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Hallmark Channel pulls, then reinstates ads featuring kiss between lesbian brides

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Image courtesy of Zola

At the end of a tumultuous week for The Hallmark Channel, the pay television network has announced it would reverse its decision to pull several ads featuring a same-sex kiss.

The controversial commercials were among a series of six ads for Zola, a wedding planning website, which had been airing on the Hallmark Channel since Dec. 2. In all of the ads, couples standing at the altar for their wedding wonder if guests might have arrived on time and bought them better gifts if they had used Zola to create a custom wedding website. Most of the ads include a same-sex couple; while only one focused specifically on the lesbian brides, the two women were shown kissing in several of them.

According to the New York Times, the ads which featured same-sex kissing were pulled after the channel deemed their content ā€œcontroversial.ā€ The decision was made by executives at the network after the anti-LGBTQ hate group, ā€œOne Million Moms,ā€ published a petition urging Hallmark to ā€œplease reconsider airing commercials with same-sex couples.ā€

One Million Moms is a division of the conservative American Family Association, an organization that defines its mission as the ā€œfight against indecency,ā€ and which has been listed by the Southern Poverty Law Center as a hate group for the “propagation of known falsehoods” and the use of “demonizing propaganda” against LGBTQ people.

Following the posting of the petition, anti-LGBTQ comments began to flood Hallmarkā€™s online message board, such as one from an unnamed user who said, ā€œWhy would you show a lesbian wedding commercial on the Hallmark Channel? Hallmark movies are family friendly, and you ruined it with the commercial.ā€

On Thursday, Hallmark notified Zola via email that it was pulling four of the ads ā€“ the ones featuring a kiss between the two women ā€“ because the channel is ā€œnot allowed to accept creatives that are deemed controversial,ā€ according to an account representative from the television network.

On Friday, a Hallmark Channel spokesman implied in a statement that ā€œovert public displays of affectionā€¦ regardless of the participants,ā€ was against the networkā€™s current policy. However, later that evening, Hallmarkā€™s parent company, Crown Media Family Networks, issued a statement saying, ā€œThe debate surrounding these commercials on all sides was distracting from the purpose of our network, which is to provide entertainment value.ā€

The response from Zola was one of both surprise and skepticism. The companyā€™s chief marketing officer, Mike Chi, commented that Zola had previously run ads featuring same-sex couples on the channel without incident. He also observed that the ads including kisses between same-sex couples were allowed to remain on the air.

Chi pointed out, ā€œThe only difference between the commercials that were flagged and the ones that were approved was that the commercials that did not meet Hallmarkā€™s standards included a lesbian couple kissing. Hallmark approved a commercial where a heterosexual couple kissed. All kisses, couples and marriages are equal celebrations of love and we will no longer be advertising on Hallmark.ā€

Outcry was swift from the LGBTQ community and its advocates.

In a statement from GLAAD, president and CEO Sarah Kate Ellis said ā€œThe Hallmark Channelā€™s decision to remove LGBTQ families in such a blatant way is discriminatory and especially hypocritical coming from a network that claims to present family programming and also recently stated they are ā€˜openā€™ to LGBTQ holiday movies. As so many other TV and cable networks showcase, LGBTQ families are part of family programming. Advertisers on The Hallmark Channel should see this news and question whether they want to be associated with a network that chooses to bow to fringe anti-LGBTQ activist groups, which solely exist to harm LGBTQ families.ā€

In addition, GLAAD created a petition calling on the network to reinstate the ads.

Pro-LGBTQ voices also took to social media. The hashtags #boycotthallmark and #BoycottHallmarkChannel trended on Twitter over the weekend, with one commenter including a graphic featuring the word ā€œHomophobicā€ using the same font and crown design used by Hallmark in its own branding.

Then, on Sunday afternoon, Hallmark president and CEO Mike Perry issued a new statement, saying, “The Crown Media team has been agonizing over this decision as we’ve seen the hurt it has unintentionally caused. Said simply, they believe this was the wrong decision,”

The statement goes on to stress Hallmarkā€™s commitment to ā€œdiversity and inclusion,ā€ saying it has ā€œthe track record to prove itā€ and citing its publication of LGBTQ greeting cards, previous commercials featuring same-sex couples, and recognition it has received from HRC and Forbes for its inclusive business practices. It also announces the companyā€™s plan to work with GLAAD on how ā€œto better represent the LGBTQ community,ā€ as well as its intention to reinstate the commercials from Zola.

Shortly afterward, GLAAD issued a statement, with Ellis saying, ā€œThe Hallmark Channelā€™s decision to correct its mistake sends an important message to LGBTQ people and represents a major loss for fringe organizations, like One Million Moms, whose sole purpose is to hurt families like mine. LGBTQ people are, and will continue to be a part of advertisements and family programming and that will never change. GLAAD exists to hold brands like The Hallmark Channel accountable when they make discriminatory decisions and to proactively ensure families of all kinds are represented in fair and accurate ways.ā€

Speaking on CNN immediately after Hallmarkā€™s announcement was released, Ellis confirmed Perryā€™s statement that Hallmark and GLAAD would be working together, saying, ā€œWeā€™re talking with them, weā€™ve been talking with them all weekend, because they want to do the right thing, and I think that the quick decision was the right thing. And now we have to watch and see what they do in the future.ā€

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Photos

PHOTOS: Gay Day at the Zoo

Smithsonian marks International Family Equality Day

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Gay Day at the Zoo (Washington Blade photo by Michael Key)

The DC Center for the LGBTQ Community, SMYAL and Rainbow Families sponsored Gay Day at the Zoo on Sunday at the Smithsonian National Zoo. The Smithsonian marked International Family Equality Day with special exhibits and an event space.

