Wes Smoot 2/5/24 Wes Smoot 2/5/24

Flame Con, the World’s Largest Queer Comic Convention, Announces Tenth Annual Expo

Tenth Anniversary Expo to Take Place in New York City at The Sheraton Times Square Hotel on August 17-18, 2024

New York, New York – February 5, 2024 – Flame Con, created and produced by the LGBTQ+ non-profit Geeks OUT, celebrates its tenth anniversary this year. The tenth annual Flame Con expo will take place on August 17 - 18at the Sheraton Times Square Hotel in New York City. Featuring a comics, arts and entertainment expo and showcasing creators and special guests from all corners of the LGBTQ+ community of fans, the two-day venture will include thoughtful discussions, exclusive performances, cosplay and more.

Tickets for the con are now available HERE.

“For years, the constant refrain we’d hear attending other conventions was ‘Wouldn’t it be cool if..?,’ says Nic Gitau, President of Geeks OUT. “‘Wouldn’t it be cool if… there was a safe space for LGBTQ+ fans to connect?’ or ‘Wouldn’t it be cool if… there was a show that proved audiences were hungry for unapologetically queer storytelling?’ Over the last ten years Flame Con has become a home for queer fans, championed queer stories, and celebrated queer creators as their careers have sparked and exploded. We're grateful for a community that's grown exponentially each year and we're excited to gather the best of LGBTQ+ comics and pop culture once more, in what will be a standout 10th anniversary show."

Flame Con is excited to announce Molly Knox Ostertag as the first of its special guests for this year’s expo. Molly Knox Ostertag is the acclaimed ABA Indies and New York Times bestselling graphic novel author-illustrator of The Deep Dark, The Girl from the Sea, and the Witch Boy trilogy: The Witch Boy, The Hidden Witch, and The Midwinter Witch, as well as a writer for animation. An animated musical adaptation of The Witch Boy has been announced by Netflix.

To celebrate the expo and its special anniversary, Fireball: The Official Flame Con After Party will be held on Saturday, August 17 at Hell’s Kitchen’s Industry bar. The event will be hosted by Megami, cast member in the current season 16 of RuPaul’s Drag Race.

Get tickets for the tenth annual Flame Con and the Fireball After Party HERE.

Last year’s con featured many queer-oriented vendors, creators, and special guests including Maia Kobabe (Gender Queer: A Memoir), Terry Blas (Rick and Morty, Steven Universe), Alyssa Wong (Star Wars: Doctor Aphra, Batman: Urban Legends), and Stephanie Williams (Nubia and the Amazons). Among the panels and presentations held last year were “Demystifying Game Design,” “How to Make Your Independent Queer Comic,” and “What A DRAG!: A Panel on Drag and Cosplay.” The expo also featured a live edition of host Connor Goldsmith’s CEREBRO podcast and a special LGBTQ+ comedy showcase with a lineup that included Calvin Cato (Netflix) and Veronica Garza (MTV, NPR).

“Flame Con is always my favorite convention of the year!,” says Josh Trujillo (Blue Beetle, Hulkling& Wiccan), Flame Con guest and comics writer and designer. “It’s a unique opportunity to meet with friends, peers, and fans in a more intimate setting. The stories we share as queer people can be so personal, and it means the world to know that readers connect with it.”

GLAAD Award-winning author and film programmer Anthony Oliveira (Steven Universe) shares, “Flame Con is easily my favorite comic convention. Nowhere else feels so much like home. It feels like someone took all the best parts of a con and just kept those, like if you made a whole con out of the weird queer section of every other expo’s Artist Alley!”

Tickets to Flame Con are available through Eventbrite and will feature daily and weekend passes, as well as passes to the official 2024 Flame Con party. Tickets can be purchased at flamecon2024.eventbrite.com.

Exhibitor table sales dates will launch later this month. Stay tuned for announcements.

