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Stage icon Patti LuPone relishes new role in Ryan Murphy’s ‘Hollywood’
It’s the Tinseltown that might have been in star-studded new Netflix series out May 1
For award-winning actress and fierce LGBTQ ally Patti LuPone it all starts with the costume.
“I love costumes,” she says. “I love to wear them and I love to use them. I’ve been very fortunate in my career that I’ve had incredible costumes on my body.”
In fact, the legendary chanteuse says that costume fittings are an essential part of her rehearsal process.
“A good costume designer can help you define character. It all starts with the shoes. They determine how the character walks.”
She says everything else flows from there.
Glamorous costumes certainly set the mood for LuPone’s current television project. She’s starring in “Hollywood,” the latest series from gay television mogul Ryan Murphy. She plays Avis Amberg, the unhappy wife of studio executive Ace Amberg. When Avis unexpectedly assumes control of Ace Studios, she turns Tinseltown on its head and greenlights the controversial movie “Meg.”
LuPone says the series asks the question “what if?” What if you could change history? What if things were done differently in Hollywood? What would it look like if women and people of color and members of the LGBTQ community could work openly and tell the stories they wanted to tell?
“It’s also a throwback to an extremely glamorous time in Hollywood with all of its gorgeousness and foibles,” LuPone says by phone. “I don’t want to give anything away, but I will say there is a happy ending.”
LuPone was of course thrilled at the chance to wear shimmering costumes from the Golden Age of Tinseltown.
“I get to look great,” she says. “When I went to the costume fittings I was in heaven. I was ravenous. When someone puts you in hats and gloves and furs and tailored clothes that are incredibly well-made you just behave differently. Sarah Evelyn did an extraordinary job with the costumes. There’s just stunning clothes for all of us.”
LuPone was especially excited that half of the costumes seen on screen were vintage.
“The workmanship was exquisite,” she says. “It’s amazing that these clothes are still wearable. Now there’s no quality control. You can buy a jacket for $10,000 and it falls apart on you.”
LuPone also says the excellent writing staff helped her slide into the character of Avis.
“I just fell into it,” she says. “I didn’t feel like I had to struggle with the part even though I’m not in any way like her. I’m not married to a studio head. I’m very happily married. I don’t have any of the concerns this woman had, but it felt very natural for me. When it’s good writing your job is done for you, and this is good writing.”
The iconoclastic LuPone, who just celebrated her 71st birthday, also appreciates that Avis is a rule-breaker who shatters traditional Hollywood stereotypes about older women.
“Avis has unbelievable freedom,” LuPone says.
Avis is proudly and forthrightly sexual and also supports other women instead of tearing them down.
For example, in her first moments onscreen, Avis hires the services of call boy/aspiring actor Jack Castello (David Corenswet) and the two enjoy a steamy tryst at the Beverly Hills Hotel. Later, Avis helps veteran studio executive Ellen Kincaid (Holland Taylor) break out of the romantic mire she’s stuck in and casts “over-the-hill” starlet Jeanne Crandall (Mira Sorvino) in a leading romantic role.
“Avis can break the norms because she’s in a powerful position,” LuPone says. “There’s nothing to hold her back. I had a ball playing her.”
All seven episodes of “Hollywood” drop on Netflix on Friday, May 1.
Meanwhile, Patti LuPone is waiting to get back on stage. She’s playing Joanne in the Broadway revival of Stephen Sondheim’s “Company,” a transfer from London’s West End. Previews started on March 2, but the production was forced to shut down due to the COVID-19 crisis. Performances are planned to resume in June.
LuPone has played the role before (and the iconic number “The Ladies Who Lunch” has become one of her signature songs), but she notes that this time there’s a twist. The lead role, a sexually active 35-year-old bachelor, is now being played by a woman instead of a man. Bobby becomes Bobbie.
The change, she notes, makes the show much more poignant. It’s one thing, she says, for a single man to be “boinking” beautiful women, but there seems to be a problem when a middle-aged woman is sexually active and single. Bobbie’s not married and the clock is ticking and that’s a big problem for a woman.
LuPone also adds that the recasting of the lead role is not the only gender-bending change in this production.
“The characters Amy and Paul become Jamie and Paul, a homosexual couple. This fresh focus on gender expectations really sharpens the lines.”
