Television
‘The Lady and the Dale’ explores transphobia in 1970s America
Docuseries opens window on uniquely American auto industry scandal
One of the advantages of living in a culture that obsessively records itself is that looking back on ourselves often delivers a healthy dose of 20/20 hindsight, not just on whatever piece of history we are trying to study but on all the things that have changed since it happened – and sometimes, on all the things that haven’t.
Such an experience is provided by “The Lady and the Dale,” HBO Max’s Duplass Brothers-produced docuseries that opens a window on 1970s America by relating the details of an implausible but true automotive industry scandal that captured headlines before fading into obscure cultural memory. In the process, it turns a quirky true-life tale of corporate chicanery into an eye-opening examination of the way our beliefs about gender shape the public narrative. It also forces us to ponder questions about how much those beliefs have evolved – if, indeed, they have evolved at all – in the years since the story it tells took place.
Directed by Nick Cammilleri and Zackary Drucker, the four-episode chronicle spins the kind of yarn that might be considered too implausible to be believed if it hadn’t happened in real life. It’s more than revisiting a news story – it’s the saga of one Elizabeth Carmichael, who splashed into fame at the height of the 1970s oil crisis with her introduction of a fuel-efficient, radically redesigned automobile called the Dale. Armed with a prototype and a knack for promotion, she gathered an impressive stable of designers and engineers and started her own company, the Twentieth Century Motor Car Corporation, and began touting her innovative, three-wheeled vehicle to an American public in the grip of an OPEC-driven fuel shortage that had driven gas prices to record highs.
Taking advance orders to fund production, the upstart entrepreneur soon fell under suspicion for her seemingly outrageous promises of 70-mile-per gallon fuel economy and a quick rollout; when technical setbacks cast even more doubt on her claims, increased scrutiny from media and law enforcement uncovered a hidden past of shady scams, audacious escapes, and concealed identity, culminating in the revelation that she was both a longtime fugitive from justice and a transgender woman. Choosing to defend herself in court against charges of fraud and business code violations, she found herself also waging an uphill battle with misogyny and transphobia, and she ultimately opted instead to pull a decade-and-a-half-long disappearing act before authorities were finally able to catch up with her.
Assembled in the slick, now-familiar “docu-tainment” style that has become the fashion with high-profile shows of its ilk, “The Lady and the Dale” takes a deceptively bemused tone from the start. Though considerable footage exists of Elizabeth Carmichael from her days in the spotlight, much of her life can be glimpsed only through a few family photos and home movies, and the show makes up for this dearth of material by mining those images to create clever, quirky animations illustrating her story. These visual aids might seem too light-hearted to accompany a tale of deception, greed, crime, and systemic bigotry, but as more is revealed about the complex and conflicted underlying morality of the story, their whimsy seems more like irony – the kind that might arise from living through decades of oppression from a society oblivious to its own role as oppressor.
That is, of course, precisely the viewpoint Cammilleri and Drucker want you to take. As they piece together the details of Carmichael’s notorious misadventures – through interviews, news and courtroom footage, and commentary by experts adding a contemporary perspective – they slyly, almost subversively peel back the convoluted layers of circumstance to reveal the unmistakable face of transphobia cowering at the core of her story. Using the tall-tale appeal of their subject, they draw their audience into an “if I only knew then what I know now” retrospect on an era when most Americans saw no difference between a transgender woman and a drag queen. The archival news coverage they show us is rife with misgendering and dead-naming, interviews with authorities and journalists assert the presumed untrustworthiness of a “man posing as a woman,” and the enthusiasm with which media and authorities cast Carmichael as a villain and raises a now-obvious red flag about the real reasons behind her merciless persecution. By the time the series reaches its halfway mark, it becomes clear that, while she may well have been culpable in the events that led to the charges against her, she was really being punished for the crime of being trans.
