Saltburn | Movie Review by Arnold Wayne Jones
Sick Burn
Saltburn Wallows in the Inevitability of Its Own Twisted Vision of the World
Review by Arnold Wayne Jones
Emerald Fennell has only written and directed two feature films, but that’s enough for her to carve out a distinctive style… but also enough to become slightly predictable. She seems to take Aristotle’s dictum – that the best stories’ endings are both surprising and inevitable – profoundly to heart. In her acclaimed debut, Promising Young Woman, she told the story of Cassandra (Carey Mulligan), a woman who turns past trauma into a mission to seek vengeance against any men who exploit or assault women. Cassandra isn’t a murderer (her revenge is more of the cautionary “taste of your own medicine” variety) but we know from the start she’ll save the best for a gloriously over-the-top last – that’s the”inevitable” part. (Fennell even named her after the Greek mythological seer, who prophesied the future even though nobody ever believed her.) What we are surprised by (spoiler alert here) is that Cassandra’s plan goes off course and she herself ends up murdered well before the denouement – that’s the “surprise.” Delicious ending? Sure. But also a little unsatisfying – a bittersweet dessert, like a dark chocolate torte or lemon pie.
Her latest, Saltburn, is more sure-footed directorially, but like PYM, the ending is not a great surprise, though the journey often can be.
Fennell has shifted her focus from a disturbed woman to an even younger, even more disturbed man. The great, unsettling Barry Keoghan plays Oliver Quick, a scholarship-kid attending Oxford University, surrounded by nothing but spoiled rich kids who can’t resist maximizing their dickishness whenever he’s near them It’s not enough that they are privileged brats who could afford to show a little grace; they’re also attractive and clever and cool, and Oliver longs to be included in their world. Like an abused mutt, he slowly ingratiates himself to the athletic ringleader, Felix Catton (Jacob Elordi). Felix is gorgeous and charismatic but also a softie, and he becomes curious about this kid from the other side of the tracks. By social osmosis, Oliver is begrudgingly accepted into the fold by everyone except Farleigh (Archie Madekwe), himself a cash-poor relation of Felix, dependent in part on his family’s largesse. Oliver wheedles an invitation to Felix’s family estate, named Saltburn, for the summer, and there the sweet, unsuspecting naif mounts his grand scheme to be welcomed into class of the landed gentry.
None of this is unexpected – we suspect from the opening moments (the story is narrated by Oliver in flashback) that he had, and likely achieved, his master plan of social climbing. Many of the smaller twists along the way – specifically, Oliver’s life story predictably reveals itself as intentionally constructed, and not as dire as he pretends – don’t really catch us off guard, as Fennell’s track record or projecting her twists clues us in. And yet, the script does take some wild swings, basically by leap-frogging around plot points – even developments the audience may anticipate come at unexpected moments. (Calling the antihero lead Oliver Quick is a not-too-subtle mashup of Oliver Twist and his own improvisational machinations.) Ultimately, virtually every character ends up more or less where we would have imagined they would. But oh how fun it is getting there.
Fennell’s acid-tongued take on British society is so specific, it matters little that it might not be super fresh and inventive. She pulls no punches.
The first thing we notice is her decision to shoot the film in Academy ratio instead of widescreen, giving it the voyeuristic quality of a hi-def home movie. Then the tight editing, lavish production design and rich musical score elevate the proceedings.
Then, of course, there’s the dialogue, which crackles with secondary, even tertiary layers in the character-driven portrait of class differences. Unspoken tensions and rivalries lurk under the battle between the haves and have-nots. Throwaway lines end up being some of the smartest bits, and darkly funny meta commentary.
The casting, and the performances she extracts from everyone, push Saltburn from predictable social satire to compelling art film. Keoghan has only been around a half-dozen years, but since his breakout role in The Killing of a Sacred Deer, and continuing through The Batman and The Banshees of Inisherin, he’s proven himself a resourceful and edgy character actor whose protean face both hides and reveals a tremendous amount of emotional depth. The Catton clan (Elordi, mom Rosamund Pike, dad Richard E. Grant, sister Alison Oliver) all function as “types” – rungs in Oliver’s ladder of success – but they deliver the goods. The homoerotic undercurrent suffuses the entire film with a dangerous, outsidery vibe.