In typical fashion, LuPone credits costume designer Bunny Christie with helping her define her character.
“I told director Marianne Elliott that there are four people in my big scene,” LuPone says. “Three actors and a coat. I had to wrangle the coat. It’s wonderful.”
LuPone began building her LGBTQ fan base with her Broadway debut in “Evita” (1979). On stage, she’s best known for her legendary musical theater performances (Fantine in “Les Misérables,” Mama Rose in “Gypsy,” Mrs. Lovett in “Sweeney Todd,” Reno Sweeney in “Anything Goes,” Norma Desmond in “Sunset Boulevard,” Lucia in “Women on the Verge of a Nervous Breakdown” and Helena Rubenstein in “War Paint”), but she’s also won acclaim for her starring role as Maria Callas in Terrence McNally’s “Master Class” and for her work with playwright David Mamet.
Notable film roles include “Witness” and “Driving Miss Daisy” and her early television work includes gritty roles as Libby Thatcher in “Life Goes On” and librarian Stella Coffa in the HBO prison drama “Oz.”
Given her love of exotic costumes and larger-than-life characters, LuPone has enjoyed taking on more flamboyant roles in recent years. In “Coven,” season three of Ryan Murphy’s “American Horror Story,” she played Joan Ramsey, a deeply religious housewife who made the mistake of moving next door to Miss Robichaux’s Academy for Exceptional Young Ladies. In Murphy’s “Pose,” she appeared as real estate tycoon Frederica Norman and got to sing the Stephen Sondheim anthem “I’m Still Here” at an AIDS cabaret.
She also appeared as both Dr. Florence Seward (season one) and hedge-witch Joan Clayton (season two) on “Penny Dreadful.”
The award-winning actress (two Tonys, two Grammys and two Olivier Awards to date) is also winning over a new generation of LGBTQ fans with her work on the queer-themed cartoon “Steven Universe.”
LuPone says she had never done voice-over work before, but jumped at the chance when series creator Rebecca Sugar asked her to join the cast. LuPone voiced the evil Yellow Diamond in the television series and the subsequent movie.
Like the rest of us, LuPone is trying to stay safe and sane during the COVID-19 crisis. She recently celebrated her birthday with a Zoom bingo game (and a lot of martinis) and has become an active presence on Twitter (@PattiLuPone), where she’s taken fans on a tour of her basement while dressed like silent screen star Norma Desmond.
With LuPone’s busy schedule, it’s “as if we never said goodbye.”
‘Hollywood’ sizzles
Expectations matter. If you binge-watch Ryan Murphy’s new Netflix limited series “Hollywood” this weekend (and you should) and expect to see the “revisionist history” they advertise, you’ll be disappointed.
But, if you tune in and expect to see a delicious escapist fantasy, then you’ll be in heaven. “Hollywood” is a frothy wish-fulfillment dream, a delectable parfait with terrific acting, gorgeous costumes, engaging heroes, despicable villains and a happy ending worthy of a classic Tinseltown blockbuster.
“Hollywood” centers on the glamorous Avis Amberg (Patti LuPone), a former silent movie star who married a studio executive when her career tanked (she sounded “too Jewish” for talkies). When she unexpectedly takes the reins at Ace Studios, she turns Hollywood into a real dream factory where women, people of color and queer people get to make movies, tell their stories, win Academy Awards and live happily ever after.
LuPone is simply magnificent. She’s smart, stylish and sexy. She looks amazing (the terrific costumes are by Sarah Evelyn) and delivers the crackling dialogue with fantastic flair and flawless timing (Janet Mock served as one of the producers, writers and directors for the show). LuPone also brings an appealing warmth and vulnerability to the role. She becomes the brains, heart and soul of this new celluloid kingdom and her performance is perfection.
LuPone is surrounded by a top-notch cast that brings together veteran actors and fresh-faced newcomers. Jim Parsons, known for his work on the sitcom “The Big Bang,” is electric as the snarling Henry Willson, the closeted agent and sexual predator who knows where the bodies are buried. Holland Taylor (“Bosom Buddies” and “Two and a Half Men”) is wonderful as casting agent Ellen Kincaid and Joe Mantello (Broadway’s “Angels in America”) offers a richly layered performance as a closeted studio executive.
