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A TRANSFORMATIONAL NEW MUSICAL

STORY & SONGS BY JEN AYERS DIRECTED BY ALLISON NARVER

JANUARY 14 - FEBRUARY 1, 2026 ERICKSON THEATRE

IN THIS ISSUE SGN January 2026 Puzzle

By Tucker Cholvin - Published COVERon https://crosshare.org

ORIGINALLY SEATTLE GAY NEWS FOUNDED 1974 509 10th Ave E Seattle, WA 98102 info@sgn.org SGN.org (206) 319-4440

Publisher Renee Raketty Mike Schultz (2023-2024) Angela Cragin (2020 - 2023) George Bakan (1984 - 2020) Jim Tully (1974 - 1984)

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Madison Jones editor@sgn.org (509) 827-7601

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By17 Tucker Cholvin - Published on18https://crosshare.org Protected original 1 2 3 4 5 & political 6 7 8 parody 20 21 satire. Fair Use 13 14 (17 U.S.C. §15107).

22 23 Not affiliated with 17 18 or Stranger Netflix 27 28 29 Things. Opinion, not fact.

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By Tucker Cholvin - Published on https://crosshare.org 37

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CROSSWORD 3 4 61 Good place OP-ED to put your balls?

SEATTLE NEWS 6 62 Chair designer Charles 63 "This can't be good" 60 Self-styled "God's REGIONAL NEWS 64 Actor Thompson, who 12 Favorite Transsexual" came out as bisexual in 61 Good place to put your 2018 SPORTS 14 balls?

65 Water-type Pokemon 62 Chair whodesigner evolves Charles into ARTS & ENTERTAINMENT 16 63 "This can't Dewgongbe good" 64 Actor Thompson, who FILM 19 came out as bisexual in DOWN 2018 1 Palm Springs airport BOOKS 22 65 Water-type Pokemon code who evolves into 60 Self-styled "God's 2 Flag-raising battle of COMMUNITY CALENDAR 23 Dewgong Favorite Transsexual" World War II 11

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SGN January 2026 Puzzle 127

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SGN JanuaryNOTICE: 2026 Puzzle

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Managing Editor

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BY MARC PALM

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3

OP-ED Seattle’s laws should reflect its people: A case for modernizing the Seattle Municipal Code

BY CHRIS CURIA ON BEH ALF OF T HE SE AT T LE L GB T Q C OMMIS SION Seattle residents, lawmakers, and community leaders often see themselves as nationwide leaders of equitable and inclusive policies and actions that champion the dignity of every resident who calls this city home. Yet even within the Seattle Municipal Code (SMC), our laws contain outdated, gendered, and grammatically incorrect language.

While sifting through the SMC to replace terms like “chairman” with “chair” may seem tedious or trivial at first glance, this process carries weight in legal terms. Gendered titles or designators are relics of a past that no longer represents who we are, and correcting them will help clarify a future vision that aligns with who we aspire to be. Modernizing the SMC with genderneutral, grammatically correct language is long overdue and necessary to ensure that, down to our bones, our laws reflect our diverse residents.

Modernizing the SMC wouldn’t be a complicated process: An ad-hoc committee of city employees, commissioners, and community members could oversee revisions under existing Washington state authority. Doing so would align the SMC with state standards and reaffirm Seattle’s commitment to being a welcoming city for everyone.

Washington state has provided a model

for decades. Since 1983, its legislature has required all new laws to be written in gender-neutral terms. The Revised Code of Washington (RCW) allows municipalities to modernize and clarify language “without changing the meaning.”

Neighboring cities have already started this process: Everett authorized edits for gender neutrality in 2021, and Redmond followed suit last year, citing its commitment to “diversity, equity, and inclusion” to ensure that all residents feel “respected and included.”

Other West Coast municipalities have done the same. Contra Costa County called its effort part of “ongoing work to modernize language and reflect community diversity.” Los Angeles completed its process efficiently and affordably, correcting typographical errors along the way and proving that modernization improves both inclusivity and readability. The reasoning is simple and sound: No one should feel excluded or invisible in the text of their local government’s laws.

For Seattle, home to one of the largest 2SLGBTQIA+ (Two-Spirit, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, Asexual, and other diverse expressions of gender and sexuality) populations in the country, the stakes are high in light of a volatile national climate. As Orla Blythe,

a city employee and Race and Social Justice (RSJ) alum, notes, “These efforts are about protecting human beings’ ability to self-determine.” A longtime advocate for modernizing the SMC, Blythe reminds us that language is dynamic and can evolve to reflect our shared values or stagnate to reinforce exclusion. Like a mirror, the language of Seattle’s laws should reflect our values.

Modernizing the SMC is more than grammatical correctness; it’s a stand for inclusion. At a time when federal rollbacks to 2SLGBTQIA+ protections, erasure of Queer history and healthcare records, and rising hostility nationwide are the norm, local action is where protection begins. The city council recently incorporated Washington’s shield laws into city law, protecting those seeking reproductive and genderaffirming care from hostile federal actions.

Lawmakers should redouble their efforts to meet this political moment by ensuring that

the SMC reflects everyone it governs.

In this view, modernizing the SMC is a preemptive public safety act, as it enshrines in law that every Seattle resident belongs. Blythe, who immigrated from Ireland to enjoy Washington’s protections, reinforces this point by riffing on a proverb attributed to the Irish poet-turned-politician William Butler Yeats: “We shouldn’t wait to strike till the iron is hot but make it hot by striking.”

Entering a new legislative cycle, lawmakers have an opportune moment to collaborate with community members by forming an ad hoc committee to modernize the SMC. This process will achieve more than some utopian ideal of grammatical or political correctness. It will ensure that each of us who calls this city home will see ourselves in our laws.

So, as Blythe would say, let’s meet this moment and make the iron hot by striking.

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Anti-Queer initiatives inch closer to signature target Meet the right-wing influencers helping make it happen

BY MADISON JONES SGN M AN AGING EDI T OR Since the 2015 Obergefell v. Hodges ruling for marriage equality, the conservative right has struggled to weaponize hatred toward Gay and Lesbian communities for political gain, like it did in previous eras.

Although favorable Republican views on the morality of Gay and Lesbian people have dropped significantly these past few years, going from a peak of 56% in 2022 down to 38% in 2025, according to Gallup, overall US public support (both morally and legally) for LGB people has remained high.

And with the recent November refusal by the US Supreme Court to review Kim Davis’s bid challenging same-sex marriage, good ol’ fashioned homophobia alone seems less and less effective at scaring voters. In fact, prominent Gay operatives have been lauded for joining the MAGA movement (more on that later).

But proponents of anti-LGBTQIA+ legislation have found much more success with another political scapegoat to rally people against: the Transgender community.

And under Trump 2.0, there has been a resurgence of transphobia in the right-wing populist media ecosystem. What was once Rush Limbaugh warning against Lesbian farmer invasions has metastasized into a slew of MAGA influencers on Facebook and X claiming that “biological male” students are trying to infiltrate girls’ sports teams and locker rooms. To them, transness and gender-nonconformity are not simply natural aspects of human experience reflected in the many cultures around the world and throughout history but rather a mental illness. Sound familiar?

And despite estimates of the number of Trans girl athletes in Washington being underwhelmingly low compared to the 250,000 total who participate (not to mention Trans boy and Nonbinary athletes), self-proclaimed “protectors of women and girls” have been leading the charge for three different initiatives that would negatively impact not only Transgender people but also women and Queer people more broadly.

The winds of change have shifted, and the presence of a MAGA-style McCarthyism has already begun making inroads into our state.

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Let’s Go Washington ’25 Let’s Go Washington (LGW) is a political nonprofit organization funded by millionaire hedge fund manager and conservative megadonor Brian Heywood. This year, Heywood and LGW have been collecting signatures across the state for two new initiatives: IL26-001 “Strengthen Communication Between Parents and Schools,” also called “the Parents’ Bill of Rights,” and IL26-638, “Protecting Fairness in Girls’ Sports.”

According to LGW’s website, IL26-001 seeks to allow parents access to their K-12 student’s full medical and mental health counseling records, including any information regarding sexual experiences or attractions; it also includes giving parents written notice and the option to opt students out of instruction on topics of sexuality. IL26-638 would “require policies prohibiting students it defines as ‘biologically male’ from competing with or against female students in certain interschool athletic activities that are intended for female students only,” which would be enforced by “verifying the student’s biological sex, based on reproductive anatomy, genetic makeup, or normal endogenously produced testosterone levels.”

These initiatives, if enacted, could pose several problems for the privacy and safety of Queer youth. If a parent or guardian has regressive and/or hostile views on LGBTQIA+ people, allowing them full unfettered access to their child’s records, if they are Queer or Trans, could pose a potential risk.

In regard to instituting strict biologicalsex verification guidelines for girls’ sports, it does not address the nuance of Intersex students or provide any safe alternatives for Transgender athletes at large. The potential negative implications of these guidelines

(L-R) ARI HOFFMAN VIA ABOUTME.COM , SCOTT PRESLER MATT ROURKE (AP), AND BRANDI KRUSE VIA LIBERTYCON

can be seen in how Algerian boxer Imane Khelif was treated at the 2024 Paris Olympics. Khelif faced several unverified allegations that she tested high for testosterone and was Intersex. Despite being backed by the International Olympic Committee, Khelif still became the target of a smear campaign led by Elon Musk and JK Rowling, who accused her of being secretly a “biological male.”

As of December 16, IL26-638 sits at 315,979 signatures, while IL26-001 has 289,571. LWG will have until January 2, 2026, to collect enough signatures to take its initiatives to the Washington legislature, where they will either be passed or put on to the November 2026 ballot (each will need to reach around 400,000 to account for any errors or duplicate signatures).

Both initiatives have received endorsements from several conservative groups, such as Gays Against Groomers, the Washington State Young Republicans, and XX-XY Athletics, an athleisure brand that advocates the immutable reality of only two chromosomal sexes (Intersex people be damned).

IL26-126 Voter ID Led by the Washington State Republican Party, IL26-126 looks to align Washington with Trump’s executive orders and also recent federal court rulings mandating that all eligible voters, in order to register to vote, must supply a US passport, birth certificate, or naturalization paperwork. Those who do not submit a registration 30 days before an election must verify in person at the county auditor’s office, and those who do not comply within 14 days of the election will have their registration canceled.

According to the Brennan Center for Justice, more than 21 million American citizens do not have these documents currently available to them. And those who have changed their names or have differences between documents (like married women and Transgender people) are at greater risk of being affected.

In response to a video made by the SGN critiquing the initiative, the Washington State GOP said, “If WA Democrats had nothing to hide, they wouldn’t fret about requiring proof of citizenship to vote.”

(Note: The SGN does not affiliate itself with any political party.)

But the ones who’ve undisputedly touted these initiatives most have been the Trumpaligned political pundits, stumping across the state for both LWG and the local GOP in rural areas to get people out to collect signatures and attend rallies at school gymnasiums.

Here’s the rundown on how they’ve each been contributing to these campaigns.

Ari Hoffman “1 B-list ninja cosplayer” is how Ari Hoffman described SGN contributing writer Arin Waller when he filmed her as she took photos on assignment during the Charlie Kirk vigil at Westlake Center on September 10. The post received thousands of likes on Hoffman’s Instagram page, and elicited many negative comments.

Hoffman is most known for being a conservative radio talk show host on 570 KVI, broadcasting weekdays from 3 to 6 p.m.

He is also West Coast editor for the rightwing publication the Post Millennial.

Firmly supporting LGW and its initiatives in a recent article, Hoffman wrote about “threats from Antifa” against the 250-person LGW event in Tumwater on Dec. 12.

He wrote that LGW “was notified Friday [Dec. 12] by the FBI that ‘Antifa-affiliated’ individuals and groups were calling for acts of violence and intimidation,” and that Heywood made the statement that “Antifa’s goal is to threaten and intimidate Washington citizens into silence.”

In September, Trump signed an executive order to designate “Antifa” as a “domestic terrorist organization,” despite it being only a dispersed political movement with no formal organization behind it.

The LGW claim of a FBI tip-off, if true, would line up with the leaked Dec. 4 memo

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from US Attorney General Pam Bondi that instructs the FBI to crack down on what it deems “domestic terrorists,” including those that adhere to “radical gender ideology.” According to the Brennan Center for Justice, experts fear that these new attempted classifications, which have no legal footing, will only help Trump and his allies to “violate free speech rights, potentially threatening any person or group holding anyone of a broad array of disfavored views with investigation and prosecution.”

Brandi Kruse In that same article, Brandi Kruse — a former reporter with FOX-13, now a political commentator and podcaster — is also cited as sharing photos of a police presence at the LGW event. She in the past has been no stranger to criticizing LGBTQIA+ rights, as well as aligning herself politically with Trump. She is also featured prominently in a video on Let’s Go Washington’s homepage discussing IL26-638 with two high school Cisgender girl athletes on her political podcast UnDivided. Together, they accused Gov. Bob Ferguson, Attorney General Nick Brown, and Superintendent Chris Reykdal of putting them in danger by potentially being made to share a locker room with somebody of the “opposite sex.”

