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Billy Eichner - Kristin Chenoweth - Jim Rash - Judd Apatow - Debra Messing - Harvey Fierstein - Guillermo Diaz - Amanda Bearse - Guy Branum - Nicholas Stoller - Luke Macfarlane - ‘Bros’ Review: You’ve Got Male - metroweekly.com
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‘Bros’ Review: You’ve Got Male
A heartfelt, hilarious classic Hollywood-style romantic comedy, Bros (★★★★☆) doesn’t screw around with the formula of forebears like When Harry Met Sally or You’ve Got Mail. Rather, the movie — produced by Judd Apatow, directed by Nicholas Stoller (Forgetting Sarah Marshall), and co-written by Stoller and star Billy Eichner — delivers fresh takes on tropes that worked for those films, while trafficking in jokes and situations they never touched.With tart dialogue and earnest intent, Bros leans into the romance of the giddy first kiss, and the determined dash across town to declare one’s love right now in front of an audience of awww-ing friends who will dance out the scene in a joyful montage.The filmmakers’ attention to genre detail includes layering Bros with that rare, underrated quality of a good romantic comedy: a believable resistance to romance. To stir the pot, somebody or something has to be standing in the way of happily ever after.Here, the culprits are our lead pair of lovebirds, commitment-shy New Yorkers Bobby (Eichner) and Aaron (Luke Macfarlane), who at least commit to a text-assisted dance of hooking up and sort of dating, after meeting at a club.Their rocky progress towards a climax, or several climaxes, follows a familiar rom-com path, but with both the rom and the com rendered through the specific lens of Bobby and Aaron’s modern gay experience.
Jamie XX (Xx) - Oliver Sim - ‘Hideous Bastard’ Review: Feeling Monstrous in One’s Skin - metroweekly.com
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‘Hideous Bastard’ Review: Feeling Monstrous in One’s Skin
 Hideous Bastard (★★★☆☆) features the letters of the album title sticking out of Sim’s grinning face.A devout horror fan who also collaborated on a three-part horror short, Sim leans into his preoccupation with ugliness and monstrosity, and the gruesome image neatly echoes Hideous Bastard‘s deliberate, artful lack of subtlety.From its opening lines, it’s clear Hideous Bastard is a deeply personal work for Sim, which may go some way towards explaining why his foray into solo work has come so long after his xx bandmates Romy Mady Croft and Jamie xx began pursuing their own projects.“Been living with HIV since 17,” he bluntly intones at the end of his album opener and lead single “Hideous,” immediately following the revelation by asking “Am I hideous?” Disclosing his HIV status while also openly reckoning with the attendant shame that has accompanied it throughout his adult life is a devastating one-two punch.While Sim never quite manages to recapture the brilliance and emotional heft of his opener, he remains focused on the intertwined feelings of fear and shame, and the way they weave themselves into our relationships and affect our expectations of the world and ourselves.He comes close to matching the stark, introspective honesty of the title track in his musings on the relationship between shame and queer love on “Fruit,” and in his admission in “Sensitive Child” of the fragility that holds him back from relationships.
Bakery Owners Ask Supreme Court to Hear Religious Refusal Case - metroweekly.com - state Oregon
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Bakery Owners Ask Supreme Court to Hear Religious Refusal Case
fined $135,000 by the Oregon Bureau of Labor and Industries following a 2013 incident in which the Kleins refused to bake a wedding cake for Laurel and Rachel Bowman-Cryer, a lesbian couple of 10 years.When Aaron Klein found out that the custom-made cake was intended for a lesbian wedding, he allegedly said, “We don’t do same-sex weddings” and called the couple an “abomination,” citing the Bible as justification.The Kleins have repeatedly claimed their religious beliefs opposing homosexuality prevent them from providing goods or services for a same-sex wedding.The Bowman-Cryers filed discrimination complaints with the Oregon Bureau of Labor and Industries and the Department of Justice.In response, the Kleins attempted to defend their refusal to bake the cake, “doxxing” the Bowman-Cryers in the process by sharing private information about them, including their address.The Bowman-Cryers were inundated with so many hateful messages and death threats that their two foster children had to be removed from the home for their own protection.The Bureau of Labor and Industries found that the Kleins had violated the Oregon Public Accommodations Law and ordered them to pay financial restitution to the Bowman-Cryers.The Kleins appealed the decision, which the Oregon Court of Appeals upheld. The Kleins then appealed to the Oregon Supreme Court, which declined to hear the case, before appealing to the U.S.
