If you’ve ever headed off for a dream getaway that turned out to be an AirBnB nightmare instead, you might be in the target audience for “The Parenting” – and if you also happen to be in a queer relationship and have had the experience of “meeting the parents,” then it was essentially made just for you.

Now streaming on Max, where it premiered on March 13, and helmed by veteran TV (“Looking,” “Minx”) and film (“The Skeleton Twins,” “Alex Strangelove”) director Craig Johnson from a screenplay by former “SNL” writer Kurt Sublette, it’s a very gay horror comedy in which a young couple goes through both of those excruciatingly relatable experiences at once. And for those who might be a bit squeamish about the horror elements, we can assure you without spoilers that the emphasis is definitely on the comedy side of this equation.

Set in upstate New York, it centers on a young gay couple – Josh (Brandon Flynn) and Rohan (Nik Dodani) – who are happily and obviously in love, and they are proud doggie daddies to prove it. In fact, they are so much in love that Rohan has booked a countryside house specifically to propose marriage, with the pretext of assembling both sets of their parents so that each of them can meet the other’s family for the very first time. They arrive at their rustic rental just in time for an encounter with their quirky-but-amusing host (Parker Posey), whose hints that the house may have a troubling history leave them snickering. 

When their respective families arrive, things go predictably awry. Rohan’s adopted parents (Edie Falco, Brian Cox) are successful, sophisticated, and aloof; Josh’s folks (Lisa Kudrow, Dean Norris) are down-to-earth, unpretentious, and gregarious; to make things even more awkward, the couple’s BFF gal pal Sara (Vivian Bang) shows up uninvited, worried that Rohan’s secret engagement plan will go spectacularly wrong under the unpredictable circumstances. Those hiccups, and worse, begin to fray Josh and Rohan’s relationship at the edges, revealing previously unseen sides of each other that make them doubt their fitness as a couple  – but they’re nothing compared to what happens when they discover that they’re also sharing the house with a 400-year-old paranormal entity, who has big plans of its own for the weekend after being trapped there alone for decades. To survive – and to save their marriage before it even happens – they must unite with each other and the rest of their feuding guests to defeat it, before it uses them to escape and wreak its evil will upon the world.

Drawing from a long tradition of “haunted house” tropes, “The Parenting” takes to heart its heritage in this campiest-of-all horror settings, from the gathering of antagonistic strangers that come together to confront its occult secrets to the macabre absurdity of its humor, much of which is achieved by juxtaposing the arcane with the banal as it filters its supernatural clichés through the familiar trappings of everyday modern life; secret spells can be found in WiFi passwords instead of ancient scrolls, the noisy disturbances of a poltergeist can be mistaken for unusually loud sex in the next room, and the shocking obscenities spewed from the mouth of a malevolent spectre can seem as mundane as the homophobic chatter of your Boomer uncle at the last family gathering.

At the same time, it’s a movie that treats its “hook” – the unpredictable clash of personalities that threatens to mar any first-time meeting with the family or friends of a new partner, so common an experience as to warrant a separate sub-genre of movies in itself – as something more than just an excuse to bring this particular group of characters together. The interpersonal politics and still-developing dynamics between each of the three couples centered by the plot are arguably more significant to the film’s purpose than the goofy details of its backstory, and it is only by navigating those treacherous waters that either of their objectives (combining families and conquering evil) can be met; even Sara, who represents the chosen family already shared by the movie’s two would-be grooms, has her place in the negotiations, underlining the perhaps-already-obvious parallels that can be drawn from a story about bridging our differences and rising above our egos to work together for the good of all.

Of course, most horror movies (including the comedic ones) operate with a similar reliance on subtext, serving to give them at least the suggestion of allegorical intent around some real-world issue or experience – but one of the key takeaways from “The Parenting” is how much more satisfyingly such narrative formulas can play when the movie in question assembles a cast of Grade-A actors to bring them to life, and this one – which brings together veteran scene-stealers Falco, Kudrow, Cox, Norris, and resurgent “it” girl Posey, adding another kooky characterization to a resume full of them – plays that as its winning card. They’re helped by Sublett’s just-intelligent-enough script, of course, which benefits from a refusal to take itself too seriously and delivers plenty of juicy opportunities for each of its actors to strut their stuff, including the hilarious Bang; but it’s their high-octane skills that bring it to life with just the right mix of farcical caricature and redeeming humanity. Heading the pack as the movie’s main couple, the exceptional talent and chemistry of Dodani and Flynn help them hold their own among the seasoned ensemble, and make it easy for us to be invested enough in their couplehood to root for them all the way through.

As for the horror, though Johnson’s movie plays mostly for laughs, it does give its otherworldly baddie a certain degree of dignity, even though his menace is mostly cartoonish. Indeed, at times the film is almost reminiscent of an edgier version of “Scooby-Doo”, which is part of its goofy charm, but its scarier moments have enough bite to leave reasonable doubt about the possibility of a happy ending. Even so, “The Parenting” likes its shocks to be ridiculous – it’s closer to “Beetlejuice” than to “The Shining” in tone – and anyone looking for a truly terrifying horror film won’t find it here.