The current Office of Superintendent of Public Instruction code requirements state: “Use of locker rooms by transgender or gender-expansive students will be assessed on a case-by-case basis, with the goal of

maximizing transgender or gender-expansive student social integration.” Participation of Transgender athletes is governed by the Washington Interscholastic Activities Association, including guidelines for inclusion of gender-diverse youth in sports.

In another video taken by influencer and independent journalist Jonathan Choe at the Dec. 12 LGW Tumwater event, Kruse gave a speech about the perceived “threats” of “Antifa.” Addressing the crowd, she said, “The FBI had told the Tumwater Police Department we don’t have a specific actionable threat, but [there is] some very concerning online chatter from ‘Antifaaffiliated’ groups.”

Kruse made headlines in October after encouraging Trump in a meeting at the White House to target “Antifa groups” in the Pacific Northwest. “I’m not here to convince any of you [the press] that Antifa is a real thing,” she said. “Because if you have not come to that conclusion by now, you are never going to come to that conclusion, because you don’t want to see it.”

Scott Presler Despite not being local to the region, Presler, a national conservative figure, was recently part of the Washington GOP strategy to help mobilize constituents around the IL26-126 Voter ID initiative and its signature-gathering efforts. In response to the SGN video critiquing IL26-126, Presler responded with: “WA Democrats are VERY angry that we’re collecting sig-

natures to require proof of citizenship in order to register to vote.”

(Note: The SGN does not affiliate itself with any political party.)

A November Lynnwood Times profile on Presler’s tour around the state, in which he attended rallies and spoke to event-goers, described him as a “conservative firebrand who was the unstoppable force behind Donald J. Trump’s 2024 landslide victories in battleground states.”

The article shared how, during his speech in Marysville, Presler gave vocal support for the LWG initiatives, and reaffirmed to the crowd a conservative belief in traditional gender roles, despite himself being a Gay man. “And although I am pretty, I know that I’m a biological man,” he said, adding, “A man is a provider and a protector. And the ‘men’ of this state of Washington have failed women. And they’ve failed our girls.

And they have failed our daughters.”

His justifications against Trans rights — ironic in that similar reasoning has continued to be used against Gay and Lesbian rights — are in line with other MAGAaligned Gay male operatives. A New York Times article about the Gay staff of the Trump administration said there is a widely held perception that “the MAGA establishment has a lot more openly gay men than the Republican establishment that came before it,” and also that “no one can say with a straight face that MAGA is homophobic.”

These sentiments raise questions as

to whether the Trump administration’s attack on DEI programs (which includes LGBTQIA+ inclusion), as well as its HIV/ AIDS funding cuts, are being taken in consideration.

New McCarthyism Stoking deep-seated fears and fostering paranoia are essential to mobilizing voters away from the very real issues that are impacting their everyday lives — whether that’s the affordability crisis, a broken healthcare system, anemic job growth, or the now frequent federal undermining of due process, civil rights, and the US Constitution by the executive branch. A handful of Transgender teenagers wanting to play soccer is not the moral crisis some have made it out to be; in fact, the very same arguments were rolled out in the decades before about Gay and Lesbian inclusion.

“Save our Children” has been dusted off, and retrofitted to become “Protect Women and Girls.”

But the ultimate irony is that the past behavior of the movement’s leader, President Trump, could not be further from that sentiment. And in his second term, there has arisen an infrastructure of right-wing pundits and millionaires ready to advocate on behalf of his agenda in both red and blue states like Washington. Whether these initiatives succeed or fail in 2026, it seems that US politics has entered a new era of not questioning the emperor’s new clothes and risking being labeled a “domestic terrorist.”

Pride and African-American flags removed from Seattle Public Library in Magnolia SPL issues statement in response

BY MADISON JONES SGN M AN AGING EDI T OR On November 9, multiple patrons at the Magnolia branch of the Seattle Public Library (SPL) noticed that both the Progress Pride and African-American flags had been removed from the rafters, where they had hung since 2022. No statement or explanation was reportedly given

by SPL regarding the flags’ disappearance, according to an anonymous source, who also told the SGN that some librarians were too worried about retaliation to speak out.

As of December 5, the flags have still not been reinstated.

One patron, Diana Robinson, a Black woman, teacher, and mother of two, agreed to speak to the SGN about what it meant to have her local library remove the flags.

“Magnolia hasn’t always been a place that has been welcoming to certain kinds of people, but as a community, we’ve been doing a lot of work to fix some of its unsavory past,” she said.

She added that wrote in a letter to SPL

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Director of Library Experience & Engagement Kaitlin Tang, as well as Executive Director Chief Librarian Tom Fay and Assistant Director of Public Services Darth Nielsen. It read in part: “We want to continue to foster a spirit of love, tolerance, and inclusion. The flags, which have been in the library since 2022, are a great physical representation of these tenets. I am a teacher with two children who are growing up here and a local leader in this community. We absolutely love our library and visit it very frequently. The world needs love.”

Robinson reported having received no reply to her letter from the SPL as of press time.

The decision to remove the flags without community input worried Robinson also because of the neighborhood’s troubling history with racially restrictive covenants, for which the Magnolia Community Council had issued an apology: “The Magnolia Community Council acknowledges with

FLAGS BEFORE REMOVAL ON NOV. 9

deep regret and condemnation the central role our organization played for at least a decade beginning in the early 1930s to exclude Black, Asian, Native, and Jewish Americans and other marginalized communities from our community.”

According to the Racial Restricted Covenants Project, the Magnolia neighborhood was found as having “imposed over 1,300 explicit racial and religious property restrictions in the decades between 1920 and the end of the 1940s.”

SPL Head of Communications Laura Gentry responded to the SGN’s request for comment regarding the flags’ removal: “We understand there has been some concern and confusion about the removal of two flags at the Magnolia Branch representing the LGBTQIA+ and Black/African American communities. These flags were removed from the Magnolia Branch as we prepare for a refresh of the space, which will include an improved children’s area with new flooring, furniture, [and]

JA NUARY 2026

cabinetry, and a new mural honoring local natural resources and Indigenous culture.

The Seattle Public Library strongly values diversity, equity, inclusion, and belonging, and we remain absolutely committed to being a safe and welcoming place for all.”

Gentry also stated that “at the same time, the Library is also discussing the development of systemwide guidelines and standards for displays in our spaces.

Importantly, part of this work includes assessing how the Library can better and more consistently signal that we welcome all of Seattle’s many diverse communities at all of our locations. We know this is especially important for communities furthest from justice that need our support and assurance now more than ever. We thank our patrons for their patience as we work through these projects and discussions.”

It is unclear whether these new guidelines would include reinstalling the flags after the planned renovations are completed.

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Resilient Hearts Animal Sanctuary celebrates second annual Snowball B Y L I N D S E Y A N D E RS O N SGN S TAFF W RI T ER The drinks were flowing and the fur was flying at The Dock in Fremont on Friday, December 12. Pet lovers from across the city filed in, some even accompanied by their favorite furry friends, for the annual Snowball fundraiser for Resilient Hearts Animal Sanctuary.

The free tickets to the public event included two drinks per person, though the main draw was the dogs. This year’s fundraiser included not one but two “puppy pits” — gated-off areas where guests could spend five uninterrupted minutes snuggling with some of the sanctuary’s newest adoptable pups. This year’s included the “big dogs,” seven husky-pit bull mixes, all named after the night sky; and the “littles,” a trio of chihuahua mixes named Comet, Cloud, and cheeky little Borealis.

Guests were encouraged to donate to the rescue throughout the evening. Local small businesses, including Old Stove Brewery, Light House Roasters, and Bouldering Project, all donated gift baskets and free passes for a silent auction. The event also included a special raffle, live music, and a video booth.

space similar to the one they would eventually end up in. Shelter dogs under one year of age are the most likely to be returned to the system after an initial adoption, often because they weren’t able to receive proper socialization and early training. Resilient Hearts’ approach to care, as well as its thorough adoption vetting process, means more puppies can find the right home on the first try and live out their happily-everafter.

While many foster-based rescues aim to help dogs escape stressful shelter environments, what really sets Resilient

Unique approach Resilient Hearts holds a special place in the Seattle community. Founded in 2019, the sanctuary has a genuinely unique approach to animal rescue. Most of the dogs that come through its doors are puppies rescued from a network of shelters across Eastern Washington. Instead of spending their days waiting for their forever homes in damp, crowded shelters, the pups at Resilient Hearts are matched up with a dedicated foster parent who brings the dog home each night.

This approach provides young dogs with the socialization they would otherwise lack in a traditional shelter environment.

By bringing each pup into a warm home at night, they learned how to behave in a

Hearts apart is its “doggy daycare” space.

Wednesday through Sunday, foster parents are encouraged to drop their puppies off at the shelter, where volunteers and community members spend the afternoon playing with them. This allows the dogs to get even more socialization as they interact with people and other puppies of various sizes.

The social hours also give potential adopters a chance to come in and see the dogs at play, which helps them get a better idea of their temperaments and personalities than they might if they were viewing the dogs through cages in a traditional shelter.

LINDSEY ANDERSON

Community oriented Resilient Hearts is a Queer organization, through and through. The organization was founded by a dedicated team of LGBTQIA+ pet lovers, including Mike Ezzo. As a Nonbinary person, Ezzo was already used to forging a path outside traditional norms. Along with their partners, Ezzo saw that many people were being shut out of rescue work, especially at organizations with strict foster and adoption regulations that often discriminate against renters and young people.

“We saw there was a gap between how the shelters and rescues interacted with the community and how [it] was kind of being shut out and not [able] to help,” Ezzo told the SGN in an interview in June. “We wanted to set up a system that was a little bit better and more community-oriented before work. So we opened this space, [where] people literally walk in off the sidewalk and come and have an immediate interaction with us. We wanted to do something completely different from the traditional model.”

Community continues to be a staple of Resilient Hearts’ work. From weekend puppy yoga classes to taking over the Seattle Pride Doggy Drag Show in 2025, the organization has quickly become a staple of Seattle pet lovers. Nothing exemplified the reach of Resilient Hearts like the year-end celebration and fundraiser. The Dock was packed full of people, some fosters, and some adopters returning with their furry friends to say “hi.” But most of those who showed up to celebrate were just dog lovers hoping to give back to the space that welcomes them in with open paws and plenty of pups to play with.

The author of this story has previously volunteered with Resilient Hearts and is obsessed with dogs.

Local organizations commemorate World AIDS Day with 1986 film Parting Glances

BY MADISON JONES SGN M AN AGING EDI T OR While the Trump administration opted to no longer acknowledge World AIDS Day, breaking the government’s 38-year streak of commemorating the epidemic that has taken nearly 44.1 million lives globally according to the World Health Organization, local LGBTQIA+ organizations Three Dollar Bill Cinema and Lifelong AIDS Alliance brought community members together on December 3 for a free viewing of the 1986 film Parting Glances at the Northwest Film Forum in Capitol Hill.

With the seats nearly packed with a multigenerational group of attendees, Warren Leyh, vice president of client services at Lifelong, gave a speech about his organization and why it is so important we remember the past. He listed the programs and

services Lifelong continues to offer people with chronic illnesses, including housing, case management, and its food and nutrition program, the Chicken Soup Brigade.

“I also teach a course on understanding HIV/AIDS at Highline College,” Leyh added. He described how most students in his class admit to knowing very little at first, and expressed concern that without continued awareness building, communities may be doomed to repeat a traumatic past. He also acknowledged how the Trump administration’s refusal to commemorate World AIDS Day harms the cause that disabled, BIPOC, and Transgender people continue to be disproportionately impacted by.

Leyh drew parallels between his organization and Parting Glances, noting that

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STEVE BUSCEMI AND RICHARD GANOUNG IN PARTING GLANCES (1986)

Lifelong was founded the same year that the film was made — 1986. He added that the interpersonal struggles depicted in the film were emblematic of what led the Seattle Queer community to create Lifelong.

Three Dollar Bill Cinema Board Secretary Lindy Boustedt also spoke at the event, and gave a call to action to the audience,

saying that, in light of current events, “we need to come together.”

She acknowledged the biopharmaceutical company Gilead’s help in making the film viewing free for the public, and said Three Dollar Bill Cinema was interested in holding more community screenings like this in the future.

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Seattle Office of Police Accountability attempts its first “Building the Bridge” event

BY MADISON JONES SGN M AN AGING EDI T OR On December 12, the Seattle Office of Police Accountability (OPA) held its first “Building the Bridge” event at City Hall. Attendees came from several sectors, including Seattle Police Department (SPD) Assistant Chief Tyrone Davis, college professors, community organizations, various city and county officials, and multiple members of both Seattle’s LGBTQ and Women’s Commissions, among many others.

The event was centered around a Q&A panel of four — OPA Director Bonnie Glenn, Seattle Community Police Commission (CPC) Executive Director Eci Ameh, and two community leaders, Teri Rogers Kemp of Community Advocate and Dominique Davis of Community Pathways. Glenn, who was confirmed to her position on November 19, started the evening by sharing her intentions: “[We] hope to learn from each other, engage in dialogue, and ultimately help to imagine that brighter future.”

The panelists each gave brief introductions about their background and work on police accountability. Ameh discussed her department’s history, including the 2013 Department of Justice (DOJ) consent decree following a federal investigation into the 2010 police shooting of First Nations woodcarver John T. Williams.

