National
Historic Oscar showing for ‘Emilia Pérez’ stirs controversy
Karla Sofía Gascón is first trans nominee for Best Actress
When the Academy of Motion Picture Arts and Sciences makes the annual announcement of Oscar nominations, it’s always a day of divisive opinions – but even the most divisive Oscar controversies of the past are bound to end up feeling like a pleasant chat over brunch compared with the one that has predictably erupted over yesterday’s revelation of the Academy’s slate of contenders, in which “Emilia Pérez” became not only the most-nominated film of the year, but the first to score a Best Actress nod for a transgender actor.
It’s a milestone that hardly comes as a surprise. The film’s star, Karla Sofía Gascón, has been considered a front-runner in the category throughout the awards season so far, already winning the Golden Globe for Best Lead Actress (Musical of Comedy) and snagging an equivalent nomination for the upcoming SAG Awards – whose membership also happens to represent the largest percentage of Academy voters, thereby making their choices a solid indicator of how things are going to go down on Oscar night. In any other year, apart from being noted as a historic first and inevitably ruffling a few conservative feathers, Gascón’s inclusion in the lineup would likely otherwise feel like business as usual.
That, however, was before the return of convicted felon Donald Trump to the White House. Days after the former reality show star signed an executive order proclaiming that the United States will henceforth legally recognize only “two genders” (justified in part by the invocation of “concrete reality,” whatever that is), it seems that Academy voters have a dissenting opinion – and suddenly, a simple Oscar nomination feels like an act of resistance against the government itself.
For those who have yet to see the film (which is now streaming on Netflix), “Emilia Pérez” is a sprawling musical drama in which Gascón portrays a powerful Mexican cartel boss who enlists an idealistic lawyer (Zoe Saldaña, also nominated for an Oscar, as Best Supporting Actress) to facilitate a gender transition, so that she can disappear from her brutal life of violent conflict and finally live freely as the true self she has always had to keep hidden. It’s an epic-length saga, blending multiple genres into a larger-than-life, unpredictable wild ride that both celebrates traditional cinematic conventions and shatters them.
In addition to the kudos for Gascón and Saldaña, the film – which, though its dialogue is mostly in Spanish, was produced in France, giving it the additional distinction of earning the highest number of nominations of any non-English-language movie in Oscar history – also earned its place among the 10 Best Picture contenders, where it competes against more traditionally styled favorites like “Conclave,” “Wicked,” and the Chalamet-as-Dylan biopic “A Complete Unknown,” as well as “artsier” titles like “Anora” and “The Brutalist.” Additionally, filmmaker Jacques Audiard is nominated as director and co-screenwriter (with Thomas Bidegain, Léa Mysius, and Nicolas Livecchi, in the Adapted Screenplay category), with two nods in the Best Song category and a host of so-called “technical” awards to round out its whopping total of 13 – only one nomination fewer than the three films (All About Eve,” “Titanic,” and “La La Land”) currently tied at 14.
Other films on the Oscar roster also gathered a high tally; “The Brutalist,” Brady Corbett’s critically lauded examination of the “American Dream” through the experiences of a Holocaust survivor (Adrien Brody) on his way to becoming a celebrated architect in the mid-20th-century United States, got 10, as did John M. Chu’s blockbuster adaptation of “Wicked” (including one each for stars Cynthia Erivo and Ariana Grande). Among other multiple nominees are “Conclave,” “Anora,” and “A Complete Unknown,” along with “The Substance,” which earned a Best Actress nod for previous dark horse candidate Demi Moore as one of its total.
Other nominations of note: Colman Domingo, whose well-deserved Best Actor nomination for “Sing Sing” gives him another shot at becoming the first openly gay person to win in that category; a pair of nominations for literary adaptation “Nickel Boys,” a story of two Black American youths at an abusive reform school in 1960s Florida; a nomination for Isabella Rossellini, daughter of three-time-Oscar winner Ingrid Bergman and Italian cinema maestro Roberto Rossellini, as Best Supporting Actress for her role in “Conclave”; and the inclusion of “Memoir of a Snail,” a uniquely poignant Australian film which features (among other non-kid-friendly things) a pair of queer characters being subjected to conversion therapy, among the nominees for Best Animated Feature.
