Arts & Entertainment
‘Big Brother 19’ houseguests spark backlash with transphobic conversation
contestant Cody Nickson makes more anti-trans comments this season


(‘Big Brother 19’ houseguest Jason Dent. Screenshot via YouTube.)
“Big Brother 19” contestants Jason Dent and Cody Nickson sparked a fan debate after they made transphobic comments captured on Sunday’s live feeds.
Dent and Nickson were in the hot tub with fellow contestants Jessica Graf and Matt Clines discussing season 17 of “Big Brother.” Graf mentions Audrey Middleton, the first transgender contestant in the show’s history, causing Dent to become confused about what that means.
“She was the first transgendered cast member,” Graf says.
“What the fu*k does that mean? She was a she?” Dent asks. Nickson responds, “It was a dude dressed up as a woman.”
“Okay it was a dude,” Dent says before Graf cuts him off.
“You guys are walking such a thin line,” Graf says.
“What? That’s what it was,” Nickson replies.
Later Graf refers to Middleton as “she” causing Dent to say “Okay, but it was a he.” He then continues to ask, “Was it a he first, or a she first?”
Clines laughs and says the problem is Dent keep referring to Middleton as “it.”
Middleton responded to the foursome’s hot tub conversation with a Twitter post urging others not to send Dent and Nickson hate but to educate them.
“You are not born with emotional intelligence, you are conditioned to have it. The people who lack it are the one who are too afraid to try to understand what value it truly has. If you are someone who is radically opening yourself to things you will live the most purpose filled life of all,” Middleton writes.
My thoughts on what was said on the #BB19 live feeds about me ?️?? pic.twitter.com/A95x3AOYuh
— Audrey Middleton (@OddreyM) August 7, 2017
The conversation also started a lengthy debate on Reddit about if Dent’s comments should be taken to heart.
This isn’t the first time Nickson had found himself a part of a transphobic conversation. While speaking with Graf earlier this season, Nickson used the word “tranny” multiple times while discussing the transgender community.
Genuinely can’t wait till he’s (Cody) evicted i’ll have all the popcorn #BB19 pic.twitter.com/U6GMWALrMB
— Taylor Allen (@TaylorAllen133) August 7, 2017
Movies
‘Pee-wee’ spills the tea in outstanding new documentary
Reubens’s sexuality emerges as the show’s focus