Glenn shared her upbringing: being born to a family involved in civil rights work in the Hilltop neighborhood of Tacoma, and later becoming a judge and president of the Loren Miller Bar Association.

Dominique Davis stressed the importance of community involvement in policing, especially after the BLM events of 2020, while Kemp, as a public defender, talked about the good and bad sides of policing, as well as emphasizing structural challenges: “The reason why this happens is because it is written in the law to do it this

way.” Glenn pointed out the benefits of her department: having access to SPD internal data and systems to conduct investigations, while answering only to the Seattle mayor’s office and city council.

After issuing an award to Reverend Harriet Walden for her civil rights work as founder of Mothers for Police Accountability, the Q&A discussion got underway, moderated by Seattle Public Schools Superintendent Senior Cabinetmember Dr. Ted Howard II. Mayday USA investigations The SGN asked the panel the first question of the evening, regarding the recent OPA investigation that did not sustain any allegations of excessive force by officers who arrested 23 counterprotesters at the Mayday USA event in Cal Anderson Park on May 24. Glenn responded first that the OPA can only make its recommendations based on the evidence it is able to accrue, whether by testimony, photos, etc. She stated being unfamiliar with the fact that SPD officers are permitted to use bikes as battering rams and to pepper-spray protesters, in reference to Officer Brian Muoio, who was the only one to have received a reprimand for using his bike but not for the manhandling and pepper-spraying of two protesters, which OPA’s investigation deemed “lawful.”

“Sometimes we don’t get it right, but we try to do our best,” Glenn admitted.

Ameh responded by highlighting the continued lack of LGBTQIA+ voices involved in the police accountability process, including the SPD not having a Queer liaison at the time of the protest. She also spoke on how the Mayday event followed a pattern of opportunities the SPD has missed to address past grievances by the LGBTQIA+ community, including the brief promotion of Lt. Michael Tietjen

SALISH SEA p P

2 0 2 6 E a r l y M u s i c F e s t i va l X 8208 18th Ave NE in Seattle X ursdays at 7 www.salishseafestival.org/seattle

Faith Lutheran Church

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OPA BUILDING THE BRIDGE PANEL ON DEC. 11 (L-R): BONNIE GLENN, TERI ROGERS KEMP, ECI AMEH, DOMINIQUE DAVIS MADISON JONES

as East Precinct captain. Tietjen, who is estranged from his Queer child, was previously reprimanded for his actions during the 2020 BLM protests, including driving his vehicle on the sidewalk toward protesters, calling them “cockroaches,” and allowing other SPD officers in his SUV to allegedly harass a Trans woman, by asking if she “had a dick under” her clothes. Ameh stated how the SPD still had a lot of room to grow.

Dominique Davis drew parallels between the actions of police during the Mayday event and the 1960s civil rights protests, that is, using violence means to silence marginalized people. He explained how decades of toxic policing culture at the national level was the culprit in both instances: “The culture was built in a fowl way, under a structure of oppression.” He also pointed to the repeated nature of communities facing violence at the hands of law enforcement, saying, “This is not the first time this has happened.”

Building accountability Several other questions were also brought up during the event. Asst. Chief Davis in the audience gave answers to a few, including how SPD reviews its applicants for LGBTQIA+-related roles, in reference to the confusion surrounding Sgt. Dorian Korieo stepping down as LGBTQ+ liaison and the appointment of his replacement, Officer Haden Barton. Asst. Chief Davis gave an explanation, saying that Korieo’s promotion to sergeant meant he had to undergo a routine retraining in the field, and that for position appointments, the SPD had a demographic advisory council.

“We want the chance to serve everybody with equity and trust,” he said, pointing to progress made in the SPD with its “Before the Badge” program, claiming that 50% of newly hired personnel were BIPOC.

Ameh responded with a slightly different view, citing that internal accountability cannot be brought about from hiring alone but by also changing the culture from within the police department and giving hirees tools to combat it. “Culture eats strategy for breakfast,” she stated.

LGBTQ Commissioner Chris Curia asked the panel what Seattle constituents, particularly LGBTQIA+ ones, should do when they feel disempowered. Kemp in response encouraged greater Queer community participation in the system, and used her own life as an example of what the SPD should do. She admitted that when her child came out as Queer, she felt ignorant and had to be open to being educated on LGBTQIA+ issues by having hard conversations in order to learn; she prompted SPD officials to do the same. She also had strong words to say about the recent SPD collective bargaining agreement, and stressed the importance of transparency. “Conversations are going over our heads,” she warned.

Finally, the looming expiration of the SPD’s consent decree left attendees questioning what this might mean regarding police accountability. Despite this, Ameh said of it positively, “That’s a good thing.

We do not need oversight from the Trump administration.”

The event ended on reflections of what accountability should mean in the future.

Kemp worried that police are too involved in the policy that governs their own behavior, and that they should not be afraid of being held accountable for their actions.

Ameh echoed the same sentiment: “We need a healthy relationship with the word accountability… Consequences are different than punishment.” She also advocated that police should have to follow the same laws as everybody else, saying that “the criminal code needs to be enforced against egregious and criminal acts.”

Jan 22 • Feb 12 & 26 • Mar 19 • Apr 30 • May 14 & 21 • Jun 11 • Jul 2 Albrecht, soprano (Lübeck) • Cohan, flute • Corriveau (Montreal) Greenberg, violin • Gunn, viola • Lin, violin • Marsh, bassoon Napper, gamba (Montreal) • Poppano, pardessus de viole (Munich) Roldán, harpsichord (Switzerland) • Schnoor, harpsichord (Lübeck) Simms, quitar & lute • Timofeyev, English guitar & lute Wright, harpsichord • Zhukova, harpsichord (Kyiv)

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Doghouse Leathers: The beating heart of Capitol Hill’s leather and fetish community

BY FR ANK GAIMARI DOGHOUSE LEATHERS ON 715 E PIKE STREET

When you step into Doghouse Leathers on Capitol Hill, it’s clear this isn’t your average store. The air is rich with the unmistakable scent of leather, but what truly sets this place apart is the immediate sense of belonging — a warm welcome, a feeling of safety, and a vibrant network of people that wraps around you like an old friend.

At the heart of it all is Dan Daniels.

With a genuine smile and an easygoing charm, he’s the kind of person who makes you feel seen and valued the moment you meet him. His dedication to creating a space where everyone feels at home has turned Doghouse Leathers into a cornerstone of Seattle’s leather and fetish community.

The business was established with the mission to provide high-quality leather gear in a safe and welcoming environment.

Founders Daniels and Jeff Henness envisioned a space where all customers, from seasoned leather enthusiasts to newcomers, could feel comfortable expressing themselves without fear of judgment.

Although Henness has sadly passed away, his vision remains a guiding force.

His influence is deeply rooted in Doghouse’s core values, including its commitment to the community, and this spirit continues to drive its mission today.

The store’s racks are filled with classic leather jackets, vests, and rugged chaps, but they also feature accessories such as harnesses, cuffs, collars, and puppy gear, selected for their style and durability.

Additionally, Doghouse sells lubricants,

condoms, and high-quality toys, as well as T-shirts.

Seeking to understand what truly sets Doghouse Leathers apart, I sat down with Daniels for a conversation. It quickly became evident just how much heart and dedication go into the business every day — and why it means so much to the community it serves.

Frank Gaimari: What inspired the creation of Doghouse Leathers?

Dan Daniels: The idea for our shop came to us during a trip to Chicago for the International Mr. Leather event. While exploring, we visited the Chicago Eagle, which had a small shop on-site. As we browsed, I turned to Jeff and said, “We could do something like this in Seattle.” That casual comment planted the seed for what would eventually become Doghouse Leathers.

After returning home and discussing it thoroughly, we decided to test the idea by opening a small weekend shop inside The Cuff, where we were both working at the time. The space was very modest — just a 5x7 closet — but it was enough to get started.

In those first days, we sold small items like cock rings, belts, and other accessories. It wasn’t a big operation, but it allowed us to run our shop and observe how the community responded. The feedback was very positive, encouraging us to keep going.

FG: What major milestones or changes have stood out in the store’s evolution over the years?

DAN DANIELS FRANK GAIMARI

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DD: As I mentioned, we started in 2006 with a small shop inside The Cuff. It was a modest beginning, but it gave us the foundation we needed. As word spread and our customer base grew, we moved into our own standalone location at 1312 E. Pike St., just around the corner from the bar. That move was a real turning point for us. Suddenly, we had the space to expand our product line and create the kind of immersive, welcoming shopping experience we’d always envisioned.

Eventually, the property was scheduled for redevelopment, and we found ourselves searching for a new home again. In spring 2019, we took another big step — this time to our current location at 715 Pike St. This space was larger, ideally suited to store our growing inventory and better serve our community.

Looking back, each move has felt like a step forward — each new location has allowed us to grow, offer more to our customers, and really evolve into the store we are today.

FG: How do you view Doghouse Leathers’ role within the Capitol Hill and greater LGBTQ+/fetish communities?

DD: When we started Doghouse Leathers, our focus was primarily on serving the fetish and leather community. This was the heart of our clientele. However, as the years passed and we moved into larger spaces, our role began to grow and evolve in meaningful ways.

With each new location, our client base expanded to include people from across the

entire Queer community. While we have consistently remained connected to our roots in the Gay fetish and leather scene, we have also welcomed the remarkable diversity within the surrounding community.

Today, Doghouse Leathers proudly serves a wide range of people — individuals of all genders, orientations, and identities. This evolution has been both natural and intentional, as we have worked to create a space that is not only inclusive but also reflective of the vibrant diversity of Capitol Hill and the greater LGBTQ+ community.

FG: Can you tell us about your online store?

DD: Our website is an extension of our physical store, meaning that most of the products you’ll find in-store are also available online. This allows our customers to browse and shop our collection from anywhere, at any time. By visiting www.doghouseleathers.com, you can explore our wide variety of items.

FG: How do you educate customers about safety, consent, and product care?

DD: Educating our customers is something we take seriously — it’s at the heart of what we do. We want everyone to have a safe and positive experience, so we make sure to offer clear, practical advice on best practices.

Our customers range from beginners to experts. For newcomers, we focus on safety and injury prevention. For example,

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about your life together, his contributions, and the legacy he left behind?

in impact play such as flogging, we specify which body areas to avoid to prevent injury.

This approach allows everyone to enjoy themselves safely.

When it comes to insertable toys, we walk people through things like which lubricants are safe to use with different materials, and how to clean and care for toys to keep everything hygienic.

Our team is essential to this process.

We hire experienced individuals who care about the community, and we provide them with continuous training to ensure they are always prepared to assist and answer questions. Ultimately, we aim to cultivate a space where people feel informed, empowered, and supported during their exploration.

DD: Jeff and I started this business in 2006. We weren’t just business partners — we were life partners for almost 30 years until his passing. Jeff was an amazing person. He wasn’t just part of the leather community. He was a mentor, a teacher, and a leader who made a real difference in people’s lives.

He was heavily engaged in establishing and supporting community organizations.

A key achievement was his role in founding Seattle Men in Leather. However, his influence extended beyond Seattle, as he was involved across the national leather community. Much of our collective success was fueled by his passion and vision.

Jeff’s legacy is at the heart of Doghouse Leathers. His kindness, passion, and dedication to the community still inspire everything we do. Jeff was truly one of a kind, and his spirit is still very much alive in the work we do and the community he loved so much.

FG: What do you value most when building your staff, and how do you create a welcoming and knowledgeable environment for customers?

DD: When we bring new staff on board, we prioritize hiring community members who are passionate about our products.

By hiring people who are already familiar with and enthusiastic about what we sell, we bring authenticity and expertise that enhance the customer experience. This allows them not only to provide knowledgeable recommendations but also to share their own positive experiences.

We also place a strong emphasis on creating a welcoming and inclusive environment for our customers. We encourage our staff to engage with customers in meaningful ways, making them feel at home. This approach applies to everyone, whether they’re local or visiting from out of town.

FG: What are your hopes for Doghouse Leathers in the next 5–10 years?

DD: Looking ahead, it’s honestly exciting — and a little emotional — to think about what the next five or ten years could hold for Doghouse Leathers. This place has

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LEATHER PRODUCTS WALL INSIDE DOGHOUSE FRANK GAIMARI

already come so far, and I know my late partner would be proud of how much we’ve grown and evolved over the years.

People are always asking why I haven’t opened another location in places like Portland or Vancouver. It’s a flattering idea, but it’s also a huge responsibility. Running even one store, especially after losing my partner, has been a big undertaking. I’ve always wanted to make sure that Doghouse Leathers keeps the quality, care, and personal touch that we built together.

I’m proud of how our online store has allowed us to reach people far beyond Capitol Hill. It’s been a lifeline for connecting with the broader community — folks who

can’t come into the shop but still want that sense of connection and support that we try to offer.

As I look to the future, I want to keep growing in a way that feels true to what we started. Whether that means expanding our online presence, trying new things, or just deepening our relationship with the community, I want to do it in a way that honors our roots. I’m committed to making sure Doghouse Leathers stays a welcoming, supportive place for everyone — just like we always intended.

FG: Jeff played a significant role in Doghouse Leathers. Could you tell us

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Doghouse Leathers stands as a testament to what happens when passion, purpose, and community converge. This is a shop where high-quality products meet heart, where newcomers and veterans alike find a place to belong.

