Arts & Entertainment
Queers clean up at 76th annual Emmy Awards
Jodie Foster, Richard Gadd, and Greg Berlanti among LGBTQ honorees
It was a banner night for queer performers and television creators at the 76th annual Primetime Emmy Awards at the Peacock Theatre in Los Angeles on Sunday, with Jodie Foster, Richard Gadd, and Greg Berlanti among the night’s big winners.
Lesbian icon Jodie Foster took home her first Emmy in the category Outstanding Lead Actress in a Limited or Anthology Series or Movie for her role in “True Detective: Night Country.” Foster thanked her wife and kids in her acceptance speech, telling her kids to remember that “Love and work equals art.” Foster has previously been nominated for her work behind the camera, directing “Orange is the New Black,” and producing “The Baby Dance” and “AMC: Film Preservation Classics.”
The Netflix drama “Baby Reindeer,” Richard Gadd’s autobiographical miniseries about his experiences with sexual assault and a stalker, was a big winner at this year’s ceremony. The show took home the award for Outstanding Limited or Anthology Series, while Gadd took home awards for writing and lead actor, and his co-star Jessica Gunning took home the award for supporting actress in the category. The show also took home honors for casting and picture editing at the Creative Arts Emmys earlier in the week.
Peacock’s “The Traitors” won in the Outstanding Reality Competition category, earning an Emmy for producer and host Alan Cumming. Cumming also won Outstanding Host for a Reality or Reality Competition Show at the Creative Arts Emmys, ending an 8-year streak of wins by “RuPaul’s Drag Race” host RuPaul. Cumming, who is openly bisexual, has been nominated four times before – three times for his role on “The Good Wife” and once as the host of the Tony Awards broadcast. He has also been nominated for a Daytime Emmy for his work on “Arthur: Show Off.”
Longtime writer and producer Greg Berlanti was honored with the Governor’s Award in recognition for his work depicting underrepresented communities on screen across his nearly 25-year-long career. Berlanti’s career has written, directed, and produced dozens of television shows, including such milestones as the first on-screen kiss between two gay characters on his first show, “Dawson’s Creek.”
He later achieved acclaim creating and producing shows like “Everwood,” “The Flight Attendant,” and the CW’s various “Arrowverse” shows, and set a record with producing 18 shows that were on air during the same television season in 2019-2020. His shows frequently broke ground in LGBTQ representation, including the first transgender recurring character on “Dirty Sexy Money” and shows that put gay characters in leading and title roles, like “Batwoman,” “Brilliant Minds,” and “Freedom Fighters: The Ray.”
In his acceptance speech, the 52-year-old Berlanti spoke of the impact of the lack of LGBTQ representation in television when he was a kid.
“There wasn’t a lot of gay characters on television back then, and I was a closeted gay kid, and it’s hard to describe how lonely that was at the time,” Berlanti continued. “There was no Internet to connect with other queer kids, no LGBTQ+ advocacy groups in schools. Back then, the only way to tell if another kid might be gay was if he also watched ’Dynasty,’ ‘Dallas’ and could name all four of the Golden Girls.”
He said it wasn’t until the AIDS crisis in the 1980s that he saw gay men on television “holding hands with other men, marching and fighting for their rights.”
“They gave me hope that I might one day have their courage to come out and share my truth with the world,” Berlanti said.
A queer creator also made history at the Creative Arts Emmys last weekend.
Benj Pasek, who is openly gay, together with his songwriting partner Justin Paul, who is straight, became the 20th and 21st people to achieve EGOT status – winning an Emmy, Grammy, Oscar, and Tony – with their win for Best Original Song for “Which of the Pickwick Triplets Did It” from the Hulu series “Only Murders in the Building.” The pair have previously won the Grammy and Tony Awards for their musical “Dear Evan Hansen,” and the Oscar for writing the song “City of Stars” from the movie “La La Land.”
With only seven years between their first and most recent awards, the pair set a new record for shortest time span for competitive EGOT winners, beating previous record holder Robert Lopez’s 10-year span.
Several other queer-themed shows took home honors at this year’s Emmys.
Max’s “Hacks” took home the award for Outstanding Comedy Series, Outstanding Writing for a Comedy Series, and Lead Actress in a Comedy Series for star Jean Smart.
Netflix’s “Ripley” series took home the awards for directing, cinematography, and special visual effects in a single episode in the limited or anthology series category.
“Feud: Capote vs. The Swans” took home the award for period costumes in a limited or anthology series.
Photos
PHOTOS: Remove the Regime rally and march
Dropkick Murphys, Earth to Eve perform on steps of Lincoln Memorial
The Remove the Regime rally and march was held on Saturday, Nov. 22.
(Washington Blade photos by Michael Key)