As always, there were snubs, too: egregiously, Daniel Craig, the star of Luca Guadagnino’s “Queer” who was widely seen as a front runner, was shut out for a Best Actor nomination. Guadgnino, who also directed the bisexual tennis romance “Challengers” this year, saw both of his movies come up empty-handed; also left out was a Best Actress nod for Pamela Anderson’s breathtaking comeback turn in “The Last Showgirl,” despite promising buzz and a strong showing at previous awards ceremonies this season.
Nevertheless, while in other years these subjectively labeled hits and misses might be fodder for plenty of debate in the public forum, none of them are even a storm in a teacup compared with the uproar around “Emilia Pérez” – which thus far (at this writing, anyway) has focused on detracting from the merits of the film itself, rather than at its transgender star. We get it: “Emilia Pérez” is not a film for all tastes, so it’s not surprising that many film fans are appalled at the acclaim it has received.
Even so, thanks to the atmosphere of transphobic oppression that has been forced upon us by Trump and his extremist cronies, any discussion of the film and its nominations must now be considered with all one’s critical thinking skills, because any arguments, either for or against its worthiness, might merely be a smokescreen for a deeper agenda than defending a set of cinematic aesthetics.
For our part, of course, we celebrate the film for its bold inclusivity, as well as its fantastical exploration of not only gender, but justice, corruption, politics, and all the contradictory passions that make being human what it is. We also celebrate Gascón’s nomination and the significant historic impact it carries – particularly coming at this precarious moment in the American story.
As for Oscar night, we have no idea what to expect, so our only prediction about the ceremony on March 2 also serves as a bit of advice, courtesy of a quote from a previous Oscar champion: “Fasten your seat belts, it’s going to be a bumpy night.”
U.S. Supreme Court
Activists rally for Andry Hernández Romero in front of Supreme Court
Gay asylum seeker ‘forcibly deported’ to El Salvador, described as political prisoner
More than 200 people gathered in front of the U.S. Supreme Court on Friday and demanded the Trump-Vance administration return to the U.S. a gay Venezuelan asylum seeker who it “forcibly disappeared” to El Salvador.
Lindsay Toczylowski, president of the Immigrant Defenders Law Center, a Los Angeles-based organization that represents Andry Hernández Romero, is among those who spoke alongside U.S. Rep. Mark Takano (D-Calif.) and Human Rights Campaign Campaigns and Communications Vice President Jonathan Lovitz. Sarah Longwell of the Bulwark, Pod Save America’s Jon Lovett, and Tim Miller are among those who also participated in the rally.
“Andry is a son, a brother. He’s an actor, a makeup artist,” said Toczylowski. “He is a gay man who fled Venezuela because it was not safe for him to live there as his authentic self.”
(Video by Michael K. Lavers)
The White House on Feb. 20 designated Tren de Aragua, a Venezuelan gang, as an “international terrorist organization.”
President Donald Trump on March 15 invoked the Alien Enemies Act of 1798, which the Associated Press notes allows the U.S. to deport “noncitizens without any legal recourse.” The Trump-Vance administration subsequently “forcibly removed” Hernández and hundreds of other Venezuelans to El Salvador.
Toczylowski said she believes Hernández remains at El Salvador’s Terrorism Confinement Center, a maximum-security prison known by the Spanish acronym CECOT. Toczylowski also disputed claims that Hernández is a Tren de Aragua member.
“Andry fled persecution in Venezuela and came to the U.S. to seek protection. He has no criminal history. He is not a member of the Tren de Aragua gang. Yet because of his crown tattoos, we believe at this moment that he sits in a torture prison, a gulag, in El Salvador,” said Toczylowski. “I say we believe because we have not had any proof of life for him since the day he was put on a U.S. government-funded plane and forcibly disappeared to El Salvador.”
“Andry is not alone,” she added.
Takano noted the federal government sent his parents, grandparents, and other Japanese Americans to internment camps during World War II under the Alien Enemies Act. The gay California Democrat also described Hernández as “a political prisoner, denied basic rights under a law that should have stayed in the past.”
“He is not a case number,” said Takano. “He is a person.”
Hernández had been pursuing his asylum case while at the Otay Mesa Detention Center in San Diego.
