Arts & Entertainment
Back with a ‘Bang’
New Madonna album is upbeat campy fun, but also packs emotional punch with deluxe cuts
Madonna's new album dropped this week. (Image courtesy Liz Rosenberg Media)
It seems to take a few years to fully assess a new Madonna album. That may be true for many recording artists, but there’s always so much excitement and anticipation around a new Madge disc, it’s only after that’s died down a bit can one determine how it stands up to her best projects.
The downside to being such a consistent hitmaker is that she has no “Tapestry,” “Jagged Little Pill” or “Miseducation” to her name. All her albums have several great songs, but there’s always a dud or two — “Words” from “Erotica,” “Mer Girl” from “Ray of Light,” “I Love New York” from “Confessions” or “Spanish Lesson” from “Hard Candy” — that keep her from having a start-to-finish masterpiece. Even “Like a Prayer,” which many consider her most consistent effort, gets derailed slightly by the clunky “Love Song,” a Prince duet.
The new “MDNA,” out this week on new label Interscope after Madonna spent decades at Warner Bros., is refreshingly clunker free. Only a couple tracks — the throwaway “Turn Up the Radio” and nursery rhyme-ish “I’m a Sinner” — sound like they could have been B-sides. As expected, there are several killer batches of smoking dance songs — more on those in a sec — but the biggest surprise is the bonus material on the deluxe edition.
Get the no-frills version and you’re missing out on some mind-blowing stuff. “Beautiful Killer” is the most traditional bonus cut here, an old-fashioned pop song with a strings topcoat, but then things get really interesting. “I Fucked Up” sounds a little ho-hum at first, even though it’s a great idea for a song. It kicks into high gear with a killer middle section that slowly works up a nice lather. “B-day Song” is cute and silly with a late ‘60s vibe. The whole project simmers to a shattering climax with “Best Friend,” a mid-tempo barn burner that beautifully captures the mixed emotions of a shattered relationship courtesy of some of Madonna’s all-time most insightful lyrics and the Benassi production duo.
Madonna, acknowledging (presumably) the complicated relationship she shared with ex-husband Guy Ritchie, sums things up cleverly when she suggests they were “driving with two hands on the clutch.” She gets the anger out elsewhere — on the campy, crunchy “Gang Bang” and rap-doused “I Don’t Give A,” which veers into high drama with its “Carmina Burana”-esque outro. But once the anger subsides, “Friend” is the more cathartic experience, both musically and emotionally.
It didn’t take a genius to realize these two had a complicated marriage — fans sensed they were a mis-match from the “I’m Going To Tell You a Secret” documentary and the last album’s melancholy “Miles Away.” But it’s refreshing to hear the seemingly invincible Madonna address and assess her own disappointments. She’s never so much as acknowledged that her brother wrote an unflattering memoir; at least with her marriage, “MDNA” brings insight and closure. She can pose for glamorous photos, pull off tour acrobatics and craft mindless dance pop til the end of time, but all that resonates more when we have a sense of the woman behind the face, and “MDNA” brings us that.
Though more notable for its eye-popping video, album opener “Girl Gone Wild” is light, catchy fun as is “I’m Addicted,” first single “Give Me All Your Luvin’,” and the aforementioned “Killer.” The Golden Globe-winning ballad “Masterpiece,” the theme from the “W/E” movie Madonna directed, brings things to a lovely finish along with the refreshingly lush “Falling Free,” which doesn’t even have a rhythm track, giving the beat-heavy album a nice change of pace.
It’ll take awhile for all this to sink in, but regardless of whether U.S. radio gives its singles the time of day (though “Luvin” did briefly crack the U.S. top 10), “MDNA” is a resoundingly solid effort. Helmed by producers new (Martin Solveig) and old (William Orbit), “MDNA” is a more unified, less trend-influenced album than “Hard Candy” and that bodes well for its ultimate place in her increasingly vast canon.
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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)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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