Fennell may rely on a smallish bag of tricks to tell her tales, but Saltburn shows she’s talented enough to turn those gimmicks into something unusual in cinema today – an outcome that is as inevitable as it is surprising.
SNEAK PEEK: A behind-the-scenes look at the upcoming BROS
By Arnold Wayne Jones
We’ve been excited about seeing the upcoming bromantic queermedy Bros ever since the trailers dropped earlier this summer. But we got an even closer look last night when a mobile activation parked just off the Strip. While technical difficulties prevented the public from getting a walk-through, we were able to screen three extended scenes plus some backstage glimpses of the boy-meets-boy comedy starring (and written by) Billy Eichner, which opens at the end of the month. And the sampler was an appetizing taste of what promises to be a feast of laughter and love.
Virtually the entire cast is made up of LGBTQ actors, from drag artists to twinks, from twunks to trans, from dykes to drama-queens, it’s a panoply of sassy, empowering personalities that expertly captures the complicated dynamics of diverse people unified in their goal of living out loud with a sense of empowerment, responsibility and community… with a hearty dose of shade offering cool relief.
We’ll have a full review prior to the Sept. 30 release date, but plan your moviegoing schedule accordingly!
FILM REVIEW: Will THEY/THEM make you a convert?
By Arnold Wayne Jones
THEY/THEM -- Pictured: (l-r) Cooper Koch as Stu, Anna Lore as Kim, Monique Kim as Veronica, Quei Tann as Alexandra, Austin Crute as Toby, Darwin del Fabro as Gabriel, Theo Germaine as Jordan -- (Photo by: Josh Stringer/Blumhouse)
The genius of Jordan Peele’s Get Out was his brilliant conceit to disguise a social satire about race behind the genre of a horror film. Peele set up his audience to expect racism, then masked it with a facade of woke tolerance, where gaslighting rises to the level of psychological torture. Of course, the pitfall of that idea is, it is lightning in a bottle: Once you figure it out as an artist, the audience figures it out, too, and it’s hard to revisit that trough again. (Once The Sixth Sense gave us its twist, could anyone ever do “he was dead all along” and not come off as derivative?)
They/Them has to confront a similar anxiety of influence: It’s basically the queer version of Get Out, and once I tell you that, can you really be surprised?
THEY/THEM -- Pictured: (l-r) Theo Germaine as Jordan, Austin Crute as Toby -- (Photo by: Josh Stringer/Blumhouse)
On the surface, at least, it does a pretty good job of creating that off-balance atmosphere: A busload of queer teens of all identities reluctantly arrive at Camp Whistler, what purposes to be a “gay conversion” camp – a phrase so full of repugnance it’s difficult to imagine anyone except the most extreme of homophobes being comfortable saying those words. The camp’s owner is Owen, played by the appropriately reptilian Kevin Bacon, an actor who effortlessly can seem creepy, menacing and friendly almost entirely by the context you put him in. Owen’s welcome speech makes it sound like this is not a conversion camp at all, but a journey of self-discovery: He’s tolerant of the trans-identifying Jordan (Theo Germaine), he avoids bible-thumping and constant indoctrination, he seems kinda hip. It throws off the campers, some of whom want to be there for their own sakes, not their parents.
THEY/THEM -- Pictured: (l-r) Carrie Preston as Cora Whistler, Anna Chlumsky as Molly, Boone Platt as Zane, Kevin Bacon as Owen Whistler -- (Photo by: Josh Stringer/Blumhouse)
But the reality is very different, and underneath we see the hypocrisy and the tension. We know something is afoot; you can’t have seen a horror movie, especially one set at a summer camp, and not be attuned to the tropes of the suspicious handyman, the strange shapes and sounds in the dark, the vulnerability of the shower cabin…. Not to mention the seemingly unrelated but bloody murder in the opening scene. Writer-director John Logan hits these touchstones like a batter hitting each bag as he’s rounding the bases, which is what you want in a genre film, but maybe not so much in a revolutionary issue drama where tropes become cliches. Logan is one of the most respected screenwriters in Hollywood (Gladiator, Hugo, The Aviator) but this is his debut as a director, and his inexperience shows. The performances are perfunctory and the visual adequate and underlit. The film gets stuck in the Sunken Place and struggles to get out to assert an identity of its own.
