a&e features
Creator Max Mutchnick on inspirations for ‘Mid-Century Modern’
Real-life friendships and loss inform plot of new Hulu show
It’s been a long time – maybe 25 years when “Will & Grace” debuted – since there’s been so much excitement about a new, queer sitcom premiering. “Mid-Century Modern,” which debuted on Hulu last week, is the creation of Max Mutchnick and David Kohan, the gay men who were also behind “Will & Grace.”
Set in Palm Springs, Calif., following the death of the one of their closest friends, three gay men gather to mourn. Swept up in the emotions of the moment, Bunny (Nathan Lane) suggests that Atlanta-based flight attendant Jerry (Matt Bomer) and New York-based fashion editor Arthur (Nathan Lee Graham) move into the mid-century modern home he shares with his mother Sybil (the late Linda Lavin). Over the course of the first season’s 10 episodes, hilarity ensues. That is, except for the episode in which they address Sybil’s passing. The three male leads are all fabulous, and the ensemble cast, including Pamela Adlon as Bunny’s sister Mindy, and the stellar line-up of guest stars, such as Jesse Tyler Ferguson, Vanessa Bayer, Richard Kind, and Cheri Oteri, keep humor buzzing. Shortly before the premiere of “Mid-Century Modern,” Mutchnick made time for an interview with the Blade.
BLADE: I’d like to begin by saying it’s always a delight to speak to a fellow Emerson College alum. In ways would you say that Emerson impacted your professional and creative life?
MAX MUTCHNICK: I think Emerson was the first place that reflected back to me that my voice, my thoughts were good, and they were worth listening to. I developed a confidence at Emerson that did not exist in my body and soul. It was a collection of a lot of things that took place in Boston, but I mean we can just put it all under the Emerson umbrella.
BLADE: Before “Will & Grace,” you co-created the NBC sitcom “Boston Common,” which starred fellow Emerson alum Anthony Clark. Is it important for you to maintain those kinds of alumni relationships?
MUTCHNICK: Because Emersonians are such scrappy little monkeys and they end up being everywhere in the world, you can’t help but work with someone from Emerson at some point in your career. I’m certainly more inclined to engage with someone from Emerson once I learn that they went to my alma mater. For me, it has much more to do with history and loyalty. I don’t think of myself as one of those guys that says, “Loyalty means a lot to me. I’m someone that really leans into history.” It’s just what my life and career turned out to be. The longer I worked with people and the more often I worked with them, the safer that I felt, which means that I was more creative and that’s the name of the game. I’ve got to be as comfortable as possible so I can be as creative as possible. If that means that a person from Emerson is in the room, so be it. (Costume designer) Lori Eskowitz would be the Emerson version. And then (writer and actor) Dan Bucatinsky would be another version. When I’m around them for a long time, that’s when the best stuff comes.
BLADE: Relationships are important. On that subject, your new Hulu sitcom “Mid-Century Modern” is about the longstanding friendship among three friends, Bunny (Nathan Lane), Jerry (Matt Bomer), and Arthur (Nathan Lee Graham). Do you have a friendship like the one shared by these three men?
MUTCHNICK: I’m absolutely engaged in a real version of what we’re projecting on the show. I have that in my life. I cannot say that I’m Jerry in any way, but the one thing that we do have in common is that in my group, I’m the young one. But I think that that’s very common in these families that we create. There’s usually a young one. Our culture is built on learning from our elders. I didn’t have a father growing up, so maybe that made me that much more inclined to seek out older, wiser, funnier, meaner friends. I mean the reason why you’re looking at a mouthful of straight, white teeth is because one of those old bitches sat across from me about 25 years ago at a diner and said, “Girl, your teeth are a disaster, and you need to get that fixed immediately.” What did I know? I was just a kid from Chicago with two nickels in my pocket. But I found three nickels and I went and had new teeth put in my head. But that came from one of my dearest in the group.
BLADE: Do you think that calling “Mid-Century Modern” a gay “Golden Girls” is a fair description?