At the same time, the series provides an unexpectedly positive parallel real-life narrative, in which Carmichael managed to successfully transition while continuing in her role as head of a household, maintaining the love and support of a family who stayed with her even through years of living on the lam. Through interviews with children and other relatives, we learn about a warm and loving person who was fully accepted on her own terms by a wife and kids that stayed loyal despite an unstable and often dire lifestyle. Couple these with the descriptions coming from associates from the Dale days of a charismatic, dynamic leader who inspired their faith and commitment even as the project fell apart, and you have a very different person from the unscrupulous grifter in the portrait painted by the authorities, journalists, and other public voices who led the charge against her.
The reason behind this gap in perception between the people who knew Carmichael and those who knew only an image they themselves had helped to create seems obvious. It’s why visibility is such an important facet in the fight for acceptance – the more we become aware that the people we demonize are people we actually know, the more our attitudes change and our empathy grows. But while this might seem like a no-brainer in 2021, it was not quite so clear in 1974. That it is so readily apparent now is testament to the power of hard work and activism.
Of course, not everyone in our society will be surprised by the revelations of hindsight bestowed by “The Lady in the Dale.” For trans audiences, the ingrained transphobia it explores is an all-too-familiar part of everyday life, a point underscored in the series by the presence of several trans commentators, who provide a scholarly and informed cultural perspective throughout. And while the distance of time allows the luxury of acknowledging how far we’ve come, it’s worth noting that at least one journalist interviewed for the film doubles down on the same transphobic bile he spewed forth when he covered the Carmichael case nearly five decades ago.
That’s what makes “The Lady and the Dale” much more than just the latest must-watch distraction on streaming TV. It’s also an essential piece of trans activism, wrapped in an entertaining package that is now being played on screens all across America for people who would likely have never clicked “play” on such a thing – and that’s a con job that Elizabeth Carmichael herself would be proud of.
Television
Charles Galin King brings cultural influences, style to ‘King of Drag’
First-ever drag king television competition series airs on Revry
When Charles Galin King made his big debut on the world’s first drag competition show, “King of Drag,” you knew you were taking in a star. He introduced himself as “a Mexican-American Indigenous Wixárika with Ch’ol blood person,” and you couldn’t help but take notice.
His cultural influences are apparent in his drag, serving distinct and memorable looks. He won fans over with his fabulous impression of Nosferatu on “The Dong Show” and connected with them through his honesty about his mental health struggles. After bringing the black plague to the prom, his time on the Revry series came to an end.
We caught up with Charles Galin King to talk about his experience on “King of Drag,” what he hopes to see in future seasons, and advice for new drag kings.
Tell us about your first time in drag.
Back in high school senior year, I decided to wear one of my dad’s black button-up short-sleeved shirts and made a beard and mustache on my face, and wore a fedora hat. I went out with one of my best friends to this day, Ruben, and we went to Hollywood and went to Jack and the Box. I needed the restroom and went to the women’s, and a guy coming out of the men’s said, “Not that one, this one.” And I felt validated in drag cause I was that convincing of a “man,” jajaaaja.
What made you decide to be a part of the inaugural season of ‘King of Drag’?
I wanted to try it cause I was looking at the application out of curiosity, and upon reading started feeling fear and nervousness. And said, “I should apply,” to my mother. Also, l will die one day, might as well go for it and see how it is. I knew I would be a part of the first trial and error cause it’s a first of its kind, so we all learned together what this show is and will be.
What do you hope to see differently in future seasons?
More kings on the King’s Court, and more BIPOC judges, and more lip sync songs.
What surprised you most about your experience on ‘King of Drag’?
I gained nine new siblings and felt a beautiful connection to myself in wanting to be a part of this community even more because of them. And due to being a beautifully diverse experience.
What do you cherish most about your filming experience?
I showed what drag means to me and what my drag is. And being able to say thank you to the cast, crew, tech, and owners of the studio where filming was at.
If you could do one thing over on ‘King of Drag,’ knowing what you know now, what would it be?
Have more money and be able to show my true fear of cutting out a fetus from me and showing myself dying.
Have you had any especially memorable fan interactions since the show began?
Yes, when people and fans would say thank you for sharing your story about accepting death and suicide. And them asking me what surprised me most about being on the show.
Do you hear from other kings about the representation the show offers?