THEY/THEM -- They/Them Premiere Event on July 27, 2022, at Studio 525 in New York City -- Pictured: Theo Germaine -- (Photo by: Astrid Stawiarz/Peacock)
But is it fair to compare – or at least, as long as you can enjoy a film on its own, does it matter that it doesn’t rise to the level of a genre-defining modern classic? Well, sorta. The similarities are so obvious (a lead character named Jordan? Peele’s last film was Us and now we have They/Them?) it seems to invite comparisons. Do I respect applying the thoughtfulness of Get Out to a gay theme? Sure, despite how humorless and preachy it gets by the end. But as a slasher film, They/Them is clunky and uninspired. I wouldn’t check into this camp.
THEY/THEM -- They/Them Premiere Event on July 27, 2022, at Studio 525 in New York City -- Pictured: (l-r) Matt Strauss, Chairman Direct-to-Consumer & International; Jason Blum, CEO Blumhouse; Quei Tann, John Logan, Writer/Director/EP; Darwin Del Fabro, Anna Lore, Kevin Bacon, Cooper Koch, Theo Germaine, Hayley Griffith, Monique Kim, Austin Crute -- (Photo by: Astrid Stawiarz/Peacock)
They/Them premieres Aug 5 on Peacock.
THINGS WE’RE LOOKING FORWARD TO: BROS
By Arnold Wayne Jones
By the time the weather gets this stultifying hot – despite the appeal of pool season – we start looking forward to the fall and all that entails: Cooler weather, upcoming holidays and, this year, Billy Eichner.
Eichner has been the secret weapon of various filmed entertainments for a decade. Starting with his YouTube videos Billy on the Street – featured on FunnyOrDie.com, and later a proper series on cable – which were equal parts super-gay, super-funny and super-terrifying, ambushing pedestrians for what must seem like a bipolar flash-mob-of-one game show, he proved mania could be marketable and hysterical. But he’s also lent brilliant comic energy in supporting roles to such diverse properties as the reboot of The Lion King (voicing Timon), Parks & Rec and Friends from College.
Bros Courtesy of Universal Pictures
He finally will lead his own feature film, set to arrive in late September along with pumpkin spiced lattes and Halloween costume prep. Bros, which he co-wrote with (straight) director Nicholas Stoller (Forgetting Sarah Marshall, Neighbors), tells the romantic complications of Eichner’s character, Bobby, a schulbby intellectual loner, and Aaron (out hottie Luke Macfarlane), the athletic hyper-masculine muscle hunk he falls for. But don’t expect some chastely ordinary queer-rom-com. Based on the trailers (the second one dropped last week), it’s outrageous, sexy, winkingly smart at celebrating and skewering queer culture… and incredibly funny. It also seems to be the class reunion of every gay icon and out comedic actor in Hollywood, including Kristin Chenoweth, Debra Messing, Jim Rash, Guy Branum, Guillermo Diaz, Bowen Yang and Amanda Bearse.
Bros Courtesy of Universal Pictures
How appealing is all this? Just check out the new trailer, and put Sept. 30 on your calendar. We can all bro it up!
First-Look Images for Billy Porter’s Directorial Debut ANYTHING’S POSSIBLE – Globally on Prime Video July 22
Launching Globally on July 22 Exclusively on Prime Video
Anything’s Possible is a delightfully modern Gen Z coming-of-age story that follows Kelsa, a confident high school girl who is trans, as she navigates through senior year. When her classmate Khal gets a crush on her, he musters up the courage to ask her out, despite the drama he knows it could cause. What transpires is a romance that showcases the joy, tenderness, and pain of young love.
Director: Billy Porter
Written by: Ximena García Lecuona
Producers: Christine Vachon, David Hinojosa, Andrew Lauren, D.J. Gugenheim
Executive Producers: Ximena García Lecuona, Billy Porter, Allison Rose Carter
Music by: Leo Birenberg
Executive Music Producers: Billy Porter, Justin Tranter
Cast: Eva Reign, Abubakr Ali, and Renée Elise Goldsberry
Genre: Romance, Coming-of-Age Drama
Rating: PG-13 for strong language, thematic material, sexual material, and brief teen drinking
Soundtrack on Republic Records, a division of UMG Recordings, Inc.