Most of us who have lived long enough to get nostalgic for our formative years have, by now, watched enough documentaries about a beloved entertainment icon from our past to know what to expect when a new one comes along.
Such offerings are typically slick biographical portraits blending archival material with newly filmed “talking head” reminiscences and commentaries, and perhaps punctuated by eye-catching animations or other flourishes to add an extra layer of visual interest; heavy on the nostalgia and mostly reverent in tone, they satisfy us with pleasant memories, supplement our knowledge with behind-the-history insights and revelations, and leave us – ideally – with a renewed appreciation and a reinforced feeling of comfortable familiarity. Many of them are little more than retrospectives, more glossy tribute than in-depth profile; occasionally, a few go beyond the surface to give us a deeper sense of personal connection with their subject – but rarely enough, even in the best of them, to make us feel as if we know them well.
No matter how many of these docs you have seen, however, or jaded your expectations may be when you approach it, “Pee-wee as Himself” is still going to surprise you.
Directed by filmmaker Matt Wolf, the two-part HBO docuseries – which premiered May 23 and is now streaming on Max – is built around material culled from 40 hours of interview footage with the late Paul Reubens (the creator and performer behind nerdy, manic cultural phenomenon and children’s show host “Pee-wee Herman,” for anyone that needs to be told), and conducts a “guided tour” of Reubens’ singular career in the limelight. The first installment traces a path from his Florida childhood through his early adventures as an actor and performance artist in Los Angeles to his rapid rise to fame through the popularity of his carefully crafted alter-ego; part two continues the story to explore the expansion of his fame through the phenomenon of “Pee-wee’s Playhouse,” but soon shifts gears to cover his sudden fall from grace after a notorious “public indecency” arrest in an adult theater, and the subsequent accusations of collecting “child pornography” that unfairly branded him as a pedophile in the public eye — and comes full circle to document his return to favor as an underdog hero for the generation that had grown up watching him.
Besides its detailed chronicle of these already-well-known chapters in Reubens’ life, however, Wolf’s doc (and Reubens, via frequent full-frame close-up commentary throughout) delves into publicly uncharted territory to give us a look at something we’ve never been allowed to see before: Paul Reubens himself.
That includes, of course, removing any ambiguity that might remain about the sexuality of the man behind the bow tie, who never publicly identified as gay before his death from cancer in 2023. It’s not so much a “coming out” — after all, he artfully teased his queerness to fans for years — as it is a dropping of pretense. There’s no need for a definitive statement announcing something that everybody already knew, anyway.
That’s not to say he skirts the issue as he delivers his full-frame close-up testimonial to the camera; on the contrary, he reflects often and with bittersweet candor about the carefully-managed matter of his sexuality – or the public’s perception of it, at any rate – with the matter-of-fact eloquence of someone who’s spent a lot of time thinking about it. He openly discusses his choice to keep the closet door closed on his personal life in order to preserve Pee-wee’s ambiguously wholesome yet irresistibly subversive persona in the public’s imagination, and to abandon his openly queer life (as well as a loving long term relationship, one of the series’ biggest “reveals”) to do so.”I was as out as you could be,” he reflects with rueful irony, “and then I went back in.”
Indeed, it’s Reubens’s sexuality that ultimately emerges as the show’s core focus — even more than the rich treasure trove of personal photos, home movies, behind-the-scenes footage, and all the other fan-thrilling delights it provides — and gives it a larger significance, perhaps than even the man himself. It’s a thread that runs through his story, impacting his choices and the trajectory of his career, and reflecting the familiar shared experience of many audience members who may be able to relate; later, it manifests on a societal level, as Wolf and his subject explore the homophobic attitudes behind the legal persecution that would bring his rising star into a tailspin and hang over his reputation for the rest of his life. It serves as both a reminder of the power of cultural bigotry to repress queerness and a cautionary tale about the personal cost of repressing oneself.
A good number of Reubens’ longtime friends (like Cassandra Petersen, aka “Elvira, Mistress of the Dark,” “Buffy the Vampire Slayer” costar David Arquette, and former “girlfriend” Debi Mazar, who provided support, acceptance, and companionship in the wake of his legal troubles), come along for the ride, offering their own reminiscences and insights into official record, as well as lesser-known members of an inner circle that comprised the late artist’s chosen family. Yet all these testimonials, authentic as they may be, are not what enable “Pee-wee as Himself” to bring us closer to the real Paul Reubens. It’s Reubens himself who does that.
Maintaining an ambiguously hostile edge in his interviews, bringing to light a clash for control between himself and director Wolf with as much clarity as he illuminates the vast archival material that is shown to document his career, he demonstrates firsthand the need to manage his own narrative, balking, even openly resisting, certain questions and interpretations that arise throughout. It gives the real Reubens the same vague menace with which Pee-wee was also infused — and also creates a sort of meta-narrative, in which the conflict between subject and director must also be resolved before the story can truly achieve closure, calling into question whether Reubens (a veteran of avant-garde theater and lifelong fan of the circus) might not be adding yet another layer of mystery and performance to his image even as he gets honest publicly for the very first time.
That closure eventually comes in the form of a voice recording made by Reubens the day before his death — after a six year battle with lung cancer (he was a heavy smoker, another personal detail he painstakingly hid from the public) which, save for those in his innermost circle, he never revealed until the end — in which he delivers a final message to the world. With it, he finally accomplishes what he never could during his life, and lets us see, at last, who he was when he wasn’t being Pee-wee.
And it’s a beautiful thing.

The Opening Reception for the 34th annual D.C. Black Pride was held at the Capital Hilton on Friday, May 23. Presenters, speakers and entertainers included Ts Madison, Monroe Alise, Billy the Goat, Kerri Colby, Apple Brown Betty, Heather Mahogani, Lyrical Mar, Lolita Leopard, Ink, and Bang Garçon. Anthony Oakes was the host.
(Washington Blade photos by Michael Key)





















The 2025 Silver Pride Resource Fair and Tea Dance was held at the Eaton Hotel on Wednesday, May 21.
(Washington Blade photos by Michael Key)










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