Yes, very much. They feel seen and have been wanting this for such a long time, and it’s a breath of fresh air seeing us all work together. We still feel the hate from those who don’t understand our existence, though I have learned from my kings on the show that with every hate comment, there are ten love comments from the fans.
What do you want aspiring kings to know about the working life of a king?
Be prepared to be looked at by certain audiences with stares of confusion, and being on their phone when performing or being compared to other kings. Also, since we are still climbing to be accepted in this world, the majority of “Drag Race” fans still see us as non-existent and trash. Always focus on our drag king audience, for they understand us the most. Always have fun, for if I have fun, then the audience will have fun alongside me. SO many queens support us, and there are still queens who look down on us. Accept that and focus on your music, routines, lyrics, and feeling the vibes of what character you will put on stage.
If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?
What’s your favorite flavor of ice cream if you eat ice cream? And when can we hang out and look out to the sunset and high-five when it’s time to go home?
Stream the entire season of “King of Drag” now on Revry.com and follow Charles Galin King on social.
Sure, we know everybody’s talking about the Emmy nominations right now, but they aren’t the only TV awards in town.
On July 8, GALECA: The Society of LGBTQ Entertainment Critics announced the winners of its 17th Dorian TV Awards.
With more than 560 critics, journalists, and media icons making up its membership, GALECA is the second largest entertainment journalists’ group in the world, and they present their Dorian Awards – named in honor of Oscar Wilde, the celebrated queer writer who penned “The Picture of Dorian Gray” and who serves as something like the group’s patron saint – to honor the best in film, television, and theater at separate times during each year. Frequently, many Dorian nominees and winners presage similar honors from the more mainstream awards bodies, reminding the world that the informed LGBTQ perspective on all things entertainment definitely matters; at the same time, however, the Dorians also include several queer-centric categories that are unique to them, providing an opportunity to amplify the reach of more unsung and off-the-radar material which might otherwise be overlooked.
For this year’s TV awards – which, as always, honor both mainstream and queer-focused content across broadcast, cable, and streaming platforms – streaming giant Max scored big. Their new, genre-expanding hit “The Pitt” was awarded Best TV Drama, with veteran star Noah Wyle earning Best Leading TV Performance (Drama) for his role on the show. A parallel double victory was bestowed in the comedy categories, where Max triumphed once more with “Hacks” winning both Best TV Comedy and Best Lead Performance (Comedy) for star Jean Smart (both winning for the third year in a row), and her co-star, Hannah Einbinder, took the Best Supporting TV Performance (Comedy) win for a second time. “Hacks” also scored wins as Best LGBTQ TV Show and Best-Written TV Show (Comedy).
Smart also added an additional accolade to her ever-growing tally, winning GALECA’s TV Icon Award, an annual career achievement honor previously bestowed on the likes of Jennifer Coolidge, Christine Baranski and Carol Burnett. Other special accolades: nonbinary multi-hyphenate Cole Escola (creator-star of the outlandish Broadway smash “Oh, Mary!”) earned GALECA’s “Wilde Wit” Award, following in the footsteps of such past winners as Julio Torres, Wanda Sykes, Bowen Yang and John Oliver; and Ncuti Gatwa – the Rwandan-born Scottish actor who is the first Black and out queer performer to portray the title character in BBC’s long-running sci-fi hit “Doctor Who” – was named as LGBTQIA+ TV Trailblazer.
Other noteworthy wins: “Andor,” the boldly queer-inclusive (and anti-fascist) Disney Plus “Star Wars” spin-off about the rise of the galactic resistance against an authoritarian empire, was named as Best Genre TV Show; “Overcompensating,” the sexy-but-sweet collegiate comedy from viral internet star Benito Skinner and Amazon Prime Video, took the prize for Best Unsung TV Show; Peacock’s Alan Cumming-hosted “The Traitors” won double honors as both Best Reality Show and “Campiest” TV Show (the Dorians’ cheekiest prize); the HBO two-parter “Pee-wee as Himself” defeated all competitors to win as both Best TV Documentary and Best LGBTQ TV Documentary; and “Wicked” fans will be glad to hear that the movie’s stars Ariana Grande and Cynthia Erivo (the group’s LGBTQIA+ Film Trailblazer honoree earlier this year) came in on top of the TV Musical Performance category, beating out a highly competitive field that included Beyoncé and Kendrick Lamar, to win with a medley of tunes from “The Wizard of Oz” and its various descendents on ABC’s broadcast of the 97th Academy Awards.