#AnythingsPossible
The True Story Behind Addison Heimann's 'Hypochondriac'
When director and screenwriter Addison Heimann went home at Christmas time three years ago, he saw his mother experiencing a manic episode. Having dealt with his mother’s bipolar disorder since he was 12 years old, Heimann had grown numb to her outbursts, smoking weed to cope with the emotional fallout. When we went back to LA, he began to experience physical manifestations of his childhood trauma.
Addison Heimann
Heimann’s latest film, Hypochondriac, which made its SXSW debut this past weekend, tells the story of a Hispanic potter who loses function of his body as a result of childhood trauma. The film is largely inspired by Heimann’s own experience with his mother.
“In the first scene, his mother almost killed him in a state of psychosis,” Heimann tells Unleashed LGBTQ. “Now he's in the 30s, living his best life, when his mother starts coming back into his life by leaving these very mysterious voicemails. At the same time, he gets injured at work, and the two events kind of conflate together.”
Courtesy of XYZ Studios
Heimann experienced a similar breakdown three years ago, following his Christmas visit home. Upon his return to LA, Heimann experienced multiple ailments, including nausea, dizziness, head fog, and arm tingling.
“I did this smartest thing I've ever done in my life,” Heimann says sarcastically, “I visited Dr. Google, which, you know, is accurate and doesn't make anything up. WebMD is our friend, right? Dr. Google told me that I was dying of ALS. My friend's brother had just died of ALS, and I suffer from intrusive thoughts and OCD. I latched on to that immediately, and no one was going to tell me otherwise. I was convinced that this was happening.”
Courtesy of XYZ Studio
At the time, Heimann was working as an assistant at a production studio. Determined to prove to himself that he wasn’t dying of ALS, he tried to carry heavy objects up multiple flights of stairs, performing functions outside of his job description. He later developed a repetitive strain injury in his arms.
To combat the pain, Heimann did “the dumbest and most LA thing” he’s ever done, and scheduled a holistic massage.
“After that session, my tendons would swell,” Heimann recalls, “to the point where it's too painful to lift a fork, too painful to shave, I can't type, I can't text, I can't do anything. My arms basically lose function.”
This was the beginning of a three-month recovery journey for Heimann, spending 12 hours a day on the couch, browsing Netflix. He would later develop a knee injury while using a stationary bike.
Courtesy of XYZ Studios
He eventually began physical therapy, and once he got to the point where he could lift five pounds, he felt his mental state improving. This improvement was short-lived, as the head fog, nausea, and dizziness returned. He spoke with his aunt, who is a doctor, and she told him he may have multiple sclerosis.
Heimann then put out calls and emails to several neurologists, to no avail.
Courtesy of XYZ Studios
“Nobody could see me for like, three months, and I was like, ‘Ok well, I'd rather know if I'm dying now,’” Heimann recalls. “I found a neurologist who had just opened up and she was like, ‘Tell me what's going on.’ I just send her my dissertation of everything that's going on. I was just like, ‘You know what, I haven't told anybody the whole story. I'm just going to fucking do it.”
Fortunately, the neurologist took him seriously. Heimann successfully scheduled an appointment for an MRI test on his muscles, the results of which proved surprising.
“I get all the results back,” Heimann says. “They come back clear, and all my symptoms go away.”
Heimann still deals with the trauma of his mother’s violent outbursts every day of his life, but credits the support of his community for helping him get through it.
With Hypochondriac, Heimann hopes viewers will feel encouraged to ask for and accept help.
Courtesy of XYZ Studios
“This is the story of how I got from the worst possible time in my life to accepting help,” Heimann says. “I don't know what exists after that. All I know is that we're always going to carry our stuff with us but it's manageable. There are going to be hiccups and slips along the way. But as long as we keep our community together and push forward, we’ll be ok.”
