Arts & Entertainment
Gay life in a brutal gypsy home
Beaten daily by his father, author reveals pain of abuse
‘Gypsy Boy’
By Mikey Walsh
$24.99/288 pages
Mikey Walsh never wanted to be a fighter. His father, as he explains in his memoir “Gypsy Boy,” had other ideas and was “fiercely determined” to have a son.
In Romany culture, having a male child was everything — even more so for the Walsh family, which was known for generations of manly men who were good with their fists. So, even though his mother was told that her heart condition precluded having a second child, Mikey followed his sister in succession. Upon the happy event, Mr. Walsh hung golden boxing gloves around his newborn son’s neck.
Growing up, Mikey loved the dramatic. He and his older sister, Frankie, enjoyed dress-up. They loved watching TV and, largely unsupervised, they played outside with their cousins, who lived on the same compound.
It was an idyllic early childhood but at age four, Mikey’s destiny caught up with him. His father decided that it was time to start fight training, and the best way to do it was to beat the boy. His disgust at Mikey’s cries meant more punches.
By age seven, Mikey was being “hidden” in school, by his mother, which was an unusual move. Gypsies were mostly forbidden to mingle with “Gorgias,” and sending a child to a Gorgia school was scandalous. It was her way of keeping Mikey safe, though, and it gave him a chance at an education, which was something she didn’t have. Yet, the beatings continued — daily, sometimes more.
By age 13, Mikey realized that he was gay, which, he knew, would enrage his father. He also knew that he needed to escape before it cost him his life.
Stunned. That was my reaction at the end of this book.
Pseudonymous author Mikey Walsh lulls his readers into first believing that they’re reading a droll memoir filled with quirky relatives and a secret world that few have dared write about. Walsh busts a few myths about Romany culture, pokes gentle fun at his family and makes us laugh out loud while he’s doing it.
But much like a cur that can’t be trusted, “Gypsy Boy” turns quick and bites. Walsh takes the laughter and, two pages later, spins it with horror and a painful void of emotion that only serves to underscore the brutality he describes, which ultimately leads to an end that shimmers like a tambourine.
Published in Europe three years ago, “Gypsy Boy” is new stateside and absolutely can’t be missed. If you’re up for a funny, brutal, sharp memoir, this is the book you want.
The Freddie’s Follies drag show was held at Freddie’s Beach Bar in Arlington, Va. on Saturday, Jan. 3. Performers included Monet Dupree, Michelle Livigne, Shirley Naytch, Gigi Paris Couture and Shenandoah.
(Washington Blade photos by Michael Key)
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
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