For more information on Flame Con, please visit www.flamecon.org and for more information on Geeks OUT, please visit www.geeksout.org

Wes Smoot 6/21/23 Wes Smoot 6/21/23

Barry Good: Ezra Miller is the Secret Weapon (one of them) that sets The Flash Apart from the Confusing Trend of Multiverse Superhero Franchises

Review by Arnold Wayne Jones

The advent of “Cinematic Universes” is a blessing (mostly to the studios’ bottom lines) and a curse (mostly to folks who just like the fun escapism of comic books). When those CUs started delving into the concept of multiverses… well, it just confused me more. I confess that, when I saw Spider-Man: No Way Home, that was the first indication I had that the Tom Holland, Tobey Maguire and Andrew Garfield Spideys all existed in parallel dimensions. This was news to me; I always assumed the casting changes were occasioned by studio whims and creative choices, not living elsewhere in the timeline. Frankly, none of it makes much sense. Did the recasting Bruce Banner (Edward Norton to Mark Ruffalo) within the Marvel CU signal another universe… and if so, why was General Ross played by William Hurt in both the Norton and Ruffalo incarnations (a part soon to be played by Harrison Ford, occasioned by Hurt’s death). It’s the gymnastics associated with insisting on canon, while simultaneously allowing the reinvention of the franchise at will, that makes no sense. (I loathed No Way Home, and its companion film Dr. Strange and the Multiverse of Madness, for those and many more reasons.)

In my adulthood, live-action feature-film Batmen have included Michael Keaton, Val Kilmer, George Clooney, Christian Bale, Ben Affleck and Robert Pattinson – which of these are in the same world, if any? It simply isn’t worth the effort to figure it out.

The news, then, that the new Flash film would include time-travel initially set my teeth on edge. (Time travel always reminds me of the throwaway line in an episode of The Simpsons where guest voice Lucy Lawless says that anytime something in Xena didn’t make sense, “a wizard did it.” On the other hand, the animated series Rick & Morty is so crazy, it doesn't even try to maintain consistency; it’s brilliant.)

The Flash definitely has a lot of plot holes and related issues tied to its universe-hopping, but it’s also hugely entertaining in its own right. No other superhero film that plays so fast and loose with quantum mechanics is quite so satisfying as this.

The plot in its essence is: Barry Allen (Ezra Miller), who is secretly the super-speed hero known as The Flash, wants to help his dead get out of jail after being wrongfully accused of killing Barry’s mom. Barry figures out how to travel back in time in order to “correct” the injustice, but of course, timelines cannot be toyed with, and the repercussions are dire. (The original Star Trek series did basically the same thing in the class episode “City on the Edge of Forever.”) Barry meets his younger self and together they try to set things right – first finding Batman to enlist his help, then using Batman to track down Superman, who isn’t to be found.

One reason for the success, I suspect, is that The Flash makes only limited use of the current DC Extended Universe – there are references to Cyborg and Aquaman, but only Wonder Woman (Gal Gadot) and Batman (Ben Affleck) make meaningful appearances. That allows the film to more or less stand on its own without too much clutter and focus on the character of Barry Allen.

And the secret weapon of The Flash isn’t speed…. it’s Ezra Miller. Miller’s personal life – use of they/them pronouns, occasional identity as queer (and then not), acts of violence and inappropriate conduct, mental health crises – have been widely documented, but honestly, it is easy to look past them to appreciate the extraordinary work Miller is doing here. They do twice the lifting of any other actors, playing (for the majority of the film) two separate Barry Allens, each of whom Miller makes distinct and individual. You might even call it three performances, when you add his sexy, ripped heroic mien as The Flash. As Older Barry, Miller is quirky and uptight and stressed out; as Younger Barry, he’s annoying and goofy. You’re never confused about who is whom; it might be the best dual performance I’ve ever seen in a movie.

The plot, despite its complications of logic, is incredibly well-structured within its constraints, so I hesitate to give away much of it, except to say that they majority of scenes with “Bruce Wayne” inject a wondrous nostalgia and set up a contrast to the current DCEU that really serves its legacy.

It’s not only the performances, though: The special effects and storytelling are superior to most DC films in this franchise, and the action sequences are staged to be well-lit and visually coherent in a way that often isn’t the case. It really delivers what you want in a summer blockbuster. The Flash gives you a rush.