A hearing had been scheduled to take place on May 30, but an immigration judge the day before dismissed his case. Immigrant Defenders Law Center has said it will appeal the decision to the Board of Immigration Appeals, which the Justice Department oversees.
“We will not stop fighting for Andry, and I know neither will you,” said Toczylowski.
Friday’s rally took place hours after Attorney General Pam Bondi said Kilmar Abrego Garcia, a Maryland man who the Trump-Vance administration wrongfully deported to El Salvador, had returned to the U.S. Abrego will face federal human trafficking charges in Tennessee.
National
A husband’s story: Michael Carroll reflects on life with Edmund White
Iconic author died this week; ‘no sunnier human in the world’
Unlike most gay men of my generation, I’ve only been to Fire Island twice. Even so, the memory of my first visit has never left me. The scenery was lovely, and the boys were sublime — but what stood out wasn’t the beach or the parties. It was a quiet afternoon spent sipping gin and tonics in a mid-century modern cottage tucked away from the sand and sun.
Despite Fire Island’s reputation for hedonism, our meeting was more accident than escapade. Michael Carroll — a Facebook friend I’d chatted with but never met — mentioned that he and his husband, Ed, would be there that weekend, too. We agreed to meet for a drink. On a whim, I checked his profile and froze. Ed was author Edmund White.
I packed a signed copy of Carroll’s “Little Reef” and a dog-eared hardback of “A Boy’s Own Story,” its spine nearly broken from rereads. I was excited to meet both men and talk about writing, even briefly.
Yesterday, I woke to the news that Ed had passed away. Ironically, my first thought was of Michael.
This week, tributes to Edmund White are everywhere — rightly celebrating his towering legacy as a novelist, essayist, and cultural icon. I’ve read all of his books, and I could never do justice to the scope of a career that defined and chronicled queer life for more than half a century. I’ll leave that to better-prepared journalists.
But in those many memorials, I’ve noticed something missing. When Michael Carroll is mentioned, it’s usually just a passing reference: “White’s partner of thirty years, twenty-five years his junior.” And yet, in the brief time I spent with this couple on Fire Island, it was clear to me that Michael was more than a footnote — he was Ed’s anchor, editor, companion, and champion. He was the one who knew his husband best.
They met in 1995 after Michael wrote Ed a fan letter to tell him he was coming to Paris. “He’d lost the great love of his life a year before,” Michael told me. “In one way, I filled a space. Understand, I worshiped this man and still do.”
When I asked whether there was a version of Ed only he knew, Michael answered without hesitation: “No sunnier human in the world, obvious to us and to people who’ve only just or never met him. No dark side. Psychology had helped erase that, I think, or buffed it smooth.”
Despite the age difference and divergent career arcs, their relationship was intellectually and emotionally symbiotic. “He made me want to be elegant and brainy; I didn’t quite reach that, so it led me to a slightly pastel minimalism,” Michael said. “He made me question my received ideas. He set me free to have sex with whoever I wanted. He vouchsafed my moods when they didn’t wobble off axis. Ultimately, I encouraged him to write more minimalistically, keep up the emotional complexity, and sleep with anyone he wanted to — partly because I wanted to do that too.”
Fully open, it was a committed relationship that defied conventional categories. Ed once described it as “probably like an 18th-century marriage in France.” Michael elaborated: “It means marriage with strong emotion — or at least a tolerance for one another — but no sex; sex with others. I think.”
That freedom, though, was always anchored in deep devotion and care — and a mutual understanding that went far beyond art, philosophy, or sex. “He believed in freedom and desire,” Michael said, “and the two’s relationship.”
When I asked what all the essays and articles hadn’t yet captured, Michael paused. “Maybe that his writing was tightly knotted, but that his true personality was vulnerable, and that he had the defense mechanisms of cheer and optimism to conceal that vulnerability. But it was in his eyes.”
The moment that captured who Ed was to him came at the end. “When he was dying, his second-to-last sentence (garbled then repeated) was, ‘Don’t forget to pay Merci,’ the cleaning lady coming the next day. We had had a rough day, and I was popping off like a coach or dad about getting angry at his weakness and pushing through it. He took it almost like a pack mule.”
Edmund White’s work shaped generations — it gave us language for desire, shame, wit, and liberation. But what lingers just as powerfully is the extraordinary life Ed lived with a man who saw him not only as a literary giant but as a real person: sunny, complex, vulnerable, generous.