(Washington Blade photos by Michael Key)

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Photos

PHOTOS: Taste of Point

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Taste of Point DC (Washington Blade photo by Michael Key)

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Theater

Miss Kitty tackles classical mythology in ā€˜Metamorphosesā€™

Folger production seen through the lens of the African diaspora

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Miss Kitty (Photo by Sarah Laughland Photography)

ā€˜Metamorphosesā€™
May 7-June 16
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu

Miss Kittyā€™s words are thoughtful and measured, occasionally punctuated by flamboyant flourishes and uplifting proclamations. Her tried and tested tagline is ā€œlive in fierce not fear.ā€Ā 

She describes herself as ā€œAMAB (assigned male at birth), nonbinary, genderqueer, transfemmeā€ as well as ā€œchanteuse, noble blacktress, and dancer.ā€ 

Currently, Miss Kitty is testing her talents in Mary Zimmermanā€™s ā€œMetamorphosesā€ at Folger Theatre on Capitol Hill. 

At 90 minutes, ā€œMetamorphoses,ā€ is made up of interwoven vignettes from classical mythology including the tales of Midas and his daughter, Alcyone and Ceyx, and Eros and Psyche. 

ā€œItā€™s all stories that relate to the human condition: the follies, the happiness, the love, the loss,ā€ Miss Kitty explains. ā€œAnd a thorough knowledge of mythology isnā€™t a requirement for enjoyment.ā€ 

The language is contemporary and with its 11-person ensemble cast ā€“ comprised exclusively of Black or indigenous people of color ā€“ theyā€™re adding their own spin to its present-day feel, she adds. 

In Zimmermanā€™s famously staged premiere production, the actors performed in and around a pool of water. At Folger, director Psalmayene 24 has ditched actual aquatics; instead, he suggests the element by introducing Water Nymph, a new character constructed around Miss Kitty. 

Water Nymph doesnā€™t speak, but sheā€™s very visible from the opening number and throughout the play on stage and popping up in unexpected places around the venue. 

ā€œItā€™s a lot of dancing; I havenā€™t danced the way Tony Thomas is choreographing me in a very long time. At 40, can she still make theater with just my body as her instrument?

The name ā€œMiss Kittyā€ was born over a decade ago. 

Miss Kitty recalls, ā€œShe was still presenting as male and going by her dead name. Someone commented that with the wig she was wearing for a part, she looked like Eartha Kitt whom she deeply admires.ā€

Her penchant for illeism (referring to oneself in third person) isnā€™t without good reason. She explains, ā€œItā€™s to reiterate that however she might look, sheā€™s always there; and if you misgender, she will let you know.ā€

Initially, the moniker was a drag persona at Capital Pride or the occasional fabulous cabaret performance at a nightclub.

But as time passed, she realized that Miss Kitty was something she couldnā€™t take off. She had always been a part of her. 

ā€œSheā€™s helped me to grow and flourish; sheā€™s given me the strength that I never would have had before. Iā€™m so proud of myself for realizing that before it was too late.ā€ 

Bringing Miss Kitty into her theatrical career presented some concerns. Would theater folks be open to the new her, especially those sheā€™d worked with before? 

Not always, but sheā€™s found new companies whoā€™ve welcomed Miss Kitty with open arms including Avant Bard, Spooky Action Theater, and now Folger. 

Last fall, Miss Kitty appeared in Spooky Actionā€™s Agreste (Drylands), a stunning queer story penned by gay Brazilian playwright Newton Moreno. 

After being invited to audition and reading the script, Miss Kitty was determined to be a part of the production. 

A work dealing with love and being trans, and transphobia, and how people can turn on a dime once they learn the truth about someone, resonated deeply with the actor. 

ā€œThe play speaks to the idea that if people just let people be who they are and love who they want to love weā€™d all be a lot happier,ā€ she says. 

For her sublime efforts, Miss Kitty nabbed a Helen Hayes Award nomination in the Outstanding Lead Performer category (winner to be determined on Monday, May 20 during a ceremony at The Anthem). 

Itā€™s her first time nominated and first time attending. Sheā€™s thrilled. 

Miss Kitty grew up in Oxen Hill, Md., and now lives near Washington Harbor. Her entry into performance was through music followed by high school plays. She graduated from Catholic University with a degree in music/concentration in musical theater, and from there dove directly into showbiz. 

Looking back, Miss Kitty says, ā€œbeing a person of color AND queer can be a double whammy of difficulty. You have to live in light and do the things youā€™re afraid to do. Thatā€™s the game changer.ā€ 

Presenting ā€œMetamorphosesā€ through the lens of the African diaspora (the cast also includes Jon Hudson Odom and Billie Krishawn, among others) helps us to realize that every story can be universal, especially for marginalized people ā€” South Asian, Native American, or fully queer perspectives, she says.  

ā€œHaving an all-Black ensemble opens all new worlds for everyone.ā€

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