Arts & Entertainment
Apple’s ‘Little America’ scores big telling immigrant stories – including queer ones
When “Little America” dropped on Apple TV+ on Friday, expectations were definitely high.
Coming from a writing and producing team that includes “Big Sick” writers Kumail Nanjiani and Emily V. Gordon, alongside “Master of None” co-creator Alan Yang, Lee Eisenberg, Joshuah Bearman and Joshua Davis, the immigrant-themed anthology show was already being critically lauded, and the fledgling streaming service had so much confidence in their new series they they had renewed it for a second season before the first had even made its debut.
Judging from the response of critics and audiences after the January 17 premiere, Apple’s confidence was well-founded.
TV Line called it Apple TV’s “best show yet,” while BGR Online said it “justifies a subscription all by itself.” The LA Times proclaimed it as “the crown jewel of TV’s immigration wave.”
On social media, viewers have been equally enthusiastic in their praise, with comments on Twitter under the “Little America” hashtag saying things like “Loved Little America so much that I watched it all in one go,” and “This is something special that should be shared.”
Based on a true stories series in Epic Magazine, the show goes “beyond the headlines,” as the official description reads, “to look at the funny, romantic, heartfelt, inspiring and unexpected lives of immigrants in America, at a time when their stories are more relevant than ever.” Each stand-alone episode relates the narrative of a different American immigrant, following the hopes, dreams, and hardships of the immigrant experience. The stories are powerful enough in their own right, and inescapably political in today’s oppressively nationalistic climate – indeed, as the Pakistani-American Nanjiani recently observed in an interview, “Just by saying that immigrants are human beings with hopes and desires and likes and dislikes in this climate is a radical statement” – but the show’s fine writing and acting keep the focus on character, which makes every episode just as inescapably human.
While each episode is a gem unto itself, LGBTQ viewers will undoubtedly find particular affinity with the season’s final installment – “The Son,” directed by Stephen Dunn, who also co-wrote with Amrou Al-Kadhi. It tells the story of Rafiq, a closeted Syrian man whose inadvertent outing to his family sparks an escape that will ultimately bring him to America. Based on the real-life story of a Syrian named Shadi, it’s an emotional roller-coaster ride that offers a layered and compassionate document of authentic queer experience; for LGBTQ audiences, the young protagonist’s journey – his escape from the homophobia and repression of his family and their culture, his building of a “queer family” along the way, and his joy upon finding himself in a place where he can not only finally be free, but be and accepted and loved, just as he is, by the people around him – should be profoundly relatable.
What makes it all the more profound, sadly, is that the true story on which the episode is based would have a very different outcome if it happened today. As revealed by Dunn in an interview with Queerty, the real-life Rafiq would have been denied his asylum request if it had been submitted in Trump’s America; indeed, the episode “almost never happened” because the actor chosen to play Rafiq’s more effeminate friend Zain (Adam Ali, a Lebanese-born resident of Manchester, UK) was unable to enter America for filming due to Trump’s “travel ban.” Fortunately, the producers and the studio were willing to undergo the considerable difficulty of moving production from New Jersey to Canada – a decision that Dunn says left him “floored.”
Watching “The Son,” audiences will undoubtedly agree with Dunn’s assertion that Ali was the only actor for the role; he is utterly genuine and endearing, and his own journey is reflected onscreen by an inner strength and resilience that can never really be faked. He is the perfect grounding force for Haaz Sleiman, whose quietly desperate longing as Rafiq captures our hearts from the moment we meet him, and between the two of them, these actors bring us to a climactic scene that packs a bigger emotional punch than most of us would ever expect from a 32-minute-long episode of television.
No spoilers here, but once you’ve watched, you’ll never listen to Kelly Clarkson the same way again.
Watch the official trailer for “Little America” below.
Out & About
Film festival to highlight Polish trans woman’s story
‘Kobieta Z’ screening at Landmark E Street Cinema
The Washington Polish Film Festival will screen “Kobieta Z” (English translation: “Woman Of”) on Saturday, May 11 at 8:45 p.m. at Landmark E Street Cinema, Theatre 6.
Having premiered at the Venice Film Festival, this Polish film breaks new ground. Starring Malgorzata Krzysztofik-Hajewska and Joanna Kulig, the movie is a sensitive and intelligent story of gender identity in a cruel world that cannot accept it and the personal love that ultimately does.