If you’re looking for more than just leather goods — if you want connection, education, and a feeling of home — Doghouse Leathers is waiting on Capitol Hill.

Drop in, and you’ll see why this store is a valued part of Seattle’s Queer community.

Doghouse Leathers is at 715 Pike St. in Seattle and online at www.doghouseleathers.com .

Frank Gaimari is an author and film reviewer in Seattle. He lives with his husband and their two golden retrievers.

Learn more about his work at www.frankgaimari.com .

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De-queering “the Birdcage”: The story of Jake’s on 4th

BY MADISON JONES SGN M AN AGING EDI T OR Like the 1996 film The Birdcage, in which a Gay couple running a Queer club must hide their queerness to appease their conservative in-laws, the former employees of Jake’s on 4th in Olympia reportedly found themselves in a similar predicament with the bar’s ownership.

When it reopened in July 2025 after being closed for multiple years, not much was known about the new owners who decided to take over the beloved, historically Queer establishment. But after a Halloween night drag show gone awry — one in a long line of grievances from staff — new information has been revealed.

Multiple Queer employees have since quit, due to alleged mismanagement and exploitation. Charles Burk, Arthur Gottlieb, Nicole Swigert, and Chad Swaney have all since come out publicly to share their side of the story on social media, which has been creating LGBTQIA+ community pressure on the establishment.

On November 10, a post by the owners of the Jake’s on 4th Instagram account responded to the mounting criticism.

“We will not tolerate negativity inside of Jake’s nor on our social media platforms,” the post stated. Dismissing the claims made by its former employees, the bar also wrote, “We’ve been under attack recently, threats, organized negative campaigning, lies, twisted stories.”

Taking it a step further, the owners also stated that “we are pursuing the perpetrators to the full extent of the law.”

On November 29, Gottlieb told the SGN that a Lesbian bar patron was assaulted and called homophobic slurs while trying to enter the establishment. He also said this patron has since filed a police report, further heightening concerns that the bar that was once known as a safe space for LGBTQIA+ people no longer is.

It had remained publicly unknown who these new owners of Jake’s on 4th were — until now. Here is the story of how Matt Acker, Paul Gallagher, and Adam Lukomski came to run a local Gay bar — and decided to push their drag and Queer staff out, according to testimony of former employees.

Rebuilding the bar Swaney and Gottlieb, both Gay DJs, shared their experiences and struggles

working at Jake’s. Burk, Swaney’s husband, also performed for Jake’s and hosted shows as his drag persona Synergy. The bar has a long history of being a safe space for Olympia’s LGBTQIA+ residents, according to Gottlieb, who was born and raised in the city. “I used to actually work at Jake’s under the previous ownership years and years ago, and I grew up going in there,” he explained. “It was kind of like a staple in Olympia and a rite of passage for all of us to work there at some point in time.”

Now living in Tacoma, Gottlieb shared how excited he felt once it was announced that the bar was finally coming back after sitting vacant for five years. As soon as the new management got the keys, he described volunteering for several days to help clean the space, which had become filthy with mold. That is when Andrea Pareigis, known by locals as “Dryte,” reportedly tasked him to also paint a mural for the space.

“I spent probably like the better part of a month and a half painting that mural, well over a hundred hours,” Gottlieb recalled.

He described the mural as having a Wizard of Oz theme, featuring a giant rainbow with Glinda and Elphaba kissing in the corner.

An estimated $700 of paint was used to create the artwork, all out of his own pocket.

He was also never reimbursed.

At the time, Gottlieb said he was glad to have donated the money, time, and energy toward rebuilding the space for the community. “You don’t have Queer spaces unless Queer people show up and make it happen,” he said.

This was also the mindset of Burk who, working with his husband through their company, Drag Daddy Productions, helped to produce the bar’s drag shows and promotional materials for social media free of charge. “I actually had a big hand in their early programming when they launched,” he said.

Burk listed the things he did in the hopes of revitalizing Jake’s as a local Queer institution, such as the booking of its drag and burlesque shows and MCing the “Star Struck” talent shows and “Friday Night Lights.” An informal agreement to do this for free to help get the bar off the ground.

“It is probably one of the most perfect bars

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for Queer entertainment,” Burk explained.

Gottlieb reported agreeing to help the bar further by DJing on Fridays and Saturdays when it first opened. He worked five hours a night (from 9 p.m. to closing), but only made $200 a night during that time. “The going rate for a DJ is $100 an hour, and so I was being significantly underpaid for that,” he explained.

Another element of the bar that was in serious disrepair was its sound system, left

RENEE RAKETTY

over from the previous owners. Swaney told the SGN he began DJing for Jake’s on 4th starting in September, taking over for Gottlieb on Friday nights. Swaney recalled rebuilding the system for Jake’s: “I went in multiple times, did a lot of troubleshooting, and set up the sound system and told them what kind of sound system to buy.”

Swaney also contributed in other ways, setting up go-go boxes and a catwalk for the drag performers. He did not ask for com-

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pensation, like Gottlieb, wanting instead to help a local LGBTQIA+ space thrive.

He only requested to be reimbursed for the materials — which has not happened as of press time. There was no formal contract or labor agreement between Jake’s on 4th and Swaney and Gottlieb for these services except for the DJing itself.

Jake’s on 4th has not responded since November to the SGN’s request for comment.

New owners, new rules All four former employees observed a disconnect early on between what the Queer staff and performers at Jake’s on 4th were doing, and the vision the new ownership had for the space. Swigert shared with the SGN that she had worked at Jake’s for seven years under the old owners before leaving in 2014 to focus on raising her kids, while her husband continued working there until it closed down in 2020. “We’ve been a part of Jake’s for a very long time between the two of us,” she said.

Swigert reported being asked by Dryte to rejoin the bar in July. She explained how Dryte served as the public face of the bar, to both the community and staff, while behind the scenes, Matt Acker and Dryte’s brother, Adam Lukomski, were the ones primarily running the business.

Before the bar reopened, she described multiple planning meetings in which Acker, who is also the owner of the Port Angeles Lefties baseball team and a mobile bartending business, initially took more of a back seat while Lukomski and his sister where more hands-on. “We were never paid for those,” Swigert mentioned.

But it didn’t take long for conflict to arise. “Friday Night Lights” was the bar’s inaugural drag show, which also served as its grand reopening. Both Gottlieb and Burk reported it having been a smashing success, with a full house, line outside the door, and much of the social media promotion done for free by Burk via Drag Daddy Productions However, soon new directives were given to employees, delivered by Dryte via Acker. Swaney paraphrased the conversation: “It’s starting to look like we’re only a drag bar, and the other owners weren’t really comfortable with starting be known as the drag bar, because that was not really aligned with the image they wanted.”

All four former employees gave examples to the SGN of alleged misbehavior by Acker. Swigert explained how he would allegedly take bartenders and security staff from Jake’s for his own events without giving notice, putting staff and patrons at potential risk. In another instance in September, Swigert reportedly saw Acker come into Jake’s while under the influence, along with an older gentleman who brought in two young women. She shared how Acker committed several inappropriate acts that night, including taking people behind the bar to grab drinks. “That was disturbing, because it’s really not the energy for me that I would want at Jake’s,” she said.

Swigert also noted how one of the inebriated young women kept touching the go-go dancers. But the most concerning incident for her was when Acker took one of the women into the upstairs area, reserved for performers and staff. She later saw another man carry down the woman over his shoulder, and related how Dryte was furious at Acker afterward for bringing people into a space where people leave their personal belongings.

But this was not the only instance in which Acker was observed engaging in this behavior. Gottlieb also said of Acker, “A number of times I had seen him behind the bar, groping his girlfriends — which … were never the same woman. He’d have his hand up their skirts behind the bar while they’re drinking and dancing. It was absolutely disgusting.”

De-queering Jake’s Burk shared with the SGN how Acker, and also Gallagher, were antagonistic toward the drag-related events produced at Jake’s. Before Halloween night, he explained, “there was all of this tension

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already, and constantly [it was] ‘Matt’s got a problem, and Matt doesn’t like that, and Matt has this issue.’”

For example, when Swaney put up a “Destroy the Heteropatriarchy” poster near the DJ booth, Gottlieb witnessed Acker tearing it down. “Matt came across the sign and flipped the fuck out and like ripped it up and yelled at everybody,” he said.

This was not out of the ordinary for Acker, according to Gottlieb, who said that there were “so many instances like that about him not wanting it to be a Gay space.”

Another incident that Burk described concerned a planned Sunday drag show called “Church.” The theme was supposedly called “blasphemous” by Gallagher, as it made him uncomfortable, according to what Burk was told by Dryte. But ultimately, the explanation he was given was that “it does not match their vision of inclusion… meaning a space for everyone with all political viewpoints.”

Unsatisfied with how they were using the term, Burk said, “I had to go back to tell them that is exactly not what inclusion is.

But they didn’t want to hear that.”

Gottlieb also had objections to how this language was used by the bar’s owners. He pointed out that “as a hetero person, you can walk into any bar and feel safe. We [Queer people] don’t have that luxury.”

One element of the story Burk addressed was that the official reasoning the bar’s ownership gave for why drag was canceled was inaccurate.

He explained how, weeks before, there was a strategy meeting between the owners to decide on what to do about drag, with Dryte and Lukomski being for it, and Acker and Gallagher against. Ultimately, the decision was reached to end all drag after Halloween.

“This whole narrative that they canceled drag because of scheduling, and how things went down on the Halloween show, is an absolute fabrication,” Burk said. “I was literally canceling [drag performers] the first week of October.”

Burk said Lukomski told him, “Matt [Acker] thinks drag is bad for the weekend brand.”

Swaney also gave further details: “They agreed to let us do the Halloween show, but canceled the November and December shows. And in fact, they agreed to still pay the performers, even though there wasn’t going to be a show. That is how badly they didn’t want to have drag.”

Swigert reported that she and multiple others left the bar in mid-September, objecting to both this new direction and Acker’s behavior and treatment of staff.

Halloween walkouts But it was ultimately the aforementioned Halloween drag show that pushed tensions to their breaking point between the remaining Jake’s employees and its owners. According to Burk, he came into Jake’s the evening of the final drag show to find the space not only unprepared but also in a different configuration from a previous event. It was not until 20 minutes before the show’s start time that Burk was able to start getting into drag as Synergy.

He listed the things that had to come together frantically: “We’ve got to get the catwalk set up, we’ve got to get the lights set up, we have to get the fog machine set up.”

He recalled going into that night’s show knowing this was going to be a problem for Acker. As he explained, “Matt’s number one sticking point, the thing that pisses him off the most, is the show running late… I knew that, but I couldn’t control the fact that we started 35 minutes late.”

According to Swaney, who was running the DJ booth, it was 10:11 p.m., during the show’s last performance, when Lukomski walked across the stage to confront Burk. Speaking into his ear, Lukomski said, “Matt’s furious! Shut this show down now!”

Burk explained how, turning away from the audience, he responded: “You can tell Matt [Acker] that if he has something to say, he can come fucking down here and say it to my face. Secondly, we’re late because of y’all. So don’t you take this out

FLYER FOR THE LAST DRAG SHOW AT JAKE'S ON 4TH INSTAGRAM @ITS_SHOWTIME_SYNERGY

on me. Third, how dare you interrupt someone’s number? We still have a costume competition that we promised them, and we’re going to have the costume competition. I don’t fucking care what Matt [Acker] thinks, because we promised that and we promoted it and it is my reputation. So, after that, y’all can do whatever the fuck you want. But for right now, we’re going to finish this show. We are going to have the costume competition, and then I’m never setting foot in your fucking bar again.”

He told the SGN that when the show ended moments later, the on-stage altercation felt like the final straw of disrespect from the bar’s owners toward him and everything that the Queer staff had done for them. In his view, he felt that the moment was the universe’s sign for him speak out to the audience about what they’d all been going through: “I would like to let you know that drag has been canceled on the weekend. We will not be returning, because it’s not good for their brand, according to them. What we have learned is that it is okay to be Queer during the week, but how dare be visibly Queer on the weekend. Apparently they needed our Queer dollars to open this bar, but now that it makes straight people uncomfortable who want to dance, the drag queens are getting the boot.”

Swaney left alongside his husband that night, and the day after, Gottlieb followed in their footsteps. “Toward the end of the night, I got on the microphone and said, ‘This is going to be my last song. I appreciate everybody dancing their ass off, but Matt Acker does not want Gay people anymore,’” Gottlieb said, “and the crowd went crazy booing and saying ‘fuck him.’ It was quite the spectacle.”

The aftermath Gottlieb was the first to speak out publicly over social media about the events at Jake’s.

He explained to the SGN that after making his post the following Monday morning about why he left the bar, Dryte gave Gallagher his contact information. He described how Gallagher, to whom he’d never spoken directly before, pleaded over the phone to take down his Instagram post. “He literally

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started the conversation with: ‘My wife’s boss got shot in the neck, and I’m that conservative investor that you’re mentioning in your post. And I’m worried that people are going to do some investigation and try to figure out who I am and hunt me and my wife down. Cancel culture is real.’”

When asked whether this was in reference to Charlie Kirk, Gottlieb said that although Gallagher didn’t reference him by name during their call, Dryte had shared with him some information, including that Gallagher went to the Kirk funeral with his wife and sat next to Vice President JD Vance. However, the SGN could not verify this information independently.