What they will find is a brisk, clever, saucy, and yes, campy piece of entertainment that will keep you smiling almost all the way through its hour-and-a-half runtime, with the much-appreciated bonus of an endearing queer romance – and a refreshingly atypical one, at that – at its heart. And if watching it in our current political climate evokes yet another allegory in the mix, about the resurgence of an ancient hate during a gay couple’s bid for acceptance from their families, well maybe that’s where the horror comes in.

The sentencing in D.C. federal court for Ruby Corado, the founder and executive director of the now-defunct LGBTQ community services organization Casa Ruby on a charge of wire fraud, has been postponed for the second time, from March 28 to April 29.

A spokesperson for U.S. District Court Judge Trevor N. McFadden, who is presiding over the case, said it was the judge who postponed the sentencing due to a scheduling conflict. The earlier postponement, from Jan. 10 to March 28, came at the request of Corado’s attorney and was not opposed by prosecutors with the Office of the U.S. Attorney for D.C.

Corado pleaded guilty on July 17, 2024, to a single charge of wire fraud as part of a plea bargain deal offered by prosecutors. The charge to which she pleaded guilty in U.S. District Court for D.C. says she allegedly diverted at least $150,000 “in taxpayer backed emergency COVID relief funds to private offshore bank accounts for her personal use,” according to a statement from the U.S. Attorney’s office.

Under the federal wire fraud law, for which Corado is being prosecuted, she could be subjected to a possible maximum sentence of up to 20 years in prison, a fine of up to $250,000, and restitution requiring her to repay the funds she allegedly stole.

Court observers, however, have said that due to Corado’s decision to waive her right to a trial and plead guilty to the lesser charge, prosecutors will likely ask the judge to hand down a lesser sentence than the maximum sentence.

An earlier criminal complaint filed against Corado, which has been replaced by the single charge to which she has pleaded guilty, came at the time the FBI arrested her on March 5, 2024, at a hotel in Laurel, Md., shortly after she returned to the U.S. from El Salvador.

At the request of her attorney and against the wishes of prosecutors, another judge at that time agreed to release Corado into custody of her niece in Rockville, Md., under a home detention order. The release order came seven days after Corado had been held in jail at the time of her March 5 arrest.

Transgender Kenyans’ efforts to receive birth certificates that reflect their gender identity now hang in the balance, despite several legal victories.

Attorney General Dorcus Oduor has asked the High Court to dismiss a pending case that three trans people have filed. Oduor argues a person is born either “a boy or a girl” and existing laws do not allow for anyone to change their sex in adulthood.

Oduor in her written submission to Justice Bahati Mwamuye also argues gender identity and the government’s issuance of a birth certificate are based on a person’s physical appearance. Her argument, however, exempts intersex people.

The government last month officially recognized intersex people in a Kenya Gazette notice that said they can receive birth certificates with an “I” gender marker. The country’s historic intersex rights law took effect in 2022.

“The existing laws of the land do not contemplate change of gender, and marks of transgender are not a basis for determining one’s gender as either male or female,” Oduor states.  

Oduor further maintains that a person’s feeling they are “unwillingly living in a wrong body” cannot justify changing their gender. Oduor maintains a person’s gender is based on fact — not feelings — and the plaintiffs at birth were registered and named based on their gender status.

Audrey Mbugua, Maurene Muia, and Arnest Thaiya are the three trans people suing Oduor, the Registrar of Births and Deaths, the National Registration Bureau, and Immigration Services Director General Evelyn Cheluget in order to receive amended birth certificates.

The plaintiffs argue the current discrepancy in crucial documents — birth certificates, national identification cards, and passports — has denied them opportunities and rights. They disagree with Oduor’s position on determining one’s sex, arguing the process is “not scientific, but subjective.”

“There are no identifiers of sex or definitions of the biological or psychological components of sex,” the plaintiffs argue. “In any event, such biological components cannot be limited to genitalia only, but also chromosomes, gonads, hormones, and the brain.” 

They further maintain that trans people cannot be forced to live with names of the wrong gender as adults. Oduor, however, maintains that only mistakes, such as spelling errors or parents in ID documents, can be changed and not a gender marker.  

Amka Africa Justice, Jinsiangu (“my gender”) Kenya, and the Kenya Human Rights Commission are among the advocacy groups that have joined the case.

Mbugua, a well-known trans activist, has been pushing for legal rights in the court for more than a decade.

She filed a lawsuit in which she demanded the government identify her as a woman and to be allowed to live as one, not as a male as she was registered at birth. A landmark ruling in 2014 ordered the Kenya National Examinations Council to change Mbugua’s name and replace the gender marker on her academic certificates. 

Mbugua also founded Transgender Education and Advocacy, a group with more than 100 members. A long court battle that ultimately proved successful allowed Transgender Education and Advocacy to become the first publicly-funded trans rights organization in Kenya.

Transgender Education and Advocacy’s initiatives include offering legal aid to trans people seeking to change their names, photos, and gender markers in documents, pushing for legal reforms to end discrimination based on gender identity and expression, and providing economic assistance to trans people who want to overcome poverty and sexual exploitation.

Jinsiangu Kenya, established in 2018, also champions equal access to health care and other basic services without discrimination based on gender identity and expression.

A report that Jinsiangu Kenya released in July 2021 notes 63 percent of trans people surveyed did not have ID documents or records with gender markers that coincide with their gender identity. The report also notes 10 percent of trans people surveyed said officials denied them an ID card or passport, and they were unemployed because they did not have the proper documents.