger, maybe?). No, instead, I wanted to write science fiction.
That’s right — for years, I dedicated thousands of hours typing away at my laptop, making up plots, characters, settings, and sometimes laws of physics out of thin air. For most of that time, it was a hobby I kept close, telling few in my inner circle to avoid what others might think. Despite this insecurity, I managed to complete three-and-a-half full-length novels that now sit patiently as PDFs on my hard drive.
Here you thought this column was weird. Oh, it’s just the tip of the iceberg, my friend.
So how exactly does one go from science fiction to sex column? Buckle up for the unfiltered, unadulterated, and likely unrequested story of how that abrupt shift came to be. It all took place during a cold week last February, when three events aligned like planets to pave the way.
First came some disappointing news. After being in talks with a literary agency for an entire year about one of my novels, the opportunity slipped through my fingers and crashed to the ground like the glassware drunk customers seem to love dropping, which, in both instances, leaves me sweeping the mess away. I should have expected this, for breaking into publishing is no small feat, particularly given my experience, or lack thereof. I have no MFA. No publishing credits. No formal creative writing training of any kind. I’m completely self-taught, relying on books and YouTube to learn both craft and industry. Given this, recognition from an agency as someone worth considering should feel like an accomplishment on its own.
Still, the news was devastating, especially after abandoning my old career to pursue writing. I’ll never forget when Dusty, one of the bar owners, found me in the kitchen to ask if I was OK. I held back tears as I nodded back yes, but the voices in my head scolded me on how pathetic I probably appeared to the world. Sounds harsh, but let’s be honest: You’re only praised when your art makes it big, but when it doesn’t, you’re just another weirdo. More on that later.
Fortunately, I had a bar shift to take my mind off the matter, which led to the second event. A few regulars sat at the bar and, as usual, gave me a friendly hello. On this wintry day business was slow, enabling me to chat more than usual. Naturally they inquired about my life outside the bar, which I’ll admit put me on edge. I mean, what do I say? Something told me, “I’m a twice-fired loser who thought he could write but just learned he can’t,” would bring down the mood a bit.
Instead, I kept it vague with, “I like to write,” before turning the question back on them. As it just so happened, one of those regulars was Brian Pitts, co-owner of the Blade.
“Maybe you could write for us,” he suggested. When I asked what they were looking for, he shrugged and suggested show reviews. I smiled, told him I’d get back to him next week, then walked away dismissing the idea. I mean, show reviews? Was I even qualified? I wasn’t sure I could write a story, let alone critique one.
Then again, what more could I lose? Figuring a review was at least worth a try, I stumbled into the third event following my shift that Super Bowl Sunday. Instead of the Big Game, I hiked to Atlantic Plumbing to catch “Poor Things,” starring Emma Stone. I vaguely knew the premise but not much else, other than buzz around Stone’s performance.
For those who haven’t seen it, “Poor Things” is a Victorian-era, somewhat-steampunk fantasy about a mad scientist who brings a deceased, pregnant woman back to life by replacing her brain with her infant’s. It’s a bonkers plot in which Stone’s character, Bella, becomes a woman reset—quite literally in this case—but as her young mind develops in her adult body, she experiences life uninhibited. Then come the most shocking sequences of all: Bella having sex, and lots of it. At one point she even becomes a prostitute, using the gig to explore her sexuality while building in free time to pursue other interests.
I watched mesmerized, both appalled and intrigued, equally awed and revolted, while I couldn’t help but wonder: Is that me up on that screen?
I haven’t been shy about my own sexual journey, which I had assumed began and ended with my coming out. But damn was I wrong, and “Poor Things” showed me why. Notably, Bella’s sexual liberation shares a likeness to the queer experience. “Polite Society will destroy you,” one character tells her, which holds true for all queer journeys. Yet once we break free from these social chains, we often enter a reset—an infantile stage, if you will—to relive our robbed youth through fresh eyes.