It was also during this conversation that Gottlieb discovered that “Matt Acker had been feeding lies to Paul [Gallagher]. He claimed that I pulled the fire alarm on Saturday, which I didn’t do. He was claiming that there were drag shows three times a week, which there weren’t. There was at most two a month.”

Gallagher allegedly tried to bribe Gottlieb to delete the posts, to which Gottlieb explained that the impact had already been made and he wasn’t interested.

Gottlieb reflected on the outcome of the events. First, he felt that Dryte, as a staunch LGBTQIA+ ally, had been used as a tool.

“I know for a fact that they brought her on board because the old owner probably would not have sold to them without her and her reputation in town,” he explained.

However, he also didn’t think she was completely off the hook either: “I think it came to a point where she decided to protect her investment over fighting him and just kind of became complicit.”

Despite the SGN delivering copies to the establishment since its reopening, Swigert, Gottlieb, and Burk all reported never seeing a single copy on display in the bar while working there.

Burk had a message for the owners: “Change your fucking name. Stop trying to be Jake’s. Like, we’re not going to ask you to be Queer. That is clearly not your jam. Stop the pinkwashing, stop the extraction, stop the appropriation. Change your name, be the bar that you really envision.

Stop trying to be something you’re not.”

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Rhonda Lewis chosen to replace Girmay Zahilay, becoming the first Black woman on King County Council B Y C A LV I N J AY E M E RS O N SG N A S S OCI AT E EDI T OR After three hours of decision-making, the King County Council came to a verdict: Rhonda Lewis will be stepping into Girmay Zahilay’s District 2 seat, becoming the first Black woman to serve on the council in the process.

Zahilay, recently elected as King County executive, had to determine who would fill in his place on the council, which he has held since early 2020. Aware of the long history of marginalized groups being left out of government positions, he intentionally offered three nominees who all share the same race and gender: Lewis (the chief of staff for District 2), Nimco Bulale, and Cherryl Jackson-Williams. No matter whom the council decided on, that person would represent the county’s demographic of Black women for the first time in history.

Equally groundbreaking, Lewis’s appointment marks the first time the

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council has been composed of a majority of women, five to four. Lewis joins Claudia Balducci, Steffanie Fain, Teresa Mosqueda, and the recently elected Sarah Perry.

Her invitation into the fold wasn’t a given, however. Lewis, Bulale, and Jackson-Williams all had to answer questions about their past experiences via a public interview process.

When Councilmember Jorge Barón asked Lewis about funding public safety initiatives in the light of upcoming federal budget cuts, she spoke about meeting the severity of the situation. However, if the council cuts services based solely on the line item on the budget, she thinks we’ll be ignoring larger financial repercussions that are only seen on the ground level.

“There’s a fundamental principle here: We can’t cut our way out of this,” said

Lewis. “A caretaker councilmember cannot change things overnight, but I can be a voice for District 2, and I can reject false choices between public safety and human services.”

Lewis’s career has had a wide impact on local communities. She started as the city administrator of Tukwila, where she worked to expand family and senior services for a daytime population of over 100,000 people. Once she started working for King County, she oversaw the operations of nine different departments and 12,000 employees in the county’s local workforce. Of the nominees brought forward, none of them quite understood the inner mechanisms of the county quite like Rhonda Lewis.

After all three candidates spoke, it was clear they shared a common thread: the belief that their role on the council has to go

beyond the achievement of representation and eventually result in genuine, practical action.

“The district is excited to see three African-American women as their nominees, but above all, they want real stewardship,” said Johnson-Williams. “From day one, they want someone who can navigate the complex realities of our county government.”

Lewis was chosen by a near-unanimous vote by the council, who saw her experience and long-standing knowledge of the county as the deciding factor (Mosqueda was excused, as she was not present for Tuesday’s council meeting). They took a moment, however, to thank Bulale for advocating for District 2’s Somali community, given the president’s recent offensive remarks regarding Somalians across the country.

SPORTS

Seattle "Pride Match" teams during World Cup will be Egypt and Iran – what happens now?

B Y C A LV I N J AY E M E RS O N SGN A S S OCI AT E EDI T OR The first Queer-related controversy has come to Seattle’s upcoming World Cup soccer games, despite the best of intentions. Because the 2026 World Cup and Pride Weekend happen to overlap, the city planned to host a “Pride Match” on June 26, featuring LGBTQIA+ honors and artists, the first of its kind across FIFA’s 90-year history.

The only problem? It was decided before knowing who would actually play the game. On Friday, December 5, the luck of the draw decided it would be the national teams of Egypt and Iran, two countries where being in a homosexual relationship is a criminal offense. In Iran, you can legally still be executed for who you love.

According to international surveys, 84% of Egyptian society would not accept a homosexual as their neighbor. Ninety percent of Iranians said that homosexuality is never justifiable. Placing these same countries in front of an out-and-proud audience will obviously be awkward for Seattle’s public image, but could this go beyond symbolism? How will a wealth of tourists, some likely to hold homophobic beliefs, coexist with a city of out Queer people?

The most practical question, firstly, is how Pride itself will shape itself around the World Cup. Traditionally, Pride hosts its Sunday festivities at Seattle Center. That’s where the parade ends after traveling down Fourth Avenue, and where performers like Monét X Change, Versace Doll, and many others have entertained for free.

However, next year, Seattle Center will become a “Fan Celebration Zone,” home to large-scale displays of live FIFA games, concerts, public art, activations, and storefronts for BIPOC businesses. This will last the entirety of Seattle’s involvement in the World Cup — six matches across three weeks starting June 15 — and there are preparations for constant waves of over 30,000 visitors per day.

Unless the “Fan Celebration Zone” quietly disappears and reappears over Pride Weekend, this likely means that Seattle Pride will be without its celebratory home for the first time in decades, and there has been no announced replacement. Will Sunday activities be moved to Volunteer Park, maybe the new waterfront, or be canceled entirely? Will this change the Pride Parade’s usual route, which is toward Seat-

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tle Center?

If the parade instead maintains its usual course, this unfortunately would bring another problem: the possibility of a public clash. If Egyptian or Iranian tourists come across Queer citizens openly expressing their identities, could we witness conflict, or even violence, as a result?

This is slightly unfair to place on the tourists’ shoulders, admittedly. Obviously, one shouldn’t be presumptuous about Iranians and Egyptians visiting during the games. However, because these countries don’t track LGBTQIA+-related hate crimes, we don’t know how Iranians and Egyptians respond, on average, to open displays of homosexuality in public spaces.

The Pride Parade, for example, would end only a block away from the Fan Zone.

What might happen if these two events intersect?

The Seattle LGBTQ+ Commission, the Seattle FIFA Committee, and the incoming Wilson administration were asked for comment on these public safety concerns but have yet to provide statements.

Despite these concerns, there are those who viewed the news from Washington,

CALVIN JAY EMERSON

DC positively. Cyd Zeigler, cofounder of the publication OutSports, wrote that he believes the “Pride Match” will actually put a necessary spotlight on the continued fight for Queer rights internationally.

“If the matchup had been between Gayinclusive countries like, say, New Zealand vs. Belgium — it would have generated some gentle buzz, but that’s about it,” wrote Zeigler. “The opportunity presented by that lucky World Cup draw — putting the cruel regimes of Egypt and Iran at the center of an LGBTQ Pride Match — presents endless opportunities to help drive impactful conversations.”

Eric Wahl, a public speaker and Queer rights advocate who is advising the upcoming Pride Match, noted that the game can now serve as a safe, welcoming space for Egypt and Iran’s Queer minority. Thanks to FIFA’s policy on “respecting the local culture,” which it’s insisted that other countries follow for decades, citizens who may be persecuted back home can find respite and acceptance while abroad.

“There are LGBTQIA+ people everywhere,” wrote Wahl. “All are welcome to be themselves in Seattle.”

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ARTS & ENTERTAINMENT

The unmistakable voice of Kate Pierson

BY FR ANK GAIMARI Some voices define a generation, while others create entire universes. Kate Pierson unquestionably belongs to the latter group. Her voice, shifting effortlessly from a deep, inviting growl to a soaring high note, brings a vivid, melodic energy to one of music’s most iconic party bands. As a founding member of The B-52s, Pierson — with her signature fiery hair and retro-glam fashion — has been a beacon of joyful nonconformity for more than 40 years. Her energy remains as vibrant and infectious as the music she helped create.

Long before the world heard “Rock Lobster,” Catherine Elizabeth Pierson was a creative child growing up in Rutherford, New Jersey, after being born in nearby Weehawken. Her journey eventually led her to Athens, Georgia, where a spontaneous October night in 1976 changed everything. Sharing a Flaming Volcano cocktail at a Chinese restaurant, Pierson, along with Fred Schneider, Cindy Wilson, Ricky Wilson, and Keith Strickland, decided to form a band. Their very first performance — a loose and spirited jam at a friend’s Valentine’s Day party in 1977 — marked the humble beginning of what would become a global phenomenon.

From the very start, The B-52s presented a complete aesthetic package. Their look was as integral to their identity as their sound, blending thrift-store finds, exaggerated beehive hairstyles, and B-movie sci-fi glamour. This distinctive style wasn’t a calculated branding strategy but an authentic expression of who they were — a visual extension of their eccentric music. In a town buzzing with creative energy, they carved out a niche all their own.

The band’s groundbreaking sound and style quickly earned them a devoted following, and over the decades, The B-52s became one of the most beloved and influential bands in history. In 2022, their legacy was cemented with induction into the Music Hall of Fame, an honor recognizing not only their innovative contributions to music but also their cultural impact as champions of individuality, inclusivity, and joyful rebellion. From their quirky beginnings in Athens to their status as global icons, The B-52s have left an indelible mark on the world of music and beyond.

While The B-52s cultivated a chosen family on stage, Pierson built a life of profound partnership and authenticity away from the spotlight. As a proud Queer art-

ist, she has long been a quiet but powerful icon for visibility and living truthfully. Her relationship with artist and designer Monica Coleman, whom she married in 2015, has been a central force in her life — a collaboration built on mutual inspiration and shared dreams.

Together, Pierson and Coleman extended their creative vision into hospitality, creating the whimsically decorated Kate’s Lazy Meadow, Kate’s Lazy Cabin, and Kate’s Lazy Desert Motel. These spaces are tangible expressions of Pierson’s distinctive style, offering havens of colorful, kitschy comfort. The partnership has been a grounding influence, providing a foundation of love and support that fuels Pierson’s artistic bravery. It is a testament to a life lived fully, both in the public eye and in the quiet moments between shows.

As The B-52s have wound down their recent touring schedule, a new chapter is unfolding for Pierson. The band remains a family, a bond that will never fade, but her creative spirit is already exploring new horizons.

One of the most exciting developments in this new phase is her latest solo album, Radios and Rainbows, a kaleidoscopic blend of genres that showcases Pierson’s unmistakable voice in a fresh and deeply personal way. It has already garnered critical acclaim for its vibrant melodies, heartfelt lyrics, and bold experimentation.

Tracks like “Evil Love” and “Take Me Back to the Party” have become fan favorites thanks to their infectious energy and emotional depth. The album is a celebration of individuality, love, and resilience.

Adding to her creative renaissance, Pierson has also released a vibrant new cover of Patti Smith’s anthem “People Have the Power,” featuring the teen choir from Uniting Voices Chicago. With an uplifting dance arrangement by producer Ned Douglas, the track reimagines the iconic song while honoring its message of hope and empowerment. Pierson describes the project as a call to action for a new generation, reminding listeners that “people do have the power — and we need to use it now!”

Having seen Pierson perform live at numerous concerts, I was excited for the chance to speak with her. Even though our conversation took place over Zoom, her warmth and positivity shone through. Pierson’s authenticity is unmistakable.

KATE PIERSON JOSEF JESSO

Frank Gaimari: The B-52s’ unique visual style has always played a major role in the band’s identity. How did the look of the band influence your songwriting, and how did the music shape the visuals in return?

Kate Pierson: The B-52s’ visual style was a natural extension of who we were — playful, spontaneous, and unapologetically different. Long before the music, we were already dressing up and creating our own fun in Athens. We’d raid thrift stores like The Potter’s House, hunting for the most outrageous wigs and outfits — not to look glamorous but to embrace the absurd.

I remember Fred once fiercely claiming a ratty 25-cent wig, saying, “No, this is my wig!” That kind of energy defined us.

Our first show, on Valentine’s Day [1977], captured that spirit perfectly. Cindy and I wore upside-down fur pocketbooks that looked like white aprons. Nothing was planned or coordinated; we just wore whatever felt fun and expressive. When the band started, it was a continuation of that same creative chaos. There was no strategy, no assigned roles — it all came together spontaneously, born out of jam sessions and a shared sense of adventure.

Our look wasn’t calculated; it was simply an extension of how we lived. The thriftstore treasures and wild outfits we wore to parties became our stage costumes. Inspirations came from everywhere: Fellini films, 1960s Vogue, Gay culture, drag, and a love for the eccentric. It all blended into a visual identity that reflected our music — bold, quirky, and full of joy. Dressing up wasn’t just about style; it was about freedom, creativity, and letting our freak flags fly. That spirit shaped everything we did, from how we looked to how we sounded.