Tickets to the festival start at $20 and can be purchased on Eventbrite.
Friday, May 10
Center Aging Friday Tea Time will be at 2 p.m. on Zoom. This is a social hour for older LGBTQ+ adults! Guests are encouraged to bring a beverage of choice. For more information, email [email protected].
Go Gay DC will host “LGBTQ+ Social in the City” at 7 p.m. at Hotel Zena. Attendance is free and more details are available on Eventbrite.
Women in their Twenties and Thirties will be at 8 p.m. on Zoom. This is a social discussion group for queer women in the Washington, D.C. area. For more details, join WiTT’s closed Facebook group.
Saturday, May 11
Go Gay DC will host “LGBTQ+ Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. Attendance is free and more details are available on Eventbrite.
SMYAL will host “Pride Prom DMV” at 6 p.m. at a location that’s shared after attendees purchase a ticket. With a vibrant atmosphere, diverse music, and a supportive community— Pride Prom DMV is not just a celebration; it’s a declaration of identity and resilience. Through laughter, dance, and shared experiences, attendees create lasting memories and forge bonds that extend beyond the dance floor. Tickets are free and can be accessed on Eventbrite.
Sunday, May 12
Go Gay DC will host “LGBTQ+ Happy Hour” at 6 p.m. at Clare and Don’s Beach Shack. Attendance is free and more details are available on Eventbrite.
AfroCode DC will be at 4 p.m. at Decades DC. This event will be an experience of non-stop music, dancing, and good vibes and a crossover of genres and a fusion of cultures. Tickets cost $40 and can be purchased on Eventbrite.
Monday, May 13
Center Aging: Monday Coffee & Conversation will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of their choice. For more details, email [email protected].
“TRANSEND: Transgender & Nonbinary Support Group” will be at 4 p.m. at the Pride Center of Maryland. This event will be a safe space to discuss hot topics, education and incentives while enjoying food. This event is free and more details are available on Eventbrite.
Tuesday, May 14
Pride on the Patio Events will host “LGBTQ Social Mixer” at 5:30 p.m. at Showroom. Dress is casual, fancy, or comfortable. Guests are encouraged to bring their most authentic self to chat, laugh, and get a little crazy. Admission is free and more details are on Eventbrite.
Trans Support Group will be at 7 p.m. on Zoom. This group is intended to provide emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected].
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a peer-facilitated discussion group and a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook page.
Wednesday, May 15
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Thursday, May 16
Virtual Yoga with Charles M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breath work, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Movies
Deliciously queer ‘Dead Boy Detectives’ a case worth taking on
A light-hearted, smart, and complex sensibility behind the fantasy
Believe it or not, there was once a time when the Hollywood entertainment industry didn’t take comic books very seriously — but then, neither did anyone else.
In the early days, comics were dismissed by most adults as childish fantasy; indeed, those with a penchant for clutching pearls saw them as a threat to their children’s intellectual development and therefore to the future of America itself. Their popularity could not be denied, however, and Hollywood, ever eager to capitalize on a trend, was certainly hungry to get a piece of the action.
The problem was that the studio lackeys assigned to adapt the comics for the screen during those “golden years” were never actually fans of the comics themselves. The result was a parade of kitschy – if occasionally stylish – low-budget serials, kiddie matinees, and “B movies” which operated, for the most part, at the level of cartoons, and mindless ones at that. Even in the 1960s, when comics like “X-Men” had begun exploring mature themes and turning the comic book into a counterculture phenomenon, the best that Hollywood – now deploying the then-relatively new medium of television – was a “Batman” series that felt even campier than the corny serials of three decades before.
Yet despite being treated as a throwaway genre with no cultural significance or intellectual value, the popularity never went away – and with the generation that grew up with comics now old enough to be working in Hollywood themselves, a new burst of creativity began to infuse the screen’s version of the genre with the kind of nuance and sophistication that fans had always known was there. Fast forward to 2024, when comics-based content dominates not just our movie screens – nobody needs to be told about the way it has shaped (some would say crippled) the mainstream film industry for the last decade or so – but all our other screens, as well. And while much of the material that has resulted from this obsessive fascination with comics (and comics-adjacent material like “Star Wars” and other similar fantasy franchises) often suffers from the same safe “appeal to the LCD” mentality that robbed the vintage stuff of its potential, the artistry of creators who are fans themselves has also resulted in a lot of genuinely good storytelling.