Unfortunately, not all queers leave this phase, instead remaining caught in an eternal adolescence often referred to as Peter Pan syndrome. Bella only escapes it through critical self-examination, understanding better what she truly wanted from life. Here “Poor Things” depicts sexual liberation as more than a moment; rather, it’s a process where rebirth is just the beginning. How far Bella’s liberation went relied entirely on her willingness to explore herself. Consequently, her liberation didn’t end with sex but rather her self-actualization, so by the final throes of the film sex is rarely mentioned. Herein lies the Power in Pleasure — the unabashed pursuit of all things you enjoy to become your happiest, most well rounded, most fully realized self.
Later that night, instead of writing a review, I sat there reeling from the similarities between Bella’s life and my own. Bella taking on frowned-upon work in pursuit of herself mirrored my becoming a barback to pursue writing. And the sex? My God, I was amid a slut phase already, though I wanted to believe I was more than that. But wanting and believing are different things, aren’t they? I realized then I was holding myself back. My Peter Pan must grow up.
As for my art, I bought into this silly notion that I’d open up as a writer if I ever made it big, as if that would shield me from rejection. Not so coincidentally, my mindset was similar before coming out as gay: I thought, let me hold off until I’m successful, then show the world successful people can be gay. Both experiences felt too similar to ignore, until I finally saw the profound connection between art and queerness.
“Art was the precursor to fully allow me to embrace my queerness,” Scott would later tell me, who I’ve mentioned in the past is both my coworker and a performance artist. Scott was a theater kid in high school, which led them into a proud “Band of Misfits” that wore difference as a badge of honor. “I was able to find my queerness through art, through performance, and through training to become an actor.”
My journey was the opposite: I came out as gay well before as a writer, which Scott assured me is normal. “We’re often told don’t express yourself, conform, conform, conform, and artists do the opposite of that,” said Scott. “Being an artist is hard. It’s a queering of what societal expectations are, particularly here in the District where there is so much ladder climbing professionally, socially, politically. The title of artist sort of queers the idea of what it means to be in Washington, D.C.”
Scott was right. D.C., in comparison to other cities, feels uniquely difficult to pursue art. Even when we’re out — perhaps especially when we’re out — we D.C. gays tend to overcompensate for our perceived deficiency by ensuring everything else is in order, projecting a brighter image of what a good citizen ought to be, serving an ideal of a new normal, and leaping from one box only to scurry into another, albeit gayer, one.
Yet was fitting into any box what I truly wanted? If polite society says yes, then fuck polite society.
So, in a case of art imitating life imitating art likely imitating someone else’s life, I sat down and told my story, wrestling doubts of my craft, fighting my fears of what others might think, at times typing through my tears, all for the sake of my authenticity, since my repressing it was no longer an option. This is what it takes to bear your truth to the world. It’s what it takes to be an artist. No surprise, it’s also what it takes to come out queer, and to become the bravest version of yourself imaginable.
I sent what I wrote to the Blade as soon as I finished, and the rest is history. And there you have it: the story about the review that never happened but became so much more, brought to you by my dramatic flair and ADHD.
Though I must admit, gay Carrie Bradshaw has a nicer ring to it.
Jake Stewart is a D.C.-based writer and barback.
Commentary
I am a proud Jewish, gay man
My heart breaks for the two Israeli diplomats killed on the streets of D.C.

Antisemitism, racism, and Islamophobia, are terrible things to have to deal with, and we must all always speak out and reject them. But the reality is, as a proud, Jewish, gay man, living in Washington, D.C. today, I am more afraid of Donald ‘felon’ Trump, his Nazi sympathizing co-president Elon Musk, his own Joseph Goebbels, Stephen Miller; and his Cabinet flunkies like Homeland Security’s Kristi Noem and State Department’s Marco Rubio, than I am of any legal college demonstration. Mind you, I say legal.
We live in a world where Trump has made all kinds of outrageous behavior acceptable. He has dined with white nationalists, said there are fine people on both sides in his first comments when the Charlottesville riots occurred. Today, Trump sits with terrorists in Qatar, accepting a plane as a bribe, and negotiates with terrorists like Hamas. This is the world Donald Trump has created. That is what I fear the most. It is a world where Donald Trump has made it acceptable for racists, homophobes, sexists, antisemites, and Islamophobes to spout their hate in the public square.
