Maya Cantu’s meticulously researched biography, Greasepaint Puritan: Boston to 42nd Street in the Queer Backstage Novels of Bradford Ropes, reveals the extent to which Ropes based his backstage novels on his own Broadway experiences.
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Challengers stars Zendaya (already a Gen Z icon because of her role as Rue Bennett on Max’ lurid Euphoria series) as Tashi, Josh O’Connor (a young King Charles III on The Crown) as Patrick, and the lesser-known Mike Faist (a standout in the role of Riff in Spielberg’s West Side Story) as Art.
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Each story [in Conversion] is told in stages through the course of the film, which also examines the particular hold of conversion therapy in religious communities and its powerful reach through charismatic male leaders like Alan Chambers and Joe Dallas of Focus on the Family, and McKrae Game of Hope for Wholeness.
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Reviews of the books Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film<,em>, Dinner on Monster Island: Essays, A Short History of Trans Misogyny, On Bette Midler: An Opinionated Guide, Imperative to Spare, One Soul We Divided: A Critical Edition of the Diary of Michael Field, and XXX, and the exhibit George Platt Lynes at Work: The Gary Haller Collection
MoreAFTER A BRIEF HIATUS, here resumes my annual roundup of some of the films I saw at the Provincetown International Film Festival (PIFF) in June. While not an LGBT festival, there are always plenty of suitable entries for this magazine. Here are four.
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Guy Trebay captures the essential things about the sexual playground that was Manhattan during the transition from Doom to Glitter.
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Reviews of Fellow Travelers, Lie with Me, and NYAD.
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And this is what Saltburn is really about: the seductions and pursuit of wealth and respect. The Cattons are depicted as pretty despicable people, emotionally attenuated, blithely unaware of the world, and often vicious to those around them. And yet, their lives of leisure and those fantastic parties are apparently too attractive to resist.
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“IF YOU’RE NOT CAREFUL, you’re going to die a lonely old queen.” That’s a harsh caveat, especially when spoken by one’s wife. In Maestro, directed, cowritten (with Josh Singer), and produced by Bradley Cooper, those lines are delivered by Carrie Mulligan playing actress Felicia Montealegre Cohn, also known as Mrs. Bernstein. Cooper also plays the part of Leonard Bernstein, but his performance takes a back seat to Mulligan’s. An Oscar for Best Actress is widely discussed.
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Maurice is placed by media professor David Greven in a tradition of melancholy and lyrical gay films exemplified by Ang Lee’s Brokeback Mountain, and later Luca Guadagnino’s Call Me By Your Name. Will & Grace’s pedigree is more I Love Lucy.
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