FG: You consistently bring incredible energy and vibrant positivity to every performance. What inspires and sustains that enthusiasm show after show?

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KP: The energy and joy we bring to every performance come from the audience as much as from within. There’s something magical about looking out and seeing people having the time of their lives — dancing, smiling, and letting go. It’s not something we set out to achieve intentionally, but knowing that our music gives people that kind of joy and freedom inspires me every time. It’s a beautiful cycle: their energy fuels mine, and it never gets old.

Our music is primarily dance music, with an irresistible rhythm. When we play, I can’t help but move — it’s like the music propels me. Sometimes I think, “Maybe I should stand still and be more dramatic for a moment,” but the beat always pulls me back in. Movement is such a natural part of what we do; it’s in the DNA of the band.

We’ve always been about creating music that makes people want to dance, and you can’t stand still when you’re part of that.

We’ve tried choreographing routines a few times, but it always ends up being hilariously awkward. So instead, we just let the rhythm guide us, each doing our own thing. That spontaneity keeps it fresh and fun for both us and the audience. The driving guitar, the pounding drums — it’s all so infectious. Even after all these years, the music still moves me, and that’s what keeps the enthusiasm alive, show after show.

FG: Your views on solo albums have evolved. Can you explain why?

KP: My views on solo albums have changed a lot over the years. Early on, I saw the idea of going solo as almost a betrayal — like leaving the mothership. I think we all felt that way to some extent, and even our manager discouraged it, worried it might pull the band apart. But now, I see it differently.

Working on solo projects has actually enhanced my creativity and energy.

It allows me to explore different aspects of myself, tap into new emotions, and approach music in ways that are unique to me. That, in turn, keeps me inspired and fresh when performing with The B-52s.

One creative outlet feeds the other, and I’ve realized that doing solo work doesn’t take away from the band — it adds to it.

I’ve also let go of worrying about how my solo work might be judged. Now, I focus on writing songs that feel authentic, no matter the style. It’s been a freeing experience, and it’s helped me grow as an artist while staying connected to the joy of making music.

FG: Among all the songs, The B-52s albums, and solo projects, which one do you like the most and why?

KP: It’s so hard to pick a favorite, because my connection to songs constantly evolves.

When it comes to my solo work, my favorite is usually whatever I’ve written most recently. Right now, it’s a Christmas song I’ve been working on. There’s something

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exciting about the freshness of a new song — it feels alive and full of possibility.

As for B-52s songs, my favorites tend to shift depending on what I’m listening to at the moment. Lately, I’ve been revisiting some of our deep cuts while working on a lyric book, and it’s been such a joy to rediscover songs like “Detour Through Your Mind,” “Junebug,” “Communicate,” and “Cake.” These are tracks we don’t often perform live, but hearing them again has brought back so many memories. One week, I’ll be obsessed with one song, and the next week, it’ll be something else.

If I had to name a current favorite, I’d say “Trism.” But honestly, my favorites are constantly changing — it’s like each song has its moment to shine, depending on where I am and what I’m feeling.

FG: How has your marriage to Monica, a talented artist herself, influenced your creative process outside of the band?

KP: My marriage to Monica has been a profound and transformative influence on my creative process. From the moment I met her, I was captivated by her energy, talent, and creativity. She’s an incredible artist in her own right, working in pottery, sculpture, jewelry, and so much more. Right now, she’s creating stunning sculptural clay pieces that are truly inspiring. Her artistry and passion constantly push me to explore new ideas and deepen my own creativity.

Monica was the driving force behind my first solo album. She recognized how much I wanted to pursue it, even before I fully embraced the idea myself. She even connected me with Sia, who helped me realize that I could write songs with anyone.

Those early writing sessions were trans-

formative, and Monica was there every step of the way. She directed the music video, designed the album cover, and even served as tour manager for my solo shows, handling everything from logistics to the business side. Her ability to juggle so many roles with such grace and talent is nothing short of remarkable.

What makes our relationship so special is the mutual respect and support we share for each other’s creativity. I trust her opinion completely — she’s always the first person I turn to for advice or feedback. Monica’s encouragement and creative spirit have been a gift, not just to my work, but to my life.

FG: What does the concept of “home” mean to you now, after a life spent roaming the globe?

KP: The concept of “home” has taken on a much deeper meaning for me after spending so much of my life traveling the world. Home is my sanctuary — a place where I can truly relax, recharge, and feel grounded. I love the comforts of home, whether it’s curling up in my own space or simply enjoying the quiet familiarity of it all. It’s where I can catch my breath, reflect, and reconnect with myself.

Of course, after some time at home, the travel bug always kicks in, and I’m ready to hit the road again. I still love the thrill of traveling, especially when it’s tied to performing. There’s something so exhilarating about connecting with people in different places and sharing music with them. For me, “home” is both a place of comfort and the foundation that gives me the energy to explore the world. It’s that balance between staying grounded and chasing adventure that makes life so fulfilling.

FG: How has your understanding of your role as a Queer icon evolved from the early days of the band to now?

KP: In the early days of The B-52s, we didn’t feel the need to declare our identities — we just were. The very essence of the band, our vibe, our sensibility, was inherently Queer. It was in the music, the energy, and the way we presented ourselves. Back then, there was still a sense of fear around being openly Gay, but we expressed ourselves authentically without necessarily labeling it. Our existence and creativity were a statement in themselves.

Over time, my understanding of what it means to be a Queer icon has evolved into something more conscious. Today, it’s not just about visibility — it’s about actively fighting for rights and standing up against the injustices that threaten our community. While we’ve made incredible progress, like the legalization of Gay marriage — which was such a powerful moment of affirmation and acceptance — there’s still so much at risk. The targeting of the Trans community is heartbreaking. Trans people are among the most vulnerable within the LGBTQ+ spectrum, and they’re just beginning to gain the voice, power, and recognition they deserve. It’s devastating to see them being attacked and marginalized.

The political climate has also reignited fears, with threats to LGBTQ+ rights, women’s rights, and even democracy itself. It feels like we’re in another fight for our lives, and it’s more important than ever to rise, stand together, and push back against these injustices. My role as a Queer icon now feels deeply tied to this fight — not just for visibility but for equality, safety, and the right to exist freely. It’s

about using my voice and platform to support the community and ensure we don’t lose the progress we’ve fought so hard to achieve.

FG: You’ve been a powerful voice for visibility. What advice would you give to young Queer artists today who are trying to find their authentic voice in the industry?

KP: My biggest advice is to be your authentic self. Don’t try to be something you’re not just to get attention. Sure, some people might take an extreme approach to stand out — like when Lady Gaga first started, she made bold moves to grab people’s attention — but even then, it was rooted in who she truly was as an artist.

The key is to stay true to your voice and your identity.

So, don’t aim to imitate others — focus on what makes you different. Be unapologetically yourself, and let your unique perspective and talents set you apart. When you lead with authenticity, people can sense it, and that’s what leaves a lasting impression.

The magic of The B-52s has always gone beyond the music itself. It’s about the sense of freedom their songs inspire — about friendship, love, and the boldness to create something new when the world feels upside down. At the center of it all is Pierson’s unmistakable voice, still inviting listeners to “dance this mess around” and reminding us that the best parties are those where everyone belongs.

Kate Pierson’s official website is www.katepierson.com .

Gay opera Fellow Travelers, other Queer events coming up at Seattle Opera

BY ALICE BLOCH Many opera fans are Queer, and many operas are love stories, but very few are Queer love stories. For the first time, though, Seattle Opera will mount a samesex love story on the mainstage at McCaw Hall: Fellow Travelers, by composer Gregory Spears and librettist Greg Pierce. The new production will open on February 21 and run through March 1.

Based on Thomas Mallon’s novel, Fellow Travelers is set in Washington, DC, during the McCarthy era in the 1950s, the time of the “lavender scare,” when many Gay men and Lesbians were fired from government jobs. The opera focuses on a love affair between two men working for the federal government. Stage-directed by Kevin Newbury, the original director of the premiere production at the Cincinnati Opera in 2016, the Seattle production launches a nation-

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wide tour calling attention to the experiences of those subjected to humiliating investigations and job loss because of their sexuality.

In a recent interview with Seattle Opera dramaturg Jonathan Dean, Spears said, “[Fellow Travelers] is very1950s. Everything happens under the surface. All the pain, anguish, and humanity is suppressed; you have to look for it. Gay history is like that. In this closeted world, the love can’t be expressed in words. The orchestra tells the truth, but the characters can’t hear it.”

In his podcast “Fellow Travelers 101” on the Seattle Opera website, Dean said, “I’m glad we’re honoring all the Queer people onstage, backstage, and in the audience.”

Related events: Conversation, photos & stories, online class

FELLOW TRAVELERS AT LYRIC OPERA OF CHICAGO IN MARCH 2018, COURTESY SEATTLE OPERA

A conversation between Spears and Newbury about how Fellow Travelers came into being and about the upcoming national tour will take place at the Opera Center, 363 Mercer St., on February 6 at 7 p.m.

This event is free and open to the public, although an RSVP is requested.

During the run of the opera and continuing through the national tour, photos and stories of people who were fired from the US military or from a government job for being LGBTQIA+ will be displayed onstage and included in an online archive.

If you or someone in your family or friendship circle has been affected by employment discrimination by the government, see the instructions on the Seattle Opera website for submitting photos and stories.

In conjunction with Fellow Travelers, Dean and Lokela Alexander Minami will

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teach a five-session online class on queerness in opera, beginning on January 13.

Advance registration on the Seattle Opera website is required; the fee is by sliding scale.

Daphne in concert The rarely performed Daphne, by composer Richard Strauss and librettist Joseph Gregor, will be presented in two concert performances at McCaw Hall, on January 16 and 18. The opera is based on the Greek myth of Daphne, a beautiful nymph who finds romance in the beauty and celebration of nature, not in the arms of men.

For tickets and more information about all these events, visit www.seattleopera.org .

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A life in drag: The legacy of Kierra Darshell

BY FR ANK GAIMARI

If you ask anyone in Pittsburgh’s drag scene about Kierra Darshell, you’ll hear words like “icon,” “leader,” and “inspiration.” For decades, Kierra has been much more than just a performer — she’s a mentor, an activist, and a shining example of resilience. Her magnetic presence on stage and her unwavering dedication to the local Queer community have helped shape a legacy that reaches far beyond the spotlight.

Her love for her hometown runs deep, and it shows in everything she does — from her performances to her outreach.

Kierra’s story started long before drag was celebrated as it is today. Back then, the art form was on the fringes, and the journey to acceptance was anything but easy.

But through her talent and determination, Kierra broke new ground in Pittsburgh, becoming a trailblazer for those who would follow.

Known for her polished, glamorous style, Kierra is always the picture of sophistication. She is recognized for her elegant gowns, flawless makeup, and that unmistakable presence — warm, confident, and always commanding attention. Her performances, whether set to soulful ballads or powerful anthems, are emotional and theatrical, leaving audiences moved and inspired.

But Kierra’s impact goes far beyond the stage. She’s leveraged her platform to advocate for LGBTQIA+ rights and champion important causes. Whether she’s at Pride events, hosting community gatherings, or performing at charity shows, her commitment has helped raise awareness and inspire real change — showing just how powerful drag can be as a force for good.

Perhaps one of Kierra’s most lasting contributions is the way she lifts others. She’s mentored countless new queens, offering advice, encouragement, and a helping hand as they find their own voices. Her charity work has raised vital funds for local organizations, making an impact felt throughout the community.

Kierra Darshell’s legacy is built on a perfect balance of dazzling glamour and heartfelt activism. She’s a symbol of grace and resilience, and her commitment to community continues to motivate and uplift everyone she encounters.

of the public eye. It was a subculture that existed quietly, celebrated within closeknit circles.

Over time, drag has become much more mainstream, gaining visibility and recognition on a larger scale. This shift has opened countless opportunities for performers, from larger audiences to new platforms for showcasing their art. It’s also brought a sense of pride and validation to the community, as drag is now celebrated as a legitimate and influential art form.

It’s been amazing to witness this growth and to see how the local scene has flourished alongside it. The opportunities available today are a testament to how far we’ve come, and I’m proud to have been part of that journey.

FG: Your drag persona radiates timeless sophistication. Which artists have influenced your signature style the most?

KD: My aesthetic has been deeply influenced by a combination of iconic figures and personal mentors who shaped my understanding of beauty, style, and performance. Growing up, I was captivated by the glamour of Diana Ross and the bold, dynamic presence of Patti LaBelle. Their ability to command a stage with grace and power left a lasting impression on me. I also fell in love with the artistry of Bob Mackie, whose gowns embodied sophistication and drama, inspiring me to bring that same level of elegance to my drag.

On a more personal level, my drag mother, Denise Darshell, was instrumental in teaching me the true art of drag. She

KIERRA DARSHELL. COURTESY PITTSBURGH CULTURAL TRUST.

showed me how to embrace my individuality while honoring the traditions of the craft. I also had the privilege of learning from the legendary Misty Knight, who provided invaluable guidance on the art of entertainment and stage presence. Both Denise and Misty were not only mentors but also sources of unwavering love and support throughout my career.