MUTCHNICK: No. I think the gay “Golden Girls” was really just used as a tool to pitch the show quickly. We have an expression in town, which is “give me the elevator pitch,” because nobody has an attention span. The fastest way you can tell someone what David (Kohan) and I wanted to write, was to say, “It’s gay Golden Girls.” When you say that to somebody, then they say, “OK, sit down now, tell me more.” We did that and then we started to dive into the show and realized pretty quickly that it’s not the gay “Golden Girls.” No disrespect to the “Golden Girls.” It’s a masterpiece.
BLADE: “Mid-Century Modern” is set in Palm Springs. I’m based in Fort Lauderdale, a few blocks south of Wilton Manors, and I was wondering if that gay enclave was ever in consideration for the setting, or was it always going to be in Palm Springs?
MUTCHNICK: You just asked a really incredible question! Because, during COVID, Matt Bomer and I used to walk, because we live close by. We had a little walking group of a few gay gentlemen. On one of those walks, Matt proposed a comedy set in Wilton Manors. He said it would be great to title the show “Wilton Manors.” I will tell you that in the building blocks of what got us to “Mid-Century Modern,” Wilton Manors, and that suggestion from Matt Bomer on our COVID walks, was part of it.
BLADE: Is Sybil, played by the late Linda Lavin, modeled after a mother you know?
MUTCHNICK: Rhea Kohan (mother of David and Jenji). When we met with Linda for the first time over Zoom, when she was abroad, David and I explained to her that this was all based on Rhea Kohan. In fact, some of the lines that she (Sybil) speaks in the pilot are the words that Jenji Kohan spoke about her mother in her eulogy at the funeral because it really summed up what the character was all about. Yes, it’s very much based on someone.
BLADE: The Donny Osmond jokes in the second episode of “Mid-Century Modern” reminded me of the Barry Manilow “fanilows” on “Will & Grace.” Do you know if Donny is aware that he’s featured in the show?
MUTCHNICK: I don’t. To tell you the truth, the “fanilow” episode was written when I was not on the show. I was on a forced hiatus, thanks to Jeff Zucker. That was a show that I was not part of. We don’t really work that way. The Donny Osmond thing came more from Matt’s character being a Mormon, and also one of the writers. It’s very important to mention that the writing room at “Mid-Century Modern,” is (made up of) wonderful and diverse and colorful incredible humans – one of them is an old, white, Irish guy named Don Roos who’s brilliant…
BLADE: …he’s Dan Bucatinsky’s husband.
MUTCHNICK: Right! Dan is also part of the writing room. But I believe it was Don who had a thing for Donny, and that’s where it comes from. I don’t know if Donny has any awareness. The only thing I care about when we turn in an episode like that is I just want to hear from legal that we’re approved.
BLADE: “Mid-Century Modern” also includes opportunities for the singers in the cast. Linda Lavin sang the Jerome Kern/Ira Gershwin tune “Long Ago (And Far Away)” and Nathan Lane and the guys sang “He Had It Coming” from “Chicago.” Was it important to give them the chance to exercise those muscles?
MUTCHNICK: I don’t think it was. I think it really is just the managers’ choice. David Kohan and I like that kind of stuff, so we write that kind of stuff. But by no means was there an edict to write that. We know what our cast is capable of, and we will absolutely exploit that if we’re lucky enough to have a second season. I have a funky relationship with the song “Long Ago (And Far Away).” It doesn’t float my boat, but everybody else loved it. We run a meritocracy, and the best idea will out. That’s how that song ended up being in the show. I far prefer the recording of Linda singing “I’ll Be Seeing You” over her montage in episode eight, “Here’s To You, Mrs. Schneiderman.” We were just lucky that Linda had recorded that. That recording was something that she had done and sent to somebody during COVID because she was held up in her apartment. That’s what motivated her to make that video and send it. That’s how we were able to use that audio.
BLADE: Being on a streaming service like Hulu allows for characters to say things they might not get away with on network TV, including a foreskin joke, as well as Sybil’s propensity for cursing.
MUTCHNICK: And the third line in the show is about him looking like a “reluctant bottom.” I don’t think that’s something you’re going to see on ABC anytime soon. David and I liked the opportunity to open up the language of this show because it might possibly open the door to bringing people…I’m going to mix metaphors…into the tent that have never been there before. A generation that writes off a sitcom because that language and that type of comedy isn’t the way that they sound. One of the gifts of doing this show on Hulu is that we get to write dialogue that sounds a little bit more like you and I sound. As always, we don’t want to do anything just to do it.