In the latter category, we offer up “Dead Boy Detectives” – a new series derived from a supplemental thread in renowned comics creator-turned-bestselling author Neil Gaiman’s groundbreaking “Sandman”, which debuted last week on Netflix – as a counter to the increasingly popular notion that comic books have hamstrung the industry’s creativity.
Based on characters and storylines that emerged during the original run of Gaiman’s iconic book (published by DC Comics via its Vertigo imprint), it’s a fresh, funny-yet-emotionally engaging supernatural saga in which two ghosts who died in their youth – the titular “Dead Boys” – operate a detective agency in London, solving mysteries for other spirits who need closure before moving on to the afterlife.
The boys themselves – Edwin (George Rexstrew) and Charles (Jayden Revri) – are not quite ready to depart the earthly plane, themselves; on the contrary, they operate on the lam, making sure to keep one step ahead of Death (Kirby Howell-Baptiste, reprising her role from Netflix’s acclaimed “Sandman” adaptation) so that she can’t drag them out of it before they’re ready. Something of a mismatched pair (both died at the same English boarding school, but 60 years apart), they nevertheless have established a fondness for each other and a dynamic together that makes them an excellent team in solving the supernatural crimes they encounter in their work. Their biggest handicap is the difficulty of dealing with the living – who, for the most part, cannot see or hear them – when it becomes necessary in an investigation. Fortunately for them (and for the story, of course), they find a solution to that issue during episode one.
Enlisted by the ghost of a Victorian child to rescue the human medium – Crystal Palace (Kassius Nelson), possessed by a former boyfriend who was actually a demon (David Iacono) – that has been trying to help her “cross over”, the detectives find themselves with living ally who can not only interact with them, but also with the “real” world in which they do their work. With Crystal on the team, they are soon called to an American seaport town to investigate the disappearance of a child – who, it turns out, has been abducted by a witch (Jenn Lyon) intent on draining her youthful essence in pursuit of her own immortal beauty. We don’t want to give anything away, but during the course of the case they not only incur her wrath, but set off alarm bells on the “other side”, calling attention to the fact that two AWOL souls are still lingering in the human world.
Things get worse for them in the second episode, when Edwin attracts the interest of the local “Cat King” (Lukas Gage, “White Lotus,” “Down Low”) and subsequently finds himself cursed to remain until he has “counted all the cats” in town – a daunting and maybe impossible task.
Though jumping into the second installment might feel like getting ahead of ourselves, it’s important to look ahead for the sake of exploring the show’s deliciously pervasive queerness, so forgive the spoiler-ish jump; because it is Edwin, who died in an era long before being openly attracted to other boys could even be discussed, let alone accepted, that serves to root the story’s tension into a real-life context that helps all the supernatural nonsense connect with relatable real-world experience and emotion. Uncomfortable more than a century after his death with the secrets of his own sexuality, he finds himself hampered by his jealousy of the obvious growing attraction between his literal BFF and the new girl psychic who has joined their team – as well as vulnerable to manipulation from both the witch who has it in for him and the Cat King who… well, let’s just say his cat-counting curse could be easily lifted if he would only accept another way to appease the libidinous (and far from unappealing) feline monarch.
It’s best we stop there, before we reveal too much; the series – developed by Steve Yockey and produced by (among others) original author Gaiman and out queer TV impresario Greg Berlanti – sets up its story arc very plainly from the beginning, so savvy viewers will read the subtext long before any definitive events take place, but much of what makes it fun is watching how it all unfolds.
Suffice to say that, with engaging performances from all its players, a light-hearted, smart, and complex sensibility behind all of its fantasy elements, and a palpably queer vibe that leaves plenty of room for allies to jump on board, too, it’s one of the more worthwhile (and meaningful) “comic book” stories to hit our screens in a long while.
Maybe more importantly, it’s also entertaining, which makes it easy for us to recommend “Dead Boy Detectives” as a case you’ll definitely want to accept.
Film festival to highlight Polish trans woman’s story
Calendar: May 10-16
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