“This year’s Dorian TV winners prove once again that queer folks have an especially keen eye for stellar TV, using our culture’s lens to elevate the bold, brilliant, and blissfully bonkers,” said Diane Anderson-Minshall, GALECA’s Executive Director. “From Hacks’ dazzling domination to Ncuti Gatwa’s historic trailblazing, we’re proud to celebrate a wildly entertaining spectrum of talent and storytelling.”
Added GALECA’s President, Walt Hickey, “The Dorian Awards this year illustrate more than anything the depth and quality of TV right now, especially when it comes to shows by and for LGBTQ+ people. This year’s crop of winners made us laugh, inspired us, and delivered some of the most intense and rewarding performances many of our members have ever seen.”
GALECA: The Society of LGBTQ Entertainment Critics and its Dorian Awards honor the best in film, television, and theater at separate times of the year. With over 560 members, GALECA. A nonprofit organization, GALECA also advocates for better pay, access, and respect for entertainment journalists (especially those most underrepresented), providing scholarships for LGBTQ journalism students and more.
2025 DORIAN TV AWARD WINNERS, FULL LIST
BEST TV DRAMA
Andor (Disney+)
The Last of Us (HBO)
The Pitt (Max)
Severance (Apple TV+)
The White Lotus (HBO)
BEST TV COMEDY
Abbott Elementary (ABC)
Hacks (Max)
The Rehearsal (HBO)
Somebody Somewhere (HBO)
The Studio (Apple TV+)
BEST LGBTQ TV SHOW
Agatha All Along (Disney+)
Hacks (Max)
Heartstopper (Netflix)
Overcompensating (Amazon Prime Video)
Somebody Somewhere (HBO)
Rebel Ridge (Netflix)
BEST WRITTEN TV SHOW
Andor (Disney+)
Hacks (Max)
The Pitt (Max)
Severance (Apple TV+)
The White Lotus (HBO)
BEST UNSUNG TV SHOW
English Teacher (FX on Hulu)
Evil (Paramount+)
Fantasmas (HBO)
Mid-Century Modern (Hulu)
Overcompensating (Amazon Prime Video)
BEST NON-ENGLISH LANGUAGE TV SHOW
Elite (Netflix)
My Brilliant Friend (HBO)
One Hundred Years of Solitude (Netflix)
Pachinko (Apple TV+)
Squid Game (Netflix)
Threesome (ViaPlay)
BEST LGBTQ NON-ENGLISH LANGUAGE TV SHOW
Becoming Karl Lagerfeld (Hulu)
The Boyfriend (Netflix)
Elite (Netflix)
The Secret of the River (Netflix)
Threesome (Viaplay)
When No One Sees Us (Max)
BEST TV PERFORMANCE – DRAMA
Colin Farrell, The Penguin (HBO)
Stephen Graham, Adolescence (Netflix)
Cooper Koch, Monsters: The Lyle and Erik Menendez Story (Netflix)
Diego Luna, Andor (Disney+)
Cristin Milioti, The Penguin (HBO)
Pedro Pascal, The Last of Us (HBO)
Bella Ramsey, The Last of Us (HBO)
Adam Scott, Severance (Apple TV+)
Michelle Williams, Dying for Sex (FX on Hulu)
Noah Wyle, The Pitt (Max)
BEST SUPPORTING TV PERFORMANCE—DRAMA
Carrie Coon, The White Lotus (HBO)
Owen Cooper, Adolescence (Netflix)
Taylor Dearden, The Pitt (Max)
Erin Doherty, Adolescence (Netflix)
Walton Goggins, The White Lotus (HBO)
Katherine LaNasa, The Pitt (Max)
Genevieve O’Reilly, Andor (Disney+)
Parker Posey, The White Lotus (HBO)
Jenny Slate, Dying for Sex (FX on Hulu)
Tramell Tillman, Severance (Apple TV+)
BEST TV PERFORMANCE—COMEDY
Uzo Aduba, The Residence (Netflix)
Quinta Brunson, Abbott Elementary (ABC)