Hypochondriac will screen Tuesday, March 15 at 3:15 PM and Thursday, March 17 at 9:45 PM in Theatre D at Alamo Drafthouse Lamar
Film Review- FLEE
by Arnold Wayne Jones
By its very nature, Flee is the kind of movie that risks being reductively shuttled into the category of novelty, if not outright gimmicky: It’s a documentary, but it’s also animated (portions are intercut with life-action footage), though it uses tons of live-action footage; it touches on about a half-dozen hot-button topics, from a same-sex relationship to a same-sex relationship including a Muslim to a story about a refugee (same guy!) and he’s a refugee from the Mujahideen in Afghanistan to Russia, two countries where unrest has dominated the news for a year. Why, if it were a fiction film, they’d’ve cast Daniel Day-Lewis and let him walk away with a fourth Oscar. (They might even make him a paraplegic with a speech impediment, just to seal the deal.) The fact it is the first film ever to receive three “best film” Oscar nominations – Best International Film (it’s in Dari and Danish, as well as English and few others), Best Documentary Feature and Best Animated Feature (it’s only missing Best Picture) – could brand the guilt-watch movie of the year.
Courtesy of NEON
That would all be a shame, though. Try to look beyond the circumstances that almost defy you to say anything negative for fear of being canceled by the Woke Police, and see instead its bona fides: Flee is an exceptionally powerful, but emotionally accessible, film – in turns heartfelt, heartbreaking and heart-warming.
Courtesy of NEON
Flee tells the true story of Amin (voiced in the dubbed version by executive producer Riz Ahmed), looking back on his innocent childhood in Kabul before life went to shit. As a 6-year-old, Amin would think nothing of putting on his sister’s dress and playing in the streets, and though he wasn’t sexually active, he knew he was attracted to men. That made him stand out among the traditional Muslim culture, one where, as Amin recalls, “gay people didn’t exist. There wasn’t even a word for them – they brought shame upon the family.” Without the vocabulary or context to give shape to his feelings, though, he just settled in to life, a kid largely untouched by the civil war that raged along the countryside. Eventually, though, the politics and violence would hit home.
Courtesy of NEON
One of the subtle achievements of the film is how the hand-drawn animation marries with the gentle tone to conjure the authentic, quotidian experiences of an extraordinary boy living out an ordinary boyhood that was anything but ordinary. Like John Boorman’s Hope and Glory, Steven Spielberg’s rendering of J.G. Ballard’s Empire of the Sun or more recently Kenneth Branagh’s Belfast, Flee captures the twinging melancholy of a dire situation as seen from the perspective of a callow but sensitive child unable to grasp the pending tragedy. But it layers on the component of sexual awakening to this slightly familiar trope, and shows it with delicate verisimilitude. In the present-day scenes, the affection between Amin and his fiance Kasper are sweetly loving; in the past, his comically regretful recollection of his attraction to movie muscle men like Jean-Claude Van Damme will flash familiarity to every former gay boy who knew his nature before he had the words for it.
Courtesy of NEON
Amin and his family eventually escape Afghanistan, but their precarious immigration status, harrasment by authorities, unscrupulous human traffickers and Amin’s burgeoning sexual awakening and concomitant shame make for a horrific tale of modern survival while simultaneously reinforcing the resilience of spirit, even as the situations become increasingly dire. We know it is ultimately a triumphant tale – after all, Amin lived to tell it – but it burrows deep before then, echoing the well-worn sentiment in the gay community that family is the one you make for yourself, and that it does get better.
Courtesy of NEON
The slightly staccato anime style recalls Miyazaki’s wistful memory films, while the “shots” where the filmmaker/interviewer is shown behind the scenes joking with Amin (behind the scenes of an animated film? Whaaa?!) and sometimes abstract images give the film its disarming meta-ness. A meta-docu-cartoon? If it sounds twee, the effect is anything but. Flee transcends its simplified logline to be something profoundly emotional.
Courtesy of NEON
Unleashed LGBTQ to Cover QUEER Experience at SXSW 2022
SXSW 2019
Live events are back and I have to say, few events have me pumped like the return of SXSW.
Every year industry professionals from around the globe meet in Austin Texas to learn about the latest in a variety of industries. While focus for this groundbreaking event was initially centered around music and film, we have seen SXSW expand, every year, into more and more fields and industries— covering topics that include everything from finance to transportation and even oil and gas. If it’s new and innovative, South by is where you’ll find it. This 9-day conference and festival offers insight on the latest in film, music, tech and more through screenings, panels and showcases. There’s endless branded activations and art installations. It’s experiential marketing at its finest.