This past year I published my memoir, and wrote about being a first generation American. My parents came here to escape the Nazis — my father from Germany, and my mother from Austria. My father joined the American Army and went back to fight the Germans. His parents were gassed in Auschwitz. I understood from them and their friends, what antisemitism was. But I grew up in a Jewish community in New York City, and as I wrote in my book, never felt any of it myself until I was 13 on a trip through the Midwest and was called a ‘Kike’ and had to ask someone what that meant.
As to being gay, I knew I was, even though I didn’t understand it, when I was 12. I could, and did hide that, until I was 34. I then came out in D.C., which turned out to be an easy place to come out. But it was near the beginning of the HIV/AIDS epidemic, and that made you very careful. You were told not to have your insurance company pay for a blood test, so God forbid, people would think you were gay, or worse if you did test positive. There was rampant discrimination and fear regarding HIV/AIDS at the time. I know I lost at least two jobs because I was gay, yet luckily, neither of those impacted my career in the long run. I became a gay activist, fought for my community, and things got better. I had worked for Rep. Bella Abzug (D-N.Y.), sponsor of the first Equality Act, before I came out, and met many gay people who were very supportive and became lifelong friends.
Today, Donald Trump, literally through his actions, threatens the lives of trans persons. While we are celebrating WorldPride in D.C., which as a city is a very welcoming place for the LGBTQ community, countries around the globe have told their citizens to be on alert if they come here. The United States is on their watch list for unsafe travel because of Trump’s actions.
When Donald Trump was elected the first time, his racism, homophobia, sexism, and Islamophobia immediately came to the fore. It had a negative impact on the culture in our country. It actually changed the culture, and that, and he, have only gotten worse over time. Today, Trump and his MAGA minions, are truly frightening. Again, trans people are afraid and antisemitism and Islamophobia are rampant in our nation.
Trump tries to blame it on some foreign students, but reality is, it is his doing. He and his MAGA cult. They are the ones I fear, not a graduate student at Columbia who supports Palestinians. It is the Netanyahu government in Israel that is making things worse. Yes, Hamas must be defeated as they promote genocide against the Jewish people in Israel. But the Israeli government starving millions of Palestinian people in Gaza, who are not Hamas, is not helping anyone. It simply creates more antisemitism. Trump going back and forth on his support of Netanyahu, and then saying he wants to displace every Palestinian from their home in Gaza to build a resort, creates more antisemitism. Trump is the guilty one, not the Columbia student who speaks out for his Palestinian family.
Where this will end, I do not know. But my heart breaks for the two innocent Israeli diplomats recently killed on the streets of D.C. by a terrorist who basically was given permission to act out by what Trump is doing in the world. What he did was vile, and he should end up in jail for the rest of his life. Everyone needs to speak out every day, and say antisemitism is unacceptable, and must be stopped. I never want to see Germany in 1939 replicated here. But that is what Trump and his MAGA cult are doing. They threaten everyone who they disagree with, and seek vengeance for suspected slights. They are literally trying to destroy our democracy. By what they are doing they give the terrorist who ended the lives of that beautiful young Jewish couple in D.C., implicit permission to act. Because if a president can act like a criminal, why can’t he?
Commentary
‘A New Alliance for a New Millenium, 2003-2020’
Revisiting the history of gay Pride in Washington

In conjunction with WorldPride 2025, the Rainbow History Project is creating an exhibit on the evolution of Pride: “Pickets, Protests, and Parades: The History of Gay Pride in Washington.” It will be on Freedom Plaza from May 17-July 7. This is the ninth in a series of 10 articles that share the research themes and invite public participation. In “A New Alliance for a New Millenium” we discuss how Whitman-Walker’s stewardship of Pride led to the creation of the Capital Pride Alliance and how the 1960s demands of the Mattachine Society of Washington were seen as major victories under the Obama administration.