Ayo Edebiri, The Bear (FX on Hulu)
Bridget Everett, Somebody Somewhere (HBO)
Nathan Fielder, The Rehearsal (HBO)
Kathryn Hahn, Agatha All Along (Disney+)
Natasha Lyonne, Poker Face (Peacock)
Seth Rogen, The Studio (Apple TV+)
Benito Skinner, Overcompensating (Amazon Prime Video)
Jean Smart, Hacks (Max)
BEST SUPPORTING TV PERFORMANCE—COMEDY
Ike Barinholtz, The Studio (Apple TV+)
Colman Domingo, The Four Seasons (Netflix)
Hannah Einbinder, Hacks (Max)
Kathryn Hahn, The Studio (Apple TV+)
Jeff Hiller, Somebody Somewhere (HBO)
Holmes, Overcompensating (Amazon Prime Video)
Janelle James, Abbott Elementary (ABC)
Linda Lavin, Mid-Century Modern (Hulu)
Catherine O’Hara, The Studio (Apple TV+)
Meg Stalter, Hacks (Max)
BEST TV MUSICAL PERFORMANCE
Beyoncé, “Cowboy Carter” medley, Beyoncé Bowl (Ravens vs. Texans Halftime Show) (Netflix)
Doechii, “Catfish” / “Denial Is a River,” 67th Annual Grammy Awards (CBS)
Cynthia Erivo, Ariana Grande, “Oz Medley” (“The Wizard of Oz,” “The Wiz,” “Wicked”), 97th Academy Awards (ABC)
Kathryn Hahn, Patti LuPone, Ali Ahn, Sasheer Zamata, “The Ballad of the Witches’ Road,” Agatha All Along (Disney+)
Kendrick Lamar, “Squabble Up,” “Humble,” etc., Super Bowl LIX Halftime Show (Fox)
BEST TV DOCUMENTARY OR DOCUMENTARY SERIES
Deaf President Now! (Apple TV+)
Elizabeth Taylor: The Lost Tapes (Max)
Pee-wee as Himself (HBO)
The Rehearsal (HBO)
SNL50: Beyond Saturday Night (Peacock)
BEST LGBTQ TV DOCUMENTARY OR DOCUMENTARY SERIES
Disco: Soundtrack of a Revolution (PBS)
Fanatical: The Catfishing of Tegan and Sara (Hulu)
Outstanding: A Comedy Revolution (Netflix)
Pee-wee as Himself (HBO)
Queer Planet (Peacock)
BEST CURRENT AFFAIRS SHOW
The Daily Show (Comedy Central)
Everybody’s Live with John Mulaney (Netflix)
Hot Ones (YouTube)
Late Night with Seth Meyers (NBC)
Last Week Tonight with John Oliver (HBO)
BEST GENRE TV SHOW
Agatha All Along (Disney+)
Andor (Disney+)
Black Mirror (Netflix)
The Last of Us (HBO)
Severance (Apple TV+)
BEST ANIMATED SHOW
Big Mouth (Netflix)
Bob’s Burgers (Fox)
Harley Quinn (Max)
The Simpsons (Fox)
Star Trek: Lower Decks (Paramount+)
MOST VISUALLY STRIKING TV SHOW
Adolescence (Netflix)
Agatha All Along (Disney+)
Andor (Disney+)
Severance (Apple TV+)
The White Lotus (HBO)
BEST REALITY SHOW
The Amazing Race (CBS)
The Great British Baking Show (Netflix)
RuPaul’s Drag Race (MTV)
Top Chef (Bravo)
The Traitors (Peacock)
CAMPIEST TV SHOW
Doctor Odyssey (ABC)
Mid-Century Modern (Hulu)
Overcompensating (Amazon Prime)
RuPaul’s Drag Race (MTV)
The Traitors (Peacock)
WILDE WIT AWARD
Quinta Brunson
Alan Cumming
Hannah Einbinder
Cole Escola
Nathan Fielder
GALECA TV ICON AWARD
Gillian Anderson
Angela Bassett
Alan Cumming
Sarah Michelle Gellar
Jean Smart
GALECA LGBTQIA+ TV TRAILBLAZER AWARD
Jonathan Bailey
Greg Berlanti
Ncuti Gatwa
Bella Ramsey
Mike White
Television
How this Texas drag king reclaimed their identity
Chicano performance art serves as inspiration
Three out of ten drag kings who were cast for this first season of King of Drag self-identified as Latinx and after episode two, only one Latinx king remains in the running for the competition.