Murphy regular Dylan McDermott is charming as Ernie, the suave Hollywood pimp based on the historic Scotty Bowers. His stable of affable sex workers includes Archie Pope, who blazes with sincerity and passion as a black gay screenwriter and David Corenswet, who’s period-perfect as the ambitious actor with the chiseled cheekbones.
Samara Weaving conquers some inconsistent writing to turn in a fine performance as Claire Wood, an aspiring starlet, but two of her castmates struggle with their roles. Darren Criss is rather monotonous as the cheery wanna-be director and Jake Picking is wooden as a fantasy version of actor Rock Hudson.
The cast has great fun demolishing Hollywood stereotypes, especially those around older women. LuPone and Taylor (both over 70) get sizzling sex scenes with their younger male co-stars. And while the female characters engage in delightful repartee with each other, they always have each other’s back. Despite some personal friction, Avis hires an “over-the-hill” actress (a superb Mira Sorvino) for a romantic lead and Claire cheers on the actress who gets the role she wanted.
In “Hollywood,” Ryan Murphy and company create an exquisite escapist fantasy where Tinseltown really is Dreamland and dreamers do find their rainbow connection. Since it simply ignores the historical reality of the period (messy things like laws against miscegenation and sodomy), it’s not really revisionist history, but does that really matter? Right now, a stylish and sentimental fantasy sounds perfect.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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Award-winning D.C. chef reaching new culinary heights
Anthony Jones of Marcus DC competing on ‘Top Chef’
In Anthony Jones’s kitchen, all sorts of flags fly, including his own. Executive chef at award-winning restaurant Marcus DC, Jones has reached culinary heights (James Beard Award semifinalist for Emerging Chef, anyone?), yet he’s just getting started.
Briefly stepping away from his award-winning station, Jones took a moment under a different set of lights. Recently, he temporarily gave up his post at the restaurant for a starring small-screen slot on the latest season of “Top Chef,” which debuted in March. (The show airs weekly on Bravo and Peacock).
Before his strategic slice-and-dice competition, however, Jones, who identifies as gay, draws from his deep DMV roots. In the years before “Top Chef” and the top chef spot at Marcus, he was born and raised in Sunderland, Md., in southern Maryland, near the Chesapeake.
Early memories were steeped in afternoons on boats with his dad bonding over fishing, and wandering the garden of his great-grandparents spread with fresh vegetables and a few hogs. “It was Southern, old-school ethics and upbringing,” he said. “Family and food went hand in hand.” Weekends meant grabbing bushels of crabs, dad and grandma would cook and crack them. Family members would host fish fries for extra cash. In this seafood-heavy youth, Jones managed time to sneak in episodes of the “OG” Japanese “Iron Chef” show, which helped inspire him to pursue a career in the kitchen.
Jones moved to D.C. after graduating from college, ending up at lauded Restaurant Eve, and met famed chef Marcus Samuelson, who brought him to Miami to be part of the opening team for Red Rooster Overtown. After three years, Jones moved back to D.C., where he ran Dirty Habit, reinventing and reimagining the menu, integrating West African flavors and ingredients.
Samuelson, however, wouldn’t let a talent like Jones stay away for too long. Pulling Jones back into his orbit, Samuelson elevated Jones to help him open his namesake restaurant Marcus DC, which has been named a top-five restaurant by the Washington Post. Since then, Jones has been nominated as a semifinalist for the RAMMYs Rising Culinary Star in 2026 and won the Eater DC’s Rising Chef award in 2025.
Samuelson’s Marcus is a tour de force interpreting the Black Diaspora on the plate, from the American South to West Africa, along with his signature “Swedopian” touches. Yet it’s Jones who has deeply informed the plate, elevating his own story to date. Marcus DC is primarily a seafood restaurant, which serves Jones well.
“Where I’m from is seafood heavy, and as I’ve progressed in my career, I’ve moved away from meat.” Veggies and fish are hero dishes. His own dish, Mel’s Crab Rice, was not only lauded by the Washington Post, but is framed by his youth carrying home the crustaceans from Mel’s crab truck. It’s a bowl of Carolina rice, layered with pickled okra, uni béarnaise, and crab. Jones also points to a dish on the opening menu, rockfish and brassica, paying respect to a landmark D.C. institution, Ben’s Chili Bowl. Jones reverse engineered a favorite bowl of chili that’s seafood instead of meat forward, leveraging octopus and rockfish along with different riffs of cauliflower: showing his intellectual, creative, and cultural sides.