This section of the exhibit explores how the Whitman-Walker Clinic, a cornerstone of the community since the 1970s, stepped up to rescue Pride from a serious financial crisis. The Clinic not only stabilized Pride but also helped it expand, guiding the festival through its 30th anniversary and cementing its role as a unifying force for the city’s LGBTQ population. As Whitman-Walker shifted its focus to primary healthcare, rebranding as Whitman-Walker Health, a new era began with the formation of the Capital Pride Alliance (CPA). Born from the volunteers and community partners who had kept Pride going, CPA took the reins and transformed Capital Pride into one of the largest free LGBTQ festivals in the country. Under CPA’s stewardship, the festival grew to attract hundreds of thousands, with multi-day celebrations, headline performers, and a vibrant parade.
This period saw Pride become a true cross-section of the community, as former Capital Pride Alliance executive director Dyana Mason recalled: “It was wonderfully diverse and had a true cross section of our community… Everybody was there and just being themselves.” The festival’s expansion created space for more people to find a sense of belonging and affirmation. This growth was made possible through the support of sponsors, volunteers, and a city eager to celebrate-but it also sparked ongoing debates about the role of corporate funding and the meaning of Pride in a changing world.
National politics are woven throughout this era. In a powerful moment of recognition, Frank Kameny — the architect of D.C.’s first White House picket for gay rights and a founder of the Mattachine Society — was invited to the White House in 2009. There, President Obama and the U.S. government formally apologized for Kameny’s firing from federal service in 1957, a symbolic act that echoed the earliest demands of DC’s own Mattachine Society, the city’s first gay civil rights organization founded in 1961. The 2009 National Equality March revived the spirit of earlier mass mobilizations, linking LGBTQ rights to broader movements for social justice. The 2010s brought landmark victories: “Don’t Ask, Don’t Tell” was repealed, marriage equality became law. These wins suggested decades of protest had borne fruit, yet new generations continued to debate the meaning of true liberation and inclusion.
Our exhibit examines how the political edge of Pride has softened as the event has grown. As the festival expanded in scale and visibility, the focus on protest and activism has sometimes faded into the background, even as new challenges and divisions have emerged. Some voices have called for a return to Pride’s more radical roots. The 2017 Equality March for Unity and Pride drew 80,000 people to D.C., centering intersectional struggles — police violence, immigrant rights, trans inclusion — and exposing the widening rift between mainstream LGBTQ progress and the lived realities of the most vulnerable. The question remains: Are LGBTQ officers marching in uniform a sign of progress or a painful reminder of Pride’s roots in resistance to state violence? During Capital Pride 2017, activists blocked the parade, targeting floats sponsored by corporations linked to weapons manufacturing, pipeline financing, and other forms of oppression.
As we prepare for WorldPride and the anniversaries of D.C.’s first Gay Pride Day Block Party and the White House picket, the Rainbow History Project invites you to experience this living history at Freedom Plaza. Through archival images and the voices of organizers and participants, you’ll discover how Pride in DC has been shaped by resilience, reinvention, and the ongoing struggle to ensure every voice is heard.
Zoey O’Donnell is a member of the Rainbow History Project. Vincent Slatt is RHP’s senior curator.
Commentary
A conversation about queers and class
As a barback, I see our community’s elitism up close

In the bar, on the way to its now-Instafamous bathrooms, there’s a sign that reads, “queer & trans liberation means economic justice for all.”
I remember seeing that sign the first week the bar opened, and ever since I often find myself reflecting on that message. I stand fully in agreement. That’s why laws protecting queers in the workplace are essential, for far too often we are targeted otherwise. It’s also why I love working at the bar, since it provides opportunities for queers from all over the spectrum to earn a living. At a time when I gave myself space to pursue art, it was the bar that enabled me to do so.
It’s one thing to support the LGBTQ community in spirit, but that spirit means jack in a capitalist society if viable economic opportunities don’t exist. Speaking of jack, there’s a fellow barback named Jack who I fangirl over often. Jack is a decade younger than me, but damn I wish I had his sex appeal at his age (or any age, for that matter). He also has a mustache that easily puts mine to shame.