However, that hasn’t been the case, at least for the last two years.
Actresses Abbi Jacobson (L) and Ilana Glazer attend the premiere of the "Broad City" series finale at ZACH Theatre on March 10, 2019 in Austin, Texas. (Photo by Michael Loccisano/Getty Images for SXSW)
The only shutdown I like is after I read a bitch— but with the rollout of vaccines, new guidelines, and recent drops in Covid-19 cases, group gatherings of this scale are once again possible. People are doing their part and it shows. To that I say, Yasssssss!!!
This light at the end of the tunnel is making it possible for one of the largest and most prestigious gatherings of talent and industry professionals to reconnect once again. (Missed y'all!)
Film subject Kathy Griffin attends the premiere for "Kathy Griffin: A Hell of A Story" during the 2019 SXSW Conference and Festivals at ZACH Theatre on March 11, 2019 in Austin, Texas. (Photo by Michael Loccisano/Getty Images for SXSW)
When attending SXSW, it's not uncommon to rub shoulders with movers and shakers, even high-profile celebs… But what or who’s gonna be the next big thing is what I find most fascinating. Ambition and opportunity sets the scene.
You can be drinking a beer with the next tech millionaire or attending the show of the next rock band who will one day grace covers of magazines. We all love a good success story. Seems anything’s possible and I’m here for it!
So what’s to be said about LGBTQ inclusion at SXSW?
Lizzo performs onstage during the 2019 SXSW Conference and Festivals. (Photo by Stephen Olker)
In the past we have seen queer artists, performers, speakers, and panelists offer insight into our unique culture. as well as LGBTQ icons and allies showing support with important, thought provoking messages through powerful performances, screenings, keynotes and panels.
Film critic and contributing writer Arnold Jones called SXSW “An intoxicating crossroads of bohemianism and commerce, SXSW embraced alternative and queer in its many definitions– quirky, cool, campy.”
Stacey Abrams speaks onstage at Featured Session: Lead from the Outside: How to Make Real Change during the 2019 SXSW Conference and Festivals at Hilton Austin on March 11, 2019 in Austin, Texas. (Photo by Danny Matson/Getty Images for SXSW)
Since its inception, SXSW, has been a pioneer of inclusion, reaching across cultural divides. These opportunities have provided platforms for under-represented individuals (like LGBTQ and POC) to connect with decision makers that can elevate careers to new heights.
Walt Disco showcase presented by British Music Embassy. Photo by Thomas Jackson
Some of these dynamic queer persons of interest photographed from SXSW 2019 can be seen below. (Zachary Quinto, Lance Bass, and Beanie Feldstein)
Ashleigh Cummings (L) and Zachary Quinto attend "NOS4A2" Premiere during the 2019 SXSW Conference and Festivals at Alamo Lamar D on March 11, 2019 in Austin, Texas. (Photo by Hutton Supancic/Getty Images for SXSW)Bud
Lance Bass speaks onstage at Featured Session: Lance Bass during the 2019 SXSW Conference and Festivals at Austin Convention Center on March 13, 2019 in Austin, Texas. (Photo by Travis P Ball/Getty Images for SXSW)
Kaitlyn Dever, Olivia Wilde, Beanie Feldstein attends the "Booksmart" Premiere - 2019 SXSW Conference and Festivals at Paramount Theatre on March 10, 2019 in Austin, Texas. (Photo by Matt Winkelmeyer/Getty Images for SXSW)
While not all events are currently listed for SXSW 2022 (schedule will continue to be updated leading up to event), here’s some LGBTQ events to include in your SXSW GO App’s calendar:
LGBTQ+ Sex Education for Brands 11:30 AM-12:30 AM | March 16
Speakers: Arielle Egozi, Kayla Gore, Graham Nolan, Alicia Sinclair
A Clarion Call for More LGBTQ Inclusion in Sports 11:30 AM - 12:30 PM | March 13
Speakers: Katie Barnes, Chris Mosier, Amit Paley, Adam Rippon
LGBTQ+ Rights & Politics 2:30 PM - 3:30 PM | March 12
Speakers: Rebecca Marques, Ricardo Martinez, Emmett Schelling, Jessica Shortall
Social Media Platform Accountability: LGBTQ+ Edition 10:00 AM - 11:00 PM | March 12
