Advocacy groups are demanding the Trump-Vance administration not to deport two gay men to Iran.

MS Now on Jan. 23 reported the two men are among the 40 Iranian nationals who the White House plans to deport.

Iran is among the countries in which consensual same-sex sexual relations remain punishable by death.

The Washington Blade earlier this month reported LGBTQ Iranians have joined anti-government protests that broke out across the country on Dec. 28. Human rights groups say the Iranian government has killed thousands of people since the demonstrations began.

Rebekah Wolf of the American Immigration Council, which represents the two men, told MS Now her clients were scheduled to be on a deportation flight on Jan. 25. A Human Rights Campaign spokesperson on Tuesday told the Blade that one of the men “was able to obtain a temporary stay of removal from the” 10th U.S. Circuit Court of Appeals, and the other “is facing delayed deportation as the result of a measles outbreak at the facility where they’re being held.”

“My (organization, the American Immigration Council) represents those two gay men,” said American Immigration Council Senior Fellow Aaron Reichlin-Melnick in a Jan. 23 post on his Bluesky account. “They had been arrested on charges of sodomy by Iranian moral police, and fled the country seeking asylum. They face the death penalty if returned, yet the Trump (administration) denied their asylum claims in a kangaroo court process.”

“They are terrified,” added Reichlin-Melnick.

My org @immcouncil.org represents those two gay men. They had been arrested on charges of sodomy by Iranian moral police, and fled the country seeking asylum. They face the death penalty if returned, yet the Trump admin denied their asylum claims in a kangaroo court process.

They are terrified.

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— Aaron Reichlin-Melnick (@reichlinmelnick.bsky.social) January 23, 2026 at 8:26 AM

Reichlin-Melnick in a second Bluesky post said “deporting people to Iran right now, as body bags line the street, is an immoral, inhumane, and unjust act.”

“That ICE is still considering carrying out the flight this weekend is a sign of an agency and an administration totally divorced from basic human rights,” he added.

Deporting people to Iran right now, as body bags line the street, is an immoral, inhumane, and unjust act. That ICE is still considering carrying out the flight this weekend is a sign of an agency and an administration totally divorced from basic human rights. www.ms.now/news/trump-d…

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— Aaron Reichlin-Melnick (@reichlinmelnick.bsky.social) January 23, 2026 at 8:27 AM

HRC Vice President of Government Affairs David Stacy in a statement to the Blade noted Iran “is one of 12 nations that still execute queer people, and we continue to fear for their safety.” Stacy also referenced Renee Good, a 37-year-old lesbian woman who a U.S. Immigration and Customs Enforcement agent shot and killed in Minneapolis on Jan. 7, and Andry Hernández Romero, a gay Venezuelan asylum seeker who the Trump-Vance administration “forcibly disappeared” to El Salvador last year.

“This out-of-control administration continues to target immigrants and terrorize our communities,” said Stacy. “That same cruelty murdered Renee Nicole Good and imprisoned Andry Hernández Romero. We stand with the American Immigration Council and demand that these men receive the due process they deserve. Congress must refuse to fund this outrage and stand against the administration’s shameless dismissal of our constitutional rights.” 

In 1976, a movie called “Network” electrified American moviegoers with a story in which a respected news anchor goes on the air and exhorts his viewers to go to their windows and yell, “I’m mad as hell, and I’m not going to take this anymore!”

It’s still an iconic line, and it briefly became a familiar catch phrase in the mid-’70s lexicon of pop culture, the perfect mantra for a country worn out and jaded by a decade of civil unrest, government corruption, and the increasingly powerful corporations that were gradually extending their influence into nearly all aspects of American life. Indeed, the movie itself is an expression of that same frustration, a satire in which a man’s on-the-air mental health crisis is exploited by his corporate employers for the sake of his skyrocketing ratings – and spawns a wave of “reality” programming that sensationalizes outrage, politics, and even violence to turn it into popular entertainment for the masses. Sound familiar?

It felt like an exaggeration at the time, an absurd scenario satirizing the “anything-for-ratings” mentality that had become a talking point in the public conversation. Decades later, it’s recognized as a savvy premonition of things to come.

This, of course, is not a review of “Network.” Rather, it’s a review of the latest movie by “new queer cinema” pioneer Gus Van Sant (his first since 2018), which is a fictionalized account of a real-life on-the-air incident that happened only a few months after “Network” prompted national debate about the media’s responsibility in choosing what it should and should not broadcast – and the fact that it strikes a resonant chord for us in 2026 makes it clear that debate is as relevant as ever.

“Dead Man’s Wire” follows the events of a 63-hour hostage situation in Indianapolis that begins when Tony Kiritsis (Bill Skarsgård) shows up for an early morning appointment at the office of a mortgage company to which he is under crippling debt. Ushered into a private office for a one-on-one meeting with Dick Hall (Dacre Montgomery), son of the brokerage’s wealthy owner, he kidnaps the surprised executive at gunpoint and rigs him with a “dead man’s wire” – a device that secures a shotgun against a captive’s head that is triggered to discharge with any attempt at escape – before calling the police himself to issue demands for the release of his hostage, which include immunity for his actions, forgiveness of his debt, reimbursement for money he claims was swindled from him by the company, and an apology. 

