Arts & Entertainment
‘Orange is the New Black’ back with riveting final season
Hit Netflix show changed TV forever in multiple ways

Sometimes the hype is true. When the first 13 episodes of “Orange Is the New Black” dropped on July 11, 2013, it changed the way Americans watched television and the role of women in the broadcast industry, both onscreen and behind the cameras.
Now that the seventh and final season has dropped, it’s time to look back on the tremendous impact the series has had and take a spoiler-free look at the “Beginning of the End” as episode one of the last season is titled.
When the series launched, Netflix was a fledgling streaming service best known for shipping DVDs to your home in red envelopes. With the critical and popular success of “Orange,” Netflix became a major Hollywood player producing television series and eventually movies that earned nominations and trophies from such prestigious organizations as GLAAD, GALECA, the Golden Globes, the Emmys and more.
The show also helped to popularize the concept of “binge watching.” Fans spent entire weekends watching every episode of the first season and the way we watched television began to change.
“Orange” also broke new ground with its realistic portrayal of life in a women’s prison and its treatment of serious social issues. Over the course of the first six seasons, the show explored mass incarceration and the rise of the private prison industry; the tension between punishment and rehabilitation; staff corruption and guard brutality; prison overcrowding and funding cuts; substance abuse; violence against women; the terrible impact of solitary confinement; white privilege, white supremacy, institutionalized racism and the Black Lives Matter movement; and the #MeToo Movement.
In season seven, series creator Jenji Kohan takes on a new issue: the inhumane brutality of ICE detention centers. The detention center is run by the same corporation that runs the prison, but conditions there are even worse. The detainees have even fewer rights than the prisoners and limited contact with friends and family. As one detainee realizes, “nobody knows where we are.”
“Orange” also made great strides in the employment and representation of women in television. The casting of trans actress Laverne Cox as inmate Sophia Burset was a historic move that made Cox into a star and an important trans spokesperson. The casting of comedian Lea DeLaria as Carrie “Big Boo” Black was a milestone in the representation of butch lesbians, especially when she brandished a dildo on screen.
Overall, the cast included a rich spectrum of women of different races and ethnicities, sexual orientations and gender identities, ages, socio-economic classes and cognitive abilities. The show also explored a wide variety of life-affirming sexual and platonic relationships between women and celebrated the power of female resilience.
In addition, Kohan also emphasized hiring women to write and direct many of the episodes (several of the shows in later season were directed by cast members). The writing throughout the series was first-rate. Kohan and company craftily used flashbacks to fill in character backstories (and to move the action outside of the prison walls). They also effectively used a delicious dark sense of gallows humor to help lighten the heavy material. The direction was smooth and assured, gliding effortlessly between the various characters and plotlines.
Long-term fans of the show will have no trouble gliding into season seven, which picks up where season six ended. Piper Chapman (Taylor Schilling) has been released on parole but remains in a long-distance relationship with inmate Alex Vause (Laura Prepon). She’s living with her New Age brother Cal (the very funny Michael Chernus) and is having trouble paying for her monitoring devices while working a dead-end job.
With the help of “Pennsatucky” (Taryn Manning), Suzanne “Crazy Eyes” Warren (the dazzling Uzo Aduba) tries to reconcile with her old friends Cindy “Black Cindy” Hayes (Adrienne C. Moore) and Tasha “Taystee” Jefferson (Danielle Brooks). Gloria Mendoza (Selenis Leyva) and Galina “Red” Reznikov (the magnificent Kate Mulgrew) find themselves working in a different kitchen facility.
There’s also lots of turnover and turmoil with the prison staff and their families.
Finally, fan favorites Diane Guerrero (as Maritza Ramos) and Laura Gómez (as Blanca Flores) return as former inmates who are detained during an ICE raid.
If you didn’t watch the first six seasons (and don’t have time to binge-watch over 80 hours of previous episodes) can you start “Orange Is the New Black” midstream? The answer is a resounding yes. The large cast and overlapping plot lines an be daunting at first but it’s easy to read up on the backstory online.
For fans old and new, the seventh and final season of this ground-breaking series is well worth watching. The show digs deeply into some of the most troubling issues of these turbulent times and asks difficult questions that we all must grapple with.
As Suzanne asks, “Do I deserve to be here?” Or, as Gloria and Red discuss, “How do we get back to who we were before?”
More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.
Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.
“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”
McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.
Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.
“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.
Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.
Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.
ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.
“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.
The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban trans women from competing in women’s sporting events.
President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.
The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:
• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.
• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.
• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.
The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
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