Though they have both passed on, their lessons and belief in me continue to guide everything I do. Their influence is woven into every performance, every look, and every moment I spend on stage. I carry their wisdom and spirit with me always, honoring their legacy in everything I create.

FG: Mentorship plays a significant role in your legacy. What’s the most important advice you give to a new queen just beginning her journey?

KD: The most important advice I give is to learn the business of drag. It’s so much more than just what happens on stage.

Understand your worth, set clear boundaries, and don’t be afraid to say no when something doesn’t align with your values or goals. Drag is an art form, but it’s also a profession, and treating it as such will help you build a sustainable and fulfilling career.

I also emphasize the importance of staying grounded and focused. Avoid the pitfalls of drugs and other distractions that can derail your progress. Success in drag requires discipline, dedication, and a clear vision of what you want to achieve.

One thing I always stress is that you don’t

Frank Gaimari: You are a key figure in the drag scene. Looking back, what’s the most important change you’ve seen in the community since you started?

Kierra Darshell: Since I started my drag journey in the late ’80s, the art form has changed a lot. Back then, drag mainly thrived in underground spaces — small, intimate venues where the community could express itself freely but stayed out

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KIERRA DARSHELL. MOLLY CUMMINGS

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have to choose between drag and other aspirations. You can balance a successful corporate career and a thriving drag career — I’ve done it for over 35 years, and I’m proud to show that both dreams can coexist. It takes hard work and careful planning, but it’s possible to pursue your passion for drag while excelling in other areas of your life.

Ultimately, I encourage new performers to stay true to themselves, respect their craft, and never lose sight of their goals.

With the right mindset and determination, they can achieve incredible things.

FG: You have combined artistic talent with activism for many years. How do you choose which causes or charities to support, and why does that work matter so much to you?

KD: My journey as an artist and an activist began in the 1980s, with my very first drag performance taking place at an AIDS benefit show. That experience not only shaped my career but also solidified my commitment to using my platform for community advocacy. It taught me the power of drag to bring people together, raise awareness, and make a tangible difference in others’ lives.

Over the years, I’ve been fortunate to work with organizations that align with my values and passions. I proudly served on the GLENS Pittsburgh Chapter Board, where I contributed to initiatives supporting LGBTQ+ rights and visibility. Currently, I sit on the advisory board of the Pitt Men’s Study, a groundbreaking HIV research program that has been instrumental in advancing understanding and treatment of the virus. These roles allow me to give back to the community that has supported me throughout my career.

In addition to advocacy, I’ve always been dedicated to championing the art of drag pageantry. In 1992, I founded the Tri-State All-Star Pageantry system, which includes Miss, Mr., and Newcomer divisions. This system was created to provide a platform for performers to showcase their talent, build confidence, and grow as entertainers.

It’s a way for me to give back to the drag community by creating opportunities for others to shine.

For me, giving back is at the heart of everything I do. Whether it’s through supporting essential causes, mentoring new performers, or creating spaces for artistic expression, my goal has always been to build a stronger, more inclusive future. I believe that by lifting others, we can make a legacy of empowerment and progress for the next generation of entertainers and leaders.

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FG: What does a typical day of preparation look like for you before a major show? Can you walk us through your transformation process?

KD: Preparing for a major show is a mix of planning, self-care, and creativity. I start by selecting my performance songs, making sure each one fits the mood I want to create for the audience. Once my setlist is ready, I gather the outfits, accessories, and wigs I’ll need for each number, ensuring everything is organized and ready to go.

Before I begin my transformation, I take some time for myself with a skin-care routine and shaving process. It’s a moment to relax and focus before the excitement of the show. Then I move on to my makeup, where the transformation really begins. I love playing music while I work — what I listen to depends on my mood, but it always helps me get into the right mindset.

Once I finish my makeup, I style my wig and do a final check to make sure everything looks perfect. By the time I step on stage, I feel confident and entirely in character, ready to give the audience my best performance.

FG: Drag’s mainstream success has exploded worldwide. If RuPaul called and invited you to be on Drag Race, would you accept?

KD: It’s funny you mention RuPaul’s Drag Race — I’ve never watched a full season of the show. That said, I have enormous respect for its role in bringing the art of drag and female impersonation to a worldwide audience. It has opened doors for many performers and raised drag to a level of visibility hard to imagine when I first started.

For me, though, competing on Drag Race was never part of my journey. My focus has always been on creating balance in my life

— developing a professional career while growing my drag on my own terms. I’ve spent decades climbing the corporate ladder and producing drag shows right here at home, and that’s where my passion lies.

I’ve always believed in carving out my own path and staying true to what fulfills me. While Drag Race is an incredible platform for many, my goals have always been rooted in building a legacy through my work in the local community and creating opportunities for others through the shows I produce. That’s where my heart is, and I wouldn’t trade it for anything.

FG: Among the thousands of performances you’ve done, is there one that you consider your absolute favorite or most meaningful?

KD: My first performance song was “Home” by Stephanie Mills, and it holds a very special place in my heart. To this day, it remains one of my favorite songs to perform, because it always takes me back to the moment I fell in love with drag. That song marks the beginning of my journey, and every time I perform it, I’m reminded of how far I’ve come and why I continue doing what I do.

Another deeply meaningful moment in my career happened in 2000 when I started hosting a monthly drag search contest. Watching many of Pittsburgh’s nowfamous drag stars rise from that stage has been one of the most rewarding parts of my journey. Seeing new talent develop, gain confidence, and find their voice in drag is an incredible experience.

Creating a platform that nurtures and celebrates new performers has been one of my proudest accomplishments. It’s a reminder that drag is not just about individual performances — it’s about building a community and paving the way for the next generation of entertainers.

FG: As a community leader, you’ve shouldered many responsibilities. What has been the biggest challenge you’ve faced in your role as a performer and advocate?

KD: Sometimes, the Gay community can take drag queens for granted. They often focus on the entertainment we provide without fully recognizing our role as advocates and leaders. Juggling being a performer with the responsibility to promote change and create safe spaces for others can be difficult.

What I’ve learned is that knowing your self-worth is crucial. When you lead with love and respect for yourself, you’re better prepared to face challenges directly. Not everyone will support your choices, but it’s up to you to take charge and forge your own path. By staying true to yourself and your values, every challenge becomes an opportunity to grow and make a difference.

FG: How do you rejuvenate your creativity and discover fresh inspiration?

KD: Traveling the world has been one of the greatest ways to recharge and find inspiration. Meeting incredible people from all walks of life, hearing their stories, and experiencing different cultures always reminds me of the power of connection and creativity. The drag community itself is a constant source of inspiration — there are so many unique platforms and spaces where drag thrives, each with its own energy and perspective.

Every performance, every interaction, and every new environment offers an opportunity to grow, evolve, and reignite my passion for what I do. It’s about staying curious, open, and willing to embrace the ever-changing landscape of drag, which keeps me motivated to remain in the arena and continue pushing boundaries.

FG: When you decide to hang up your heels, what do you hope your legacy will be?

KD: I hope to be remembered as someone who conquered the drag scene with grace, class, and elegance, while always lifting others along the way. My goal has always been to pave the way for others to live boldly and embrace their authentic selves, showing that drag is not just an art form but a powerful platform for selfexpression and community building.

Above all, I want young queens to see that longevity in this industry is possible.

With focus, dedication, and a true belief in their craft, they can build a career that not only sustains them but also inspires others.

If my journey has shown anything, I hope it’s that success comes from staying true to yourself, working hard, and never losing sight of the joy and purpose that brought you to the stage in the first place.

Kierra Darshell’s career exemplifies longevity and relevance. She has gracefully navigated the changing drag scene, staying a beloved and respected figure. Her influence is evident in the vibrant local community she helped develop and in the many performers she has inspired. As she continues to perform and advocate, Kierra remains committed to her community.

Even as drag evolves, her work highlights its roots in grassroots activism and local performance. Her legacy isn’t just in the shows she’s done but in the community she’s built, the funds she’s raised, and the lives she’s impacted. Kierra Darshell isn’t just Pittsburgh’s queen; she is its heart.

Kierra Darshell can be found at www.facebook.com/kierra.darshell and www.instagram.com/kierradarshell .

FILM Naughty and nice: Mike P. Nelson on making a new Silent Night, Deadly Night a joyfully bloody good time B Y S A R A M I C H E L L E F E T T E RS SGN S TAFF W RI T ER SILENT NIGHT, DEADLY NIGHT Theaters I can’t say I knew what to expect from a remake of 1984’s infamous, controversial cult favorite, Silent Night, Deadly Night.

The original, for all its faults (of which there are far too many to count), is one of the most iconic slices of low-budget pulp exploitation ever released. Its famous poster image of an axe-wielding Santa Claus descending down a snow-covered brick chimney has haunted the nightmares of young and old alike for over four decades, and that’s no small achievement.

But a remake? That’s been a tough nut to crack. Others have tried, most notably indie action director Steven C. Miller with his grisly one-note 2012 slasher Silent Night, but none have been successful or made a lasting impression. It’s almost as if they do not exist.

Enter writer-director Mike P. Nelson.

Coming off his successful 2021 Wrong Turn reboot and his excellent contributions to 2023’s V/H/S/85 (“No Wake” and “Ambrosia”), the talented filmmaker takes his crack at Silent Night, Deadly Night and comes up with a dismembered, bloodsoaked holiday delight. Nelson takes core ideas from the original and spins them in an entirely new direction. This time around,

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Santa suit–wearing serial killer Billy Chapman (Rohan Campbell) may not be the unhinged psychotic brutally dispatching the naughty that he initially appears to be.

Heck, once paired with foul-mouthed gift shop clerk Pamela (Happy Death Day and Satanic Panic scene-stealer Ruby Modine), he may not even be a villain at all.

The movie is as nice as it is naughty, and even its more uncomfortable and inflammatory (maybe even offensive) moments are transformed into something gleefully and grotesquely cathartic once its secrets are revealed and true evil comes literally face-to-face with a gore-splattered axe blade. This is a strong remake and — dare I say it? — outdoes the original in every way that matters. A lump of yule-tide coal this film most assuredly is not.

I stole a few minutes to chat with Nelson about his new take on Silent Night, Deadly Night. Here are the edited transcripts of our conversation:

MIKE P. NELSON IMDB

Sara Michelle Fetters: What with Wrong Turn in 2021 and now this, are you just the go-to filmmaker to reboot/ restart/reignite cult franchises now?

tion is always, “That sounds cool.” I just don’t know how to say “no,” and I then give it a shot. But I feel like that’s so much of it: The trying. The being interested. You are forced to figure it out, because you have to go in and pitch, and you’re not always going to be told “yes.” But when you are? You have to go. You have to go hard. That’s just the way it is.

Mike P. Nelson: I don’t know. [laughs] When opportunities come up, my first reac-

SMF: That’s what I love about this film. You go for it. Let me be honest —

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Silent Night, Deadly Night, the original film, is not very good. It’s a lot of fun to watch, but — and I do hope I don’t get in trouble for saying this or that it sounds cruel — it isn’t particularly good.

MPN: No, no, no…it’s a strange movie.

You’re okay.

SMF: And I know that had to do with the guerrilla way they were making it, the limitations of the budget, all of

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that, so I do get it. I give them gigantic kudos for accomplishing what they did.

But that movie is so notorious, and has such a giant reputation, and has such a devoted cult following, and others have tried to do a remake before you. Did you feel some sort of absurd level of pressure to get it right?

MPN: I didn’t want to overthink it. I was given the opportunity. [Executive Producer] Brad Miska reached out to me and said they were working on a remake with the original film’s producers and asked, “What do you got?” I was like, give me a beat. There was no way I was going to say “no” to that. I mean, just that original poster was so influential to me as a person, let alone a filmmaker. The imagery in that poster, even before I saw the movie — a big piece of my childhood was that poster.

So, I went and did my crazy thing and asked, “Can I do this? Should I do this?

Yes. I am going to do this.” And that was really it. That was the conversation. It was a lot of internal play, and that’s where my idea for this take came from.

I think there is a lot of me in Billy and Pam. I knew these characters going in.

They’re both dealing with their dark sides,

and my question was: Could two dark sides make a light? In this case, it does, and that’s because I allowed myself not to be beholden to anything [that came before].

What I do like to do with IP or franchises like this that I get to have a little fun with [is] to pull out the pieces from those properties that are influential to me and see how I can use them. Here, I do bring in a couple of the kills from the original. I insert little nods or winks from other Christmas horror movies. Or, why not even throw in a line from Indiana Jones in there. Like, who cares? If I’m going to do it, I’m going to have fun, and I’m going to make sure when we hit that midpoint [of the film], viewers are like, “I’m in, let’s f-ing go.”

SMF: What is the balance between making these new iterations of the characters interesting but also still delivering the thrills, chills, and gore that audiences expect?

MPN: I loved flawed, dysfunctional characters, where at a certain point you cannot deny that you love them. There are a lot of movies with dysfunctional characters that you just can’t stand watching. I wanted to make sure that Billy and Pam were two

people that you could relate to and that you wanted to succeed.

Even if you don’t know Billy’s true intentions at the beginning, I still wanted to make sure you were taken with him.

There’s something different about this guy. I wanted audiences to initially like him, even if they couldn’t say they liked him right away. What is his thing? Then, of course, you get to a point where you say that you want him to win. He deserves to win.