In the end, Ed’s final words to his husband weren’t about his books or his legacy. They were about care, decency, and love. “You’re good,” he told Michael—a benediction, a farewell, maybe even a thank-you.
And now, as the world celebrates the prolific writer and cultural icon Edmund White, it feels just as important to remember the man and the person who knew him best. Not just the story but the characters who stayed to see it through to the end.
District of Columbia
In town for WorldPride? Take a D.C. LGBTQ walking tour
Scenes of protest, celebration, and mourning
As Washington welcomes the world for WorldPride, it’s essential to honor the city’s deep-rooted LGBTQ history—an integral part of the broader story of the nation’s capital. The following locations have served as cornerstones of queer life and activism in D.C., shaping both local and national movements for LGBTQ rights. So take a walk around “the gayest city in America” and check out these sites.
DUPONT CIRCLE AREA
Dupont Circle
Central hub of LGBTQ life since the early 20th century, hosting Pride parades, Dyke Marches, and cruising culture. A long-standing site of protests and celebrations.
Washington Hilton – 1919 Connecticut Ave NW
Hosted D.C.’s first major hotel drag event in 1968 and the iconic Miss Adams Morgan Pageant. Protested in 1978 during Anita Bryant’s appearance.
Lesbian Avengers – 1426 21st St NW
Formed in 1992, the group empowered lesbians through bold direct actions. They met in Dupont Circle and launched the city’s first Dyke March.
Lambda Rising Bookstore (former) – 1724 20th Street NW
D.C.’s first LGBTQ bookstore and the birthplace of the city’s inaugural Pride celebration in 1975.
Women In The Life (former office) – 1623 Connecticut Ave NW
Founded in 1993 by Sheila Alexander-Reid as a safe space and support network for lesbians of color.
17th Street NW Corridor – Between P & R Streets NW
Core of the LGBTQ business district, home to the annual High Heel Race in October and the June Block Party celebrating the origins of D.C. Pride.
CAPITOL HILL / SOUTHEAST
Tracks (former) – 80 M St SE
Once D.C.’s largest gay club, famous for inclusive parties, RuPaul shows, and foam nights from 1984 to 2000.
Ziegfeld’s / The Other Side – 1345 Half Street SE
Legendary drag venue since 1978, hosting famed performers like Ella Fitzgerald.
Club 55 / Waaay Off Broadway – 55 K Street SE
Converted theater central to D.C.’s early drag and Academy pageant scenes.
Congressional Cemetery – 1801 E Street SE
Resting place of LGBTQ figures like Sgt. Leonard Matlovich and Peter Doyle. Offers queer history tours.
Mr. Henry’s – 601 Pennsylvania Ave SE
LGBTQ-friendly bar since 1966 and the launching stage for Roberta Flack’s career.
The Furies Collective House – 219 11th Street SE
Home to a 1970s lesbian feminist collective that published “The Furies.” Members included Rita Mae Brown.
ARCHIVES / PENN QUARTER
Archives Metro & Center Market Site – 7th St & Pennsylvania Ave NW
Where Walt Whitman met Peter Doyle in 1865, commemorated by a sculpture linking Whitman and poet Fernando Pessoa.
COLUMBIA HEIGHTS / PETWORTH
Palm Ballroom (former) – 4211 9th Street NW
Mid-20th century venue for Black drag balls and LGBTQ events during segregation.
NATIONAL MALL AREA
National Mall / Washington Monument Grounds
Historic site of LGBTQ activism and remembrance, including the 1987 display of the AIDS Memorial Quilt and a mass same-sex wedding. Hosted major civil rights marches in 1979, 1987, and 1993.
NORTHWEST DC
Dr. Franklin E. Kameny House – 5020 Cathedral Ave NW
Home of gay rights pioneer Frank Kameny and the Mattachine Society of Washington; now a national landmark.
LAFAYETTE SQUARE / WHITE HOUSE
Lafayette Park – Pennsylvania Ave & 16th St NW
Historic gay cruising area and epicenter of government surveillance during the Lavender Scare.
Data from: SSecret City by James Kirchick, The Deviant’s War by Frank Kameny, Brett Beemyn, The Rainbow History Project, NPS Archives, Washington Blade Archives.
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