Buck Wylde, a king from Dallas, Texas delivered a performance that took inspiration from their Catholic upbringing and Catholic school days to put together this persona. During the episode, they shared that they like to “play with religion.”
Murray Hill responded by adding, “sometimes we can’t afford to go to therapy for the Catholic guilt, so we do drag.” Buck Wylde says their therapy and their church is drag.
Buck Wylde, cancer sign, goes by Trigger Mortis when they are outside of drag and present more on the femme side. Along with Big D—another drag king on the series—they are the only two who are more femme outside of their drag persona.
During this episode, Buck Wylde also spoke about the difficulty of performing drag in a red state. They live in conservative Dallas, so they still struggle to find large-scale acceptance and support in the midst of statewide legislation targeting the LGBTQ community in Texas.
“Sometimes it doesn’t feel [as] safe as [I] would like it to be. There’s protesters all the time and we don’t have as many spaces to perform as kings there,” they said in the interview.
Buck Wylde says that for them, the most important thing about drag, is that it is and always has been a protest.
Living in a conservative state is a challenge to them as a drag king, but they say that it’s important for them to stand their ground and not only bring that representation to these areas, but also intentionally keep it there.
“So many people leave Texas for their safety and mental health to go to Portland, LA, or Colorado Springs or you know, anywhere but here.”
During the episode, Buck Wylde also opened up about how their religious background and cultural heritage added an extra layer to their identity issues growing up where they did. Their family wanted them to assimilate and even prevented them from speaking Spanish and they say that through Buck, they are able to re-examine what it means to be a part of that culture.
Buck Wylde is a third generation Mexican-American and they say that though their Spanish is not fluent, they say they do prefer their horchata without (ICE).
“I kind of straddled different worlds there, because I was sort of assimilated but I still had my Mexican culture. I always felt like I wasn’t connected enough because of the assimilation and it was through drag that I was able to reclaim my culture.”
In the first round of competitions for the second episode, the kings broke up into three teams of three for an improv skit where they would have to mansplain a topic and whichever team did it the best—won the group Weenie Challenge.
The winning team included Buck Wylde, Alexander the Great and Henlo Bullfrog. Together they improvised a skit where they mansplained the Amelia Earhart story.
For the solo show, they dressed up as ‘The Devil’ for the improv solo challenge, cracking a joke about how they are dressed like the person currently living in The White House.
Dressed as the Devil, sporting a Zoot Suit for the final competition, Buck Wylde improvised a skit with food.
Buck Wylde says they felt the pressure to perform because along with the other nine kings who were cast, they are the first ten kings to make it to the mainstream and represent king culture.
“We call ourselves the first ten because whatever happens, we’re responsible for how the kings are viewed and how we move forward together, being the blueprint for what’s to come,” said Buck Wylde in an exclusive interview with Los Angeles Blade.
Back stage before the solo improv competition, Buck Wylde says they felt their drag persona “crumbling” away.
They felt like Buck had abandoned them prior to their big moments to prove to the judges that they should stay in the running for the competition. They went up against Perka $exxx, who gave a king-based Dave Chappell performance.
In the end, it was Perka $exxx who received a 4-1 vote from the judges.
Buck Wylde left the show with some advice for the kings and the audience: “No matter what life throws at you, always remember who the Buck you are.”
King of Drag is now available to stream on RevryTV, an LGBTQ streaming platform for queer movies, TV shows, music and more — all for free. New King of Drag episodes will premiere weekly on Sundays.
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