While “Top Chef” is showing Jones’s spotlight side, he also lets his identity show at work. “In the kitchen, I make sure we’re inclusive. We don’t tolerate discrimination. Everyone that’s here should feel confident to express themselves. There are so many different flags in the kitchen.”
Jones says that he didn’t fully express his gay identity until fairly recently. He felt reluctant coming out to certain family members, “you’re scared to tell them about being different,” he says, and while that anxiety ate at him, “I’m lucky and fortunate to have unconditional love and that weight off my shoulders.”
Today, “I’m me all the time, Monday to Sunday. I’m honest with people, and my staff is honest with me.”
“Being a chef is hard,” he says, “and being a chef of color is even more difficult.”
Yet his LGBTQ identity is a juggling act, he says. “I need to keep that balance, because once someone finds out something about you, their opinion can change, whether you want it or not.”
Being on a whole season of TV cooking competition, however, might mean millions more might have an opinion of him (Jones has appeared on TV already, on an episode of “Chopped”). To prepare, he says, “I’ve just kept a level head. It’s just an honor to be on top chef with amazing people happy to be there.”
Plus, this season is set in the Carolinas, and Jones attended Johnson & Wales University in Charlotte, N.C. “It’s a full story of my life, now a monumental moment for me.”
Jones also recently was nominated for a James Beard Foundation Award. “JBF has been a north star, a dream for so long. I always had this goal on my wall.”
Being at the top spot at Marcus DC, making waves through his accolades, and cooking on Bravo means that Jones is highly visible. “I think that if someone has a similar background to me, and can see our story, trajectory, and success, they can have more ability to be themselves. This is my goal.”
Back at Marcus, Jones has plenty up his chef’s white’s sleeves. A new spring menu is in the works. He’ll be launching a new tasting menu “dining experience,” he says, and has plans to work on more events and collaborations with chefs and friends to bring in new talent and share the culinary wealth.
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Introducing the Torchbearers Awards honoring queer, trans women and nonbinary people
Meet the Legends and Illuminators lighting new paths
The Torchbearers Awards are more than recognition—they are a continuation of legacy. They honor the quiet architects of progress in our community: those who organize, advocate, build, and protect, often without fanfare but always with purpose. Rooted in a belief in intentional recognition, this honor names those who carry our movements forward—those who make room for others, who remind us that change is both generational and generative. In a time marked by uncertainty and challenge, these leaders push forward with courage, clarity, and an unwavering commitment to expanding opportunity and equity.
This year’s honorees reflect the full breadth of our community, spanning generations, backgrounds, identities, and industries. From Legends, with decades of leadership and having created pathways for others, to Illuminators, who are lighting new paths with creativity and innovation, each Torchbearer represents the power of intergenerational leadership and the strength found in our diversity. They are organizers, advocates, artists, policy leaders, healers, and changemakers whose lived experiences shape a shared vision for equity and liberation.
This award is our love letter to queer and trans women and nonbinary people who carry the flame when it would be easier to let it dim. To those who consistently show up, who use their voice and visibility and stand firm, often without recognition, so that others may live more freely and fully. The Torchbearers Awards celebrates not just what has been done, but the enduring spirit, responsibility, and collective care that ensure the work continues, and that the flame is always passed forward.