The crisis becomes a public spectacle when Kiritsis subjects his prisoner to a harrowing trip through the streets back to his apartment, which he claims is wired with explosives. As the hours tick by, the neighborhood surrounding his building becomes a media circus. Realizing that law enforcement officials are only pretending to negotiate while they make plans to take him down, he enlists the aid of a popular local radio DJ Fred Heckman (Colman Domingo) to turn the situation into a platform for airing his grievances –  and for calling out the predatory financial practices that drove him to this desperate situation in the first place.

We won’t tell you how it plays out, for the sake of avoiding spoilers, even though it’s all a matter of public record. Suffice to say that the crisis reaches a volatile climax in a live broadcast that’s literally one wrong move away from putting an explosion of unpredictable real-life violence in front of millions of TV viewers.

In 1977, the Kiritsis incident certainly contributed to ongoing concerns about violence on television, but there was another aspect of the case that grabbed public attention: Kiritsis himself. Described by those who knew him as “helpful,” “kind,” and a “hard worker,” he was hardly the image of a hardened criminal, and many Americans – who shared his anger and desperation over the opportunistic greed of a finance industry they believed was playing them for profit – could sympathize with his motives. Inevitably, he became something of a populist hero – or anti-hero, at least – for standing up to a stacked system, an underdog who spoke things many of them felt and took actions many of them wished they could take, too.

That’s the thing that makes this true-life crime adventure uniquely suited to the talents of Van Sant, a veteran indie auteur whose films have always specialized in humanizing “outsider” characters, usually pushed to the fringes of society by circumstances only partly under their own control, and often driven to desperate acts in pursuit of an unattainable dream. Tony Kiritsis, a not-so-regular “Joe” whose fumbling efforts toward financial security have been turned against him and seeks only recompense for his losses, fits that profile to a tee, and the filmmaker gives us a version of him (aided by Skarsgård’s masterfully modulated performance) that leaves little doubt that he – from a certain point of view, at least – is the story’s unequivocal protagonist, no matter how “lawless” his actions might be.

It helps that the film gives us much more exposure to Kiritsis’ personality than could be seen merely during the historic live broadcast that made him infamous, spending much of the movie focused on his interactions with Hall (performed with equally well-managed nuance by Montgomery) during the two days spent in the apartment, as well as his dealings with DJ Heckman (rendered with savvy and close-to-the-chest cageyness by Domingo); for balance, we also get fly-on-the-wall access to the interplay outside between law enforcement officials (including Cary Elwes’ blue collar neighborhood cop) as they try to navigate a potentially deadly situation, and to the jockeying of an ambitious rookie street reporter (Myha’la) with the rest of the press for “scoops” with each new development.

But perhaps the interaction that finally sways us in Kiritsis’s favor takes place via phone with his captive’s mortgage tycoon father (Al Pacino, evoking every unscrupulous, amoral mob boss he’s ever played), who is willing to sacrifice his own son’s life rather than negotiate a deal. It’s a nugget of revealed avarice that was absent in the “official” coverage of the ordeal, which largely framed Kiritsis as mentally unstable and therefore implied a lack of credibility to his accusations against Meridian Mortgage. It’s also a moment that hits hard in an era when the selfishness of wealthy men feels like a particularly sore spot for so many underdogs.

That’s not to say there’s an overriding political agenda to “Dead Man’s Wire,” though Van Sant’s character-driven emphasis helps make it into something more than just another tension-fueled crime story; it also works to raise the stakes by populating the story with real people instead of predictable tropes, which, coupled with cinematographer Arnaud Potier’s studied emulation of gritty ‘70s cinema and the director’s knack for inventive visual storytelling, results in a solid, intelligent, and darkly humorous thriller – and if it reconnects us to the “mad-as-hell” outrage of the “Network” era, so much the better.

After all, if the last 50 years have taught us anything about the battle between ethics and profit, it’s that profit usually wins.

FreeState Justice this week spoke with the Washington Blade about their priorities during this year’s legislative session in Annapolis that began on Jan. 14.

Ronnie L. Taylor, the group’s community director, on Wednesday said the organization continues to fight against discrimination against people with HIV/AIDS. FreeState Justice is specifically championing a bill in the General Assembly that would expand access to PrEP in Maryland.

Taylor said FreeState Justice is working with state Del. Ashanti Martinez (D-Prince George’s County) and state Sen. Clarence Lam (D-Arundel and Howard Counties) on a bill that would expand the “scope of practice for pharmacists in Maryland to distribute PrEP.” The measure does not have a title or a number, but FreeState Justice expects it will have both in the coming weeks.

FreeState Justice has long been involved in the fight to end the criminalization of HIV in the state. 

Governor Wes Moore last year signed House Bill 39, which decriminalized HIV in Maryland.

The bill — the Carlton R. Smith Jr. HIV Modernization Act — is named after Carlton Smith, a long-time LGBTQ activist known as the “mayor” of Baltimore’s Mount Vernon neighborhood who died in 2024. FreeState Justice said Marylanders prosecuted under Maryland Health-General Code § 18-601.1 have already seen their convictions expunged.

Taylor said FreeState Justice will continue to “oppose anti anti-LGBTQ legislation” in the General Assembly. Their website later this week will publish a bill tracker.

The General Assembly’s legislative session is expected to end on April 13.