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By Mark Hayward
In what other city could a pioneering rocket scientist lead occult rituals, a satanic Hollywood studio secretary publish a communist musicologist forever transform queer identity?

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By Jim Van Buskirk
Three decades after its 1995 exhibition Gustave Caillebotte: Urban Impressionist, the Musée d’Orsay has co-organized another Gustave Caillebotte retrospective. 

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By Francis Buseko
While Dakan made waves as the first openly West African queer love story, its significance extends far beyond its historic debut.

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By Dale Corvino
We the Parasites is a deeply personal and ekphrastic poem-as-essay. It pursues its end to contaminate criticism with the queerest of methods. Dig in.

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By Steve Warren
The title, Queen Tut, is essentially a spoiler. Our young hero, Nabil (Ryan Ali), doesn’t choose it as his drag name until near the end of the film.

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By Leslie Absher
McCray’s writing focuses on his complex identities in an expansive and non-reductive way. Each a worthy subject, McCray unpacks all facets of his identity, as they are also portals into further exploration.

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Julian Carter in conversation with Jonathan David Katz about Carter’s new book, Dances of Time and Tenderness, published June 2024.

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