Speakers: Jenni Olson, Brennan Suen, Alok Vai-Menon
Marginalized Voices in Film & TV Journalism 4:00 PM - 5:00 PM | March 13
Speaker: Dino-Ray Ramos
Tech-Driven Trends in Adult Entertainment 4:00 PM - 5:00 PM | March 13
Speaker: Buck Angel, Shirley Lara, Sinnamon Love, Courtney Trouble
No Label, No Problem: Indie Artist Steps to Success 11:30 AM - 12:30 PM
Speakers: Andreea Gleeson, Vickie Nauman, Lie Ning, Hessel von Oorschot
Speak for Yourself 11:30 PM - 12:30 PM | March 14
Speakers: Gina Chua, Cheryl Phillips, Aron Pilhofer
The Black Agenda 11:30 AM - 12:30 PM | March 14
Speaker: Anna Gifty Opoku-Agyeman
How Do I Un-Remember This? 4:00 PM - 5:00 PM | March 14
Speaker: Danny Pellegrino
Inclusion Revolution: How Hybrid Work Boosts DEI 10:00 AM - 11:00 AM March 15
Speakers: Antoine Andrews, Aman Bhutani, Sam Bright, Sheela Subramanian
Meet the Women of Evolving the Gaming Industry 11:30 AM - 12:30 PM | March 15
Speakers: Jill Kenney, Shannon Liao, Makeda Loney, Alanah Pearce
Helping Queer Youth Find Joy 12:00 PM - 12:30 PM | March 15
Speaker: Brian Wenke
Unleashed LGBTQ will keep you updated on what’s to come as well as what’s happening at the events through the lens of these dramatic rainbow shades. Follow us on social media for live coverage of events. We are proud and honored to cover all things fabulous at this year’s SXSW. Thank you to the organizers for including us. Muah!
For more information on attending, line-up, and marketing opportunities visit: www.sxsw.com
Attending SXSW?… do download the SXSW GO App and link your badge for optimal experience. Trust. No, seriously. Trust. Also, if you’re not vegan, try the brisket!
Elizabeth Warren speaks onstage at Conversations About America's Future: Senator Elizabeth Warren during the 2019 SXSW Conference and Festivals at Austin City Limits Live at the Moody Theater on March 8, 2019 in Austin, Texas. (Photo by Amy E. Price/Getty Images for SXSW)
Jeremy Pope on making cover of OUT Magazine PRIDE Issue
By Daniel Reynolds
Jeremy Pope is the cover story of the new Pride issue of Out magazine. In it, the Emmy-nominated actor (Hollywood, Pose) discussed his journey of coming out as a Black gay man in the entertainment industry and beyond.
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“There’s just a tricky way in which you have to move, especially in an industry that is predominantly white,” says Pope.
“Black men, I feel like a lot of times, our masculinity is our armor,” he says. “We’re meant to be built strong and tough because we’ve had to endure so much. So when you tell someone that you’re gay or you’re queer or you identify within the community, it’s like, do you lose that badge of honor? Do you lose that respect? Do you lose your safety because people feel like you’re vulnerable or you’re fragile?”
Additionally, Pope’s father, a pastor, is “extremely hypermasculine,” he shares, but the pair had a close bond. “I didn’t want to lose that dynamic,” he says of his early coming-out fears.
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“I watched so many of my cousins and a lot of my Black friends maybe not have a relationship with their father.” There was also the church community to consider. “There’s an image that you have to uphold,” Pope says, adding, “You feel like you can’t make mistakes, because you are the example. You are the first family, especially in the Black community — what everyone is striving to essentially be, or your relationship to God is supposed to feel the closest.” Happily, he is he now closer than ever to his family after coming out.
Pope also self-directed his gender-fluid photoshoot of himself wearing a fishnet and pearls. Doing so is proof of “how far I’ve come.” He can now show the world that his body “can be lucid, it can be free, it can be broken, it can be masculine, it can be feminine, and…I’m allowed to possess all of those things.”
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“A couple of years ago, I would have been scared to be on the cover of Out,” he says, "but now, it feels like a whole different season and a whole different journey.”
Full story: click here