Jack not only agrees but took things one step further. “Economic inequality IS a queer issue,” he told me, “especially as we move into the most uncertain period of American politics I have ever lived through, it is apparent our identity is now a fireable offense.”
Uncertain is right. We’re fresh off the heels of a trade bonanza, one caused for literally no reason by our current commander in chief. Yet there emerged a strange division when discussing the trade war’s “unintended” consequences. For working class comrades like Jack and myself, we’re stressed about increasing prices in an already tough economy. But the wealthier echelons of our country had something else on their mind: the spiraling stock market. This alone highlights the story of our economic divide, where the same event produces two separate concerns for two distinct classes.
This is not to say the stock market is not important, but sometimes the media forget many Americans don’t own stock at all, including a vast majority of people between 18 and 29. In fact, according to Axios, the wealthiest 10 percent of Americans own 93 percent of the entire stock market, with the richest 1 percent holding $25 trillion — that’s right, trillion with a “t” — in market value. So, when the president reversed course on trade, it was less about high prices hurting everyday Americans and more about the dent created in the wealth of the wealthiest. And I’ll admit: that bothers me a lot.
If there is any takeaway from Trump’s trade war, it should be this: Economic inequality is the highest it has been in decades and, if left unchecked, will destroy the fabric of our country. We are steadily moving toward oligarchy status—if we’re not there already, that is—and it seems to grow worse with each passing year and administration. But in a city of D.C. gays who often skew corporate, I wonder: Are we all on the same page here?
After becoming a barback, I have my doubts. From questions about what else I do, to comments encouraging me to work hard so that I can be a bartender one day, I quickly learned the gay world is not too fond of barbacking. Barebacking, sure, but not barbacking. And hey, I get it—we’re not the alcohol hookup at the bar. Still, we are part of the service industry, and while some people are incredibly kind, you’d be surprised at how many turn up their noses at us, too.
Recently, I’ve come to realize my class defines me as much as my orientation does, if not more. Naturally, when you come from a rough neck of the woods like I do, it’s easy to feel out of place in a flashy city like D.C., which Jack noticed, too. “Anyone from a working class background could testify to that,” he said. “I don’t really know anyone from true upper class backgrounds, but I’d imagine their experience is one that leans into assimilation.”
Assimilation is a key word here, for admittedly gays love to play with the elite. Often, we don’t have children, meaning more money for the finer things in life, but that also means we may not think about future generations much, either. I’ve written before that our insecurity growing up has us ready to show the world just how powerful gays can be—power that comes in trips to Coachella and Puerto Vallarta, or basking in the lavish houses and toys we own. There’s already a joke that gays run the government, and corporate gays kick ass at their jobs as well. So, given the choice between fighting inequality and keeping a high-paying job, I must admit I have a hard time seeing where D.C. gays stand.
Admittedly, it worked out in our favor before, given that many corporations catered to our economic prowess over the years. But look at what’s happening now: Many corporations have kicked us to the curb. Protections are being stripped from queers, particularly for our trans brothers and sisters. Law firms are bowing down to Trump, offering hundreds of millions in legal fees just for their bottom line. All of this will hurt both queers and the working class in the long run, so again I ask: Corporate gays, where do you stand? Because if you remain complicit, that’s bad news for us all.
I don’t want to sound accusatory, and I hate being a doomsday type, so allow me to end this on a better note. Strength is not about celebrating when times are good. Arguably, true strength emerges when times get tough. These are tough times, my friends, but that also makes now the perfect opportunity to show the world just how strong we are.
At a time when the world is pressuring us to turn our backs on each other, we must defy them to show up when it counts. Corporate gays—now more than ever, at a time when the economy is turning its back on queers, we need you. We need you to stand up for the queer community. We need you to make sure no one gets left behind. We need you to show up for us, so that we can show up for you, too.
Ten years ago, the economy didn’t turn queer out of nowhere. The economy turned queer because we made it turn queer.
And if we did it once, surely we can do it again.
Jake Stewart is a D.C.-based writer and barback.