Co-Creators of the Torchbearers Awards: Shannon Alston, June Crenshaw, Heidi Ellis
Torchbearers Awards Advisory Board: Aditi Hardikar, Lesley Bryant, Jasmine Wilson-Bryant, Stephen Rutgers
ILLUMINATOR AWARDEES
- Representative Sharice Davids (she/her), (D, KS-03)
— U.S. House of Representatives - Greisa Martinez Rosas (she/her/ella)
— Executive Director, United We Dream - Paola Ramos (she/her)
— Journalist & Correspondent - Meagan A. Fitzgerald (she/her)
— Journalist & Correspondent - Jessica L. Lewis (she/her)
— Founder / Producer, Play Play DC - Savannah Wade (she/her)
— Founder, OAR Agency - Suhad Babaa (she/her)
— Filmmaker/ Former Executive Director of Just Vision - Ashlee Davis (she/her)
— Global Head of Inclusive Outcomes, Ancestry - Jazmine Hughes (she/her)
— Journalist and Former Editor at New York Times Magazine - Queen Adesuyi (they/she)
— Policy Advisor & Organizer, ReFrame Health & Justice - Michele Rayner, Esq. (she/her)
— Civil Rights Attorney, State Representative (Florida House of Representatives) - Gaby Vincent (she/her)
— Sports/Cultural Commentator and Community Leader - Jenny Nguyen (she/her)
— Founder & Owner, The Sports Bra - Denice Frohman (she/her)
— Independent Artist, Poet / Performer - Vida Rangel (she/her)
— Founder, Our Trans Capital - Roxanne Anderson (they/them)
— Executive Director, Our Space - Ann Marie Gothard (she/her)
— Co-Founder & President, Pride Live (Stonewall National Monument Visitor Center) - Diana Rodriquez (she/her)
— Co-Founder & CEO, Pride Live (Stonewall National Monument Visitor Center) - Wendi Cooper (she/her)
— Founder / Executive Director, Transcending Women - Toya Matthews (she/her)
— City of San Antonio, Texas - Mayor Gina Ortiz Jones (she/her)
— Sports/Cultural Commentator and Community Leader - Charity Blackwell (she/her)
— Poet, LGBTQ Advocate & Community Leader - Wilhelmina Indermaur (she/her)
— Director of Communications, Tyler Clementi Foundation - Em Chadwick (she/her)
— CMO, For Them & Autostraddle - Kylo Freeman (they/he)
— CEO, For Them & Autostraddle
LEGEND AWARDEES
- Sheila Alexander-Reid (she/her)
— Executive Director, PHL Diversity, Philadelphia Convention & Visitors Bureau - Cassandra Cantave Burton (she/her)
— Interim Director of Thought Leadership & Senior Research Advisor, AARP - leigh h. mosley (she/her)
— Photographer / Educator, PhotoFlo Photography - Jenn M. Jackson, PhD (they/them)
— Assistant Professor of Political Science; Author & Columnist, Syracuse University - Jordyn White (she/her)
— COO, Washington Prodigy / VP of Leadership Development & Research, HRC Foundation - AJ Hikes (they/them)
— Deputy Executive Director, ACLU - RaeShanda Lias (she/her)
— Digital Creator, RL Lockhart - Donna Payne-Hardy (she/her)
— Educator, EEO Specialist, Founder of NBJC, Former Leader at the Human Rights Campaign - Courtney R. Snowden (she/her)
— Principal, Blueprint Strategy Group - Gaye Adegbalola (she/her)
— Musician & Activist, Musician / Inductee of the Blues Hall of Fame - Cheryl A. Head (she/her)
— Independent Author, Novelist (Crime Fiction) - Letitia Gomez (she/her)
— The American LGBTQ+ Museum, Board Chair - Lynne Brown (she/her)
— Publisher, Washington Blade - Shay Franco-Clausen (She/Her/Ella/Queen)
— Political Strategist and Organizer - Melissa L. Bradley (she/her)
— Founder & Managing Partner, New Majority Ventures - Meghann Burke (she/her)
— Executive Director, NWSL Players Association - Victoria Kirby York, MPA (she/they)
— Director of Public Policy & Programs, National Black Justice Collective - Joli Angel Robinson (she/her)
— CEO, Center on Halsted - Jeannine Frisby LaRue (she/her)
— CEO, Moxie Strategies - Alice Wu (she/her)
— Film Director (Saving Face, The Half of It) / Screenwriter - Storme Webber (she/her)
— Interdisciplinary Artist / Educator, University of Washington - Kim Stone
— CEO of the Washington Spirit, Washington Spirit - Mickalene Thomas
— American Visual Artist, Mickalene Thomas Studio - Erika Lorshbough (any/they/she)
— Executive Director, interACT - J. Gia Loving (she/ella)
— Co-Executive Director, GSA Network
Calendar: April 10-16
BLUF leather social set for April 10 in Rehoboth
Celebrations of life planned for Sean Bartel
The ‘X’ returns to court
LGBTQ community explores arming up during heated political times
Risking it all for love during World War II
D.C. is the place for the Democratic Socialists of America
PHOTOS: The Bonnet Ball
Key lifestyle changes can help patients cope with diabetes