Transgender - Transgender Man Dies in Assault Following Pride Parade in Germany - metroweekly.com - Ukraine - Russia - Germany - Washington
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Transgender Man Dies in Assault Following Pride Parade in Germany
The Washington Post.The suspect had been described as between 5’6″ and 5’9″ with a slim frame and a beard, between 18 to 20 years old, wearing flared jeans, a T-shirt, and a bucket hat. He allegedly fled the scene with another male wearing a white T-shirt.The pro-authoritarian, right-wing commentary and opinion site Remix claims the suspect, identified as Nuradi A., is a migrant and former junior boxing champion from Chechnya, a majority-Muslim region of Russia, who had applied for refugee status but had his request rejected by the German government.Typically, that means he should have been deported back to Russia, but Germany halted all deportations back to Eastern European countries following Russia’s invasion of Ukraine and the instability in the region. While Remix and other right-wing sites, as well as fascist political parties, have been eager to link the Münster attack with other anti-LGBTQ attacks committed by Muslim migrants across Europe, some on social media have speculated that Nuradi may be gay himself, possibly having fled Chechnya due to the ongoing purge of gay and bisexual men there.A vigil celebrating Malte’s life and condemning anti-trans violence was held in front of Münster’s historic town hall on Friday night, drawing an estimated crowd of 6,500 people.On Saturday, a judge granted prosecutors’ request to keep Nuradi in detention while he awaits trial.
Abraham Lincoln - Hamilton - “American Prophet” Review: Prophets and Losses - metroweekly.com - USA - county Thomas - Smith - county Wright - county Roberts - county Douglas - county Charles - county Daniels - county Frederick - city Douglas, county Frederick - county Randolph
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“American Prophet” Review: Prophets and Losses
American Prophet: Frederick Douglass in His Own Words (★★★☆☆), in its world-premiere production at Arena Stage, wisely draw directly from the source for their expansive, though not exhaustive, biography of the great abolitionist, author, publisher, statesman, escaped slave, and public speaker.The bulk of Douglass’ lines and lyrics in the show are words that the man either spoke or wrote, interpreted and interpolated fluidly by book writers Charles Randolph-Wright and Marcus Hummon.Randolph-Wright also directs, while Grammy-winner Hummon composed music and lyrics for the score, which floats between R&B, pop, and gospel influences, but stays too comfortably within theater conventions.The music doesn’t start down the most adventurous path. Opening with Douglass plaintively singing “What Does Freedom Look Like?” feels way too obvious.The follow-up number, “Going to the Great House,” turns out to be a sharply satirical subversion of happy-dancing-slave tropes, but then shifts into a sober — and, again, very on-the-nose — “Wade in the Water,” complete with choreography reminiscent of Alvin Ailey’s “Revelations.”Fortunately, the show goes bolder in its characterization of Frederick Douglass.
David Burtka - Tisha Campbell - Darren Star - Neil Patrick Harris - ‘Uncoupled’ Review: Ex & The City - metroweekly.com - Netflix
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‘Uncoupled’ Review: Ex & The City
Uncoupled (★★★☆☆), it’s especially hard out here for a single gay man of a certain age.Whereas “a certain age” might, in more agreeable times, have meant truly middle-aged or at least gracefully senior, now, apparently, we’re all ancient after 40.So, Uncoupled‘s busy, fortysomething real estate broker Michael — unceremoniously dumped by his partner Colin, after 17 seemingly happy years together — has a steep learning curve to catch up with all the ins and outs of hooking up and hanging out now that he’s single again.Embodied in all his ripe ambition and sexuality by Neil Patrick Harris, Michael is caught completely off-guard by Colin (Tuc Watkins) packing up and leaving. But the show drops hints that he perhaps should have detected something was off — namely, the fact that Colin, uneasy about turning 50, was in no mood to celebrate the milestone.Created by uber-successful gay writer-producers Jeffrey Richman (Modern Family) and Darren Star (Sex & the City), Uncoupled has plenty to say about aging, gracefully or not, within the youth-obsessed gay culture.The series acknowledges, through Michael’s broker partner and bestie Suzanne (Tisha Campbell), that single women over 40 might still have it harder.In fact, Michael’s fabulously wealthy client, Claire (a delightful Marcia Gay Harden), also recently dumped, insists that women at any age are more ruthlessly judged by their appearance and other superficial aspects.As if accepting a challenge, Michael responds that we’ll just have to see about that.
Peter Pan - Jonathan Larson - ‘tick, tick…BOOM’ Review: Monumental Immersion - metroweekly.com - county Christian
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‘tick, tick…BOOM’ Review: Monumental Immersion
tick, tick…BOOM! (★★★★☆), the brilliant, semi-autobiographical, nineties rock musical the composer debuted as a self-performed monologue around the time he started working on RENT.Licking his wounds following the failure to launch Superbia, the musical he hoped would be his masterpiece, Larson bared his longing, self-doubt, ambition, and anger in a boldly firsthand account of an ambitious composer hellbent on mounting his masterpiece Superbia before he turns 30.In the show, reworked from Larson’s original monologue into a stage musical for a three-person cast, the clock is ticking for Jon, who’s prepping for a Superbia workshop performance that could change his life. Or, it could augur the end of his theater composing career before it’s truly begun.As he sings in the show’s opening number “30/90,” the clock is ticking for every Peter Pan and Tinker Bell, time inexorably racing ahead of their dreams, faster than they can keep up with bills and obligations.Fearing failure, and, whether motivated by a sense of his own mortality or just propelled by ego, Jon’s drive to create something great, and taste the spoils of his labor, feels especially urgent in Christian Montgomery’s impassioned performance.Urgency might be a calling card for four-time Helen Hayes Award nominee Montgomery, who’s distinguished himself on D.C.
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