Transgender Day of Remembrance was observed at the Metropolitan Community Church of Washington, D.C. on Thursday, Nov. 20. The event was emceed by Rayceen Pendarvis and Dwight Venson. Musical selections were provided by Agape Praise and Dynamic Praise. Proclamations from the D.C. Council and the D.C. Office of the Mayor were presented. The Pouring of the Libation was conducted by Rev. Elder Akousa McCray and Rev. Paul Fulton-Woods of Unity Fellowship Church.
Remarks were given by trans survivors of violence. Family members of slain trans woman Dream Johnson were featured speakers. Prayers were given by Rev. Cathy Alexander and Rev. Dwayne Johnson of Metropolitan Community Church of Washington, D.C. Yael Shafritz gave a Jewish prayer through a video presentation. Closing remarks were given by community leader, Earline Budd.
(Washington Blade photos by Michael Key)







Books
Pioneering gay journalist takes on Trump 2.0 in new book
Nick Benton’s essays appeared in Fall Church News-Press
Nicholas Benton is a well-known local LGBTQ advocate and journalist and the longtime owner and editor of the Falls Church News-Press, a weekly newspaper.
In his eighth book out now, Benton offers a new set of remarkable essays all crafted in the first eight months of Trump 2.0 and its wholesale effort at dismantling democracy and the rule of law. Most were published in the Falls Church News-Press, but he adds a new piece to this volume, as an addendum to his “Cult Century” series, revealing for the first time his experiences from decades ago in the political cult of Lyndon LaRouche, aimed at providing a clearer grasp of today’s Cult of Trump.
His “Please Don’t Eat Your Children” set takes off from the satire of Jonathan Swift to explore society’s critical role of drumming creativity out of the young.

Below is an excerpt from “Please Don’t Eat Your Children, Cult Century, and other 2025 Essays.”
Please Don’t Eat Your Children
In his famous short essay, “A Modest Proposal: For Preventing the Children of Poor People in Ireland From Being a Burden to Their Parents or Country and for Making Them Beneficial to the Public,” author and Anglican priest Jonathan Swift (1667-1745) uses cutting satire to suggest that cannibalism of the young might help solve a battery of social ills.
As we examine our broken society today, it seems to me that reflecting on Swift’s social critique can be quite useful. Now we face a nation filled with anger and division and there is little to suggest any real solutions other than insisting people “don’t do that!” We can start out with the observation that young children, left to their own, are neither hateful nor cruel. How do they get that way later on in their lives? What drives them toward such emotional states and behaviors? It is not a problem only for the margins of society, for the extreme misfits or troubled. It is defining the very center of our culture today. Our divisions are not the cause, but the result of something, and nobody is saying what that is.
Swift doesn’t say what it is in his biting little essay. But it is implied by a context of a lack of bounty, or poverty, on the one hand, and an approach to it characterized by obscenely cruel indifference, on the other. He coined the phrase “useless eaters” in defining his radical solution. In Hitler’s Germany, that term resonated through the death camps and some in our present situation are daring to evoke it again as the current administration pushes radical cuts in Medicaid funding.
But while that refers to the old and infirm, mostly, it is the young we are talking about here. The problem is that our society is structured to devour our young and as they begin to find that out, they rebel. Not in all cases is this the practice, of course. Where there is little or no lack, things are different. We nurture our young, as we should, and we love them. Lucky is the child who is born to parents who are of means, and in a community where nurture is possible and valued. But even such children are ultimately not immune from facing a destiny of pale conformity battered by tightly delimited social expectations and debt slavery. If they have enough ambition, education and doors opened for them, some can run the gauntlet with relative effectiveness. Otherwise, our young are raised to die on battlefields, or to struggle in myriad other painful social conflicts aimed at advancing the world of their elders. In the Bible, there is a great admonition against this process that comes at the very precondition for the tradition it represents that begins with Abraham.
It is in the book of Genesis at the beginning of the Biblical story when, as that story goes, God commanded Abraham to kill his son, Isaac, as a sacrifice. As Abraham is about to obey, God steps in and says no. The entire subsequent eons-long struggle to realize Abraham’s commission by God to make a great nation that would be a light to the world would have been cut short right then if Abraham had slain his own son. The message is that all of the Abrahamic traditions, Judaism, Islam and Christianity, owe their source, and in fact are rooted, in God’s command to reject the sacrifice of children to the whims of their elders. The last thousands of years can be best defined in these terms, where nurture is pitted against exploitation of our young with, at best, vastly mixed results. Scenes like that at the opening of “All Quiet on the Western Front,” the World War I novel and film where a teacher rallies a classroom full of boys to enlist in the war, is bone chilling. Or, the lyric in Pink Floyd’s iconic song, Comfortably Numb, “When I was a child, I caught a fleeting glimpse out of the corner of my eye. I turned to look but it was gone. I cannot put my finger on it now. The child is grown, the dream is gone.”
Nick Benton’s new book is available now at Amazon.
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