BLADE: It didn’t feel that way.
MUTCHNICK: It’s there when it’s right. [Laughs] I want to have a shirt made with Linda’s line, as her mother always used to say, “Time is a cunt.”
BLADE: “Mid-Century Modern” also utilizes a lot of Jewish humor. How important is it for you to include that at this time when there is a measurable rise in anti-Semitism?
MUTCHNICK: I think it’s important, but I don’t think it’s the reason why we did it. We tried very hard to not write from a place of teaching or preaching. We really are just writing about the stuff that makes us laugh. One of the things that makes something better and something that you can invest in is if it’s more specific. We’re creating a character whose name is Bunny Schneiderman and his mother’s name is Sybil and they made their money in a family-run business, it gets Jewy, and we’re not going to shy away from it. But we’re definitely not going to address what’s going on in the world. That doesn’t mean I don’t find it very upsetting, but I’m writing always from the point of view of entertaining the largest number of people that I can every week.
BLADE: “Mid-Century Modern” has a fantastic roster of guest stars including Jesse Tyler Ferguson, Vanessa Bayer, Billie Lourd, Cheri Oteri, Richard Kind, Rhea Perlman, and Judd Hirsch. Are there plans to continue that in future seasons?
MUTCHNICK: Yes. As I keep saying, if we’re so lucky that we get to continue, I don’t want to do “The Love Boat.” Those are fine comic actors, so I don’t think it feels like that. But if we get to keep going, what I want to do is broaden the world because that gives us more to write about. I want to start to introduce characters that are auxiliary to the individuals. I want to start to meet Arthur’s family, so we can return to people. I want to introduce other neighbors, and different types of gay men because we come in so many different flavors. I think that we should do that only because I’m sure it’s what your life is and it’s what my life is. I’ve got a lot of different types. So, yes, we will be doing more.
BLADE: Finally, Linda Lavin passed away in December 2024, and in a later episode, the subject of her character Sybil’s passing is handled sensitively, including the humorous parts.
MUTCHNICK: We knew we had a tall order. We suffered an incredible loss in the middle of making this comedy. One of the reasons why I think this show works is because we are surrounded by a lot of really talented people. Jim Burrows and Ryan Murphy, to name two. Ryan played a very big role in telling us that it was important that we address this, that we address it immediately. That we show the world and the show goes on. That wasn’t my instinct because I was so inside the grief of losing a friend, because she really was. It wasn’t like one of those showbizzy-type relationships. And this is who she was, by the way, to everybody at the show. It was the way that we decided to go. Let’s write this now. Let’s not put this at the end of the season. Let’s not satellite her in. Let’s not “Darren Stevens” the character, which is something we would never do. The other thing that Jim Burrows made very clear to us was the import of the comedy. You have to write something that starts exactly in the place that these shows start. A set comedy piece that takes place in the kitchen. Because for David and me, as writers, we said we just want to tell the truth. That’s what we want to do with this episode and that’s the way that this will probably go best for us. The way that we’ve dealt with grief in our lives is with humor. That is the way that we framed writing this episode. We wanted it to be a chapter from our lives, and how we experience this loss and how we recover and move on.
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes
The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc
While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars
While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’
The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
a&e features
Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
PHOTOS: ‘ICE Out For Good’
Feminist fiction fans will love ‘Bog Queen’
A Shakespearean tragedy comes to life in exquisite ‘Hamnet’
Hundreds protest ICE killing of Renee Nicole Good in D.C.
Calendar: January 9-15
Gay Venezuelan man who fled to Colombia uncertain about homeland’s future
2026 Most Eligible LGBTQ Singles nominations
Kennedy Center renaming triggers backlash
New interim D.C. police chief played lead role in security for WorldPride
Colombians protest against Trump after he threatened country’s president
-
Colombia4 days agoGay Venezuelan man who fled to Colombia uncertain about homeland’s future
-
Arts & Entertainment4 days ago
2026 Most Eligible LGBTQ Singles nominations
-
District of Columbia4 days ago
Kennedy Center renaming triggers backlash
-
District of Columbia4 days ago
New interim D.C. police chief played lead role in security for WorldPride