Then you discover that it’s not just him, it’s Pam and Billy. They’re a duo. But then you realize that they’re not a duo, it’s a fucking trifecta, man, because you’ve got fucking Charlie in there, too. And, look, this lovely, weird love triangle ends up coming together in a weird, really fun way, and I love injecting heart into my movies, as bloody and as nasty as they can get. I think that’s where I feel the charm comes from. That’s what makes the characters endearing and increases the stakes. That’s what makes the stakes high.

SMF: For audiences, whether they are diehard fans of the original or newcomers who see the poster and think, “Wow! That looks cool,” what do you want them

to take away from your film? What do you hope they’re talking about?

MPN: I really hope that they look at this as a brand-new, fresh approach that’s also a fun movie that they can pull out at Christmastime and be like, “It’s this one tonight.”

It’s always been a dream for me to create a Christmas movie, especially a Christmas horror movie, as these were such a big part of my own life. Watching movies during Christmastime, there’s just a feeling that they give, whether they are Home Alone or Gremlins or Black Christmas. There’s just something about them that makes you want to wrap yourself up in a big fluffy blanket, no matter what is going on.

I hope that, people will watch this and get those same sort of warm, fuzzy feels and that their bloodlust is satiated. If they go into the film not knowing what to expect, I hope that they are going to be surprised. I want them to go in thinking [they] know what it is — only to realize they’re wrong. And, if they do?

We have them. We’ve done our job. They’ve experienced something unexpected.

But that’s moviemaking. If you’re not having fun, if you’re not having a good time, if it’s not a joyful experience, then what they hell are you doing?

The ten best films of the year A 2025 cinema retrospective

B Y S A R A M I C H E L L E F E T T E RS (L-R) MICHAEL B. JORDAN IN SINNERS, MICHAEL FASSBENDER IN BLACK BAG, SGN S TAFF W RI T ER

LEE BYUNG-HUN IN NO OTHER CHOICE, & EVA VICTOR IN SORRY, BABY BACKGROUND PHOTO BY CLEM ONOJEGHUO

When 2025 is looked back on, it’s likely it will be thought of as the year of Warner Bros. Not just because it released some of the year’s biggest IP hits (Minecraft, Superman) but also because it took on significant risk with several original properties, most of which panned out spectacularly (One Battle After Another, Sinners, Weapons). Only a precious few did not (The Alto Knights, Mickey 17).

But I imagine it won’t be those films — all director-driven, all seemingly made with the type of creative control that major studios rarely grant anymore — that will be the year’s front-page headline. Instead, it will be the potential sale of Warner to Netflix. Or could it be sold to Paramount, its hostile takeover bid augmented by money from Saudi Arabia and presented with a decided emphasis on billionaire David Ellison’s connections to Donald Trump?

Neither option would be great, in my opinion, though the former would be the lesser of two unappealing evils. Either way, this could be the last hurrah for one of Hollywood’s founding studios, which would be a massive shame.

The other big theme of this past year involved issues relating to social, political, racial, and economic inequality, and not only in phenomenal documentaries like The Alabama Solution or WTO/99. Sev-

eral notable independent productions and non-English imports got in on the action, including No Other Choice, 40 Acres, Nuremberg, The Ugly Stepsister, Death of a Unicorn, Cloud, and The Plague.

However, it was the big-budget releases that subtly (and, in some notable cases, not so subtly) explored these concepts — mixing in warnings regarding fascist takeovers of democratic institutions for good measure — that hit me the hardest. Films like One Battle After Another, Superman, Sinners, The Long Walk, 28 Years Later, Wake Up Dead Man, The Housemaid, Avatar: Fire and Ash, and even Zootopia 2 were just a few that got in on the action in one way or another, each wearing their “woke” patch as a badge of honor.

There were also the adrenaline-filled surprise sensations of all shapes and sizes, including genre hits Predator: Badlands, Companion, The Accountant 2, and Heart Eyes, while indie wonders like Eephus, If I Had Legs I’d Kick You, Dangerous Animals, Materialists, Clown in a Cornfield, and Sorry, Baby made strong inroads with audiences and critics alike.

Other films I enjoyed, like the viciously unsettling Die My Love, the fabulously claustrophobic WWII shark survival tale Beast of War, and the based-on-a-truestory Channing Tatum dramedy Roof-

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man, sadly came and went all too quickly.

Here’s hoping they find their audience once they’re available for home consumption.

Then you have the strange case of KPop Demon Hunters. The year’s most widely talked-about animated feature was sold by parent studio Sony to Netflix, because studio heads believed releasing it to theaters was a waste of time and money. All that happened next was that the film took over the world, becoming the streamer’s biggest viral sensation since the first season of Stranger Things back in 2016. After sold-out singalong screenings, a best-selling soundtrack, and becoming the Oscar frontrunner in two categories (Animated Feature and Best Original Song), it’s clear that Sony would probably walk that decision back if it could. Talk about your billion-dollar-plus mistakes.

As far as LGBTQIA+ representation was concerned, it was a mixed bag. Plenty of Queer-themed and Queer-coded features received a theatrical release, but many had those elements downplayed or minimized, especially if they were bigger-budgeted productions like Companion, Wicked: For Good, The Long Walk, or Mickey 17.

Still, films like Peter Hujar’s Day, Queens of the Dead, The Wedding Banquet, Kiss of the Spiderwoman, Downton

Abbey: The Grand Finale, Honey Don’t!, My Dead Friend Zoe, Clown in a Cornfield, Red Sonja, 100 Nights of Hero, After the Hunt, and Blue Moon were thankfully loud and proud as far as their Queer elements were concerned, while documentaries like Heightened Scrutiny and Come See Me in the Good Light rank up there with some of the best 2025 had to offer.

One major personal disappointment? No studio has stepped up to release film festival darling She’s the He. Considering how uproariously hilarious this Trans-centered comedy is, that’s a depressing shame. However, given its high school setting, ribald content, and the current political climate, it’s also not altogether shocking. Still, the moment that writer-director Siobhan McCarthy’s Transgender Superbad variant becomes available for viewers everywhere, I’ll be front and center, singing its hysterical praises.

That wasn’t the only thing about 2025 that left me underwhelmed, but we’ll leave discussions about the year’s more frustrating misfires for another day. It’s time to celebrate the positive. The following are my personal picks for the ten best motion pictures of 2025, coupled with several other titles I’d love for people to see. Without further ado:

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28 Years Later (Dir.: Danny Boyle) Director Danny Boyle and writer Alex Garland return to the apocalyptic wasteland they created in 2002 with 28 Days Later, unveiling an evocative coming-ofage masterwork that left me shellshocked.

It’s about new life in a dying world, with youngster Alfie Williams delivering a stratospheric performance of resilience, determination, heartbreak, and restraint that delicately refines itself as his character’s understanding of life’s tumultuous highs and lows expands. It’s as if Boyle and Garland are channeling the working-class British grit of Ken Loach or Mike Leigh, only adding a dash of George A. Romero for good measure. Unforgettable.

No Other Choice (Dir.: Park Chan-wook) South Korean dynamo Park Chanwook returns with another unhinged slice of pointed social commentary with this insidiously hilarious and uncomfortably delightful death trap of familial happiness and workplace harmony that’s as purposefully unsubtle as it is intelligently insightful. Lee Byung-hun is fantastic as a recently unemployed family man who will do anything — including homicide — to ensure he gets a new job. This takedown of capitalistic excess and corporate largess is a bonkers delight, as Chan-wook slyly builds his latest to a conclusion that left me happily speechless.

Black Bag (Dir.: Steven Soderbergh) This is one of two terrific crowd-pleasers from director Steven Soderbergh and writer David Koepp (the other being the spookily refined creepshow Presence) that, for whatever reason, were box office disappointments and didn’t fully connect with audiences until they were available to watch at home. Be that as it may, Black Bag remains a spy-vs.-spy corker, with Michael Fassbender and Cate Blanchett as a pair of married British secret agents who are placed at odds when it becomes clear there is a mole buried within their department at MI6. This is a cagey, well-plotted case of international espionage and marital devotion that delivers the explosive goods. All of them. One shot at a time. Bravo.

Sentimental Value (Dir.: Joachim Trier) Joachim Trier (The Worst Person in

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the World, Thelma) comes calling with his best film yet, a first-rate kitchen-sink melodrama of family angst, sisterhood, and forgiveness. This is the story of two sisters, their estranged filmmaker father, and the Hollywood superstar (Elle Fanning) who’s been cast to portray a character unambiguously inspired by the memory of a woman who met with heartbreaking tragedy. Renate Reinsve and Inga Ibsdotter Lilleaas are extraordinary as the siblings, while Stellan Skarsgård has never been better as a man desperately hoping to make amends with his children, believing his new feature is the perfect way to do it. Trier doesn’t skimp on the emotion or the insight, sending things out on a titanically personal climax of introspective rumination that hits like an emotional sledgehammer yet also warmly embraces like a soothing hug.

The Long Walk (Dir.: Francis Lawrence) In the year’s best Stephen King adaptation (the others being the gorily loopy The Monkey and the disappointingly ham-fisted The Running Man), director Francis Lawrence and screenwriter JT Mollner take the author’s dystopian morality play and transform it into something distinctly personal.

Cooper Hoffman, David Jonsson, and Mark Hamill are the familiar names, but the entire roster of up-and-coming young talents making up the “contestants” chosen to participate in a never-ending death march are all outstanding. As for the film, this perceptive nightmare looks poverty, community, capitalism, and fascism square in the eye and refuses to blink. Decidedly not for the faint of heart, but perceptively unforgettable all the same.

Train Dreams (Dir.: Clint Bentley) Life. Death. Longing. Love. Regret. Devastation. Rebirth. Based on the exquisitely austere novella by Denis Johnson, director Clint Bentley’s Train Dreams is a transformational stunner of a rapidly changing Pacific Northwest of the early 20th century.

This picturesque saga of a man who literally lays the tracks for an ever-changing world he’ll barely see is a haunting spectacle that cuts deep and leaves lasting scars.

But thanks to Joel Edgerton’s toweringly meditative performance, Adolpho Veloso’s magically lush cinematography, and Bentley’s astute direction, tragedy and triumph walk hand-in-hand. An absolute marvel.

Peter Hujar’s Day (Dir.: Ira Sachs) Two friends have a conversation in a New York apartment. One is a noteworthy photographer. The other is a journalist researching a new book. All the latter wants from the former is a detailed recollection of what he did over the course of

a single day. That’s it. But what director Ira Sachs uncovers, with the aid of Linda Rosenkrantz’s 1974 transcripts of her conversation with photographer Peter Hujar, is monumentally insightful. Art, gender, sexuality, love, longing, creation, and selfexamination all coalesce with verbally creative explosiveness into something deeply personal and eloquently universal. Ben Whishaw and Rebecca Hall have rarely been better, while director of photography Alex Ashe’s camera achieves a level of earthshattering familiarity that allows this grainy snapshot of the past to feel as modern as today’s most viral 1080p spectacle.

One Battle After Another (Dir.: Paul Thomas Anderson) Returning to the world of Thomas Pynchon for the first time since 2014’s Inherent Vice, writer-director Paul Thomas Anderson takes the author’s novel Vineland and makes something explosively outrageous out of it.

His film strips America and its supposed ideals naked, showcasing a land of constant upheaval, political malfeasance, irredeemable propagandistic programming, and militaristic excess that would be hysterical if it weren’t so shockingly spot-on. But Anderson also finds hope in resistance, humanity in community, and salvation in new generations eager to make a difference. At the center of it all is a mumbling, bumbling everyman who hasn’t made the best choices in life but whose love for his only child is so selfless and sincere that he’ll crack the world like an egg to see her protected — even if she proves to be particularly good at protecting herself. The all-star ensemble led by Leonardo DiCaprio is aces, but it is newcomer Chase Infiniti who steals the show.

Sorry, Baby (Dir.: Eva Victor) Sometimes a sandwich can save a life. At least, that’s how it seems in writer-directorstar Eva Victor’s masterful Sorry, Baby, a film so confidently made, it’s difficult to believe this is the talented filmmaker’s feature-length debut. A semi-nonlinear chronicle of a young woman attempting to rebuild her life after a horrific assault at the hands of her thesis advisor, the film is a poignantly beguiling wonder that resolutely avoids taking the easy way out and never stoops to sensationalism or melodramatic excess to make its observations. Victor finds comedy where it is least expected, kindles tears in the most mundane of everyday occurrences, and evokes hope by looking into the eyes of a baby reaching out its tiny hand to latch on to a wary finger.

This movie broke me. That’s a compliment.

Now, how about that sandwich?

Sinners (Dir.: Ryan Coogler) No singular moment in all of 2025 knocked my socks off quite like when Ryan

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Coogler unleashed a mid-movie aria of musical brilliance in his epic Prohibitionera, Mississippi-set triumph, Sinners. Past, present, and future all meld seamlessly into one, and those dancing the night away inside the juke joint newly opened by twin brothers Smoke and Stack (a never-better Michael B. Jordan) go on a sweaty journey of melodic euphoria that leaves them breathless. Coogler tackles issues relating to race, gender, cultural assimilation, white supremacy, economic disparity, and familial pain with razor-sharp precision, and a healthy dollop of vampiric terror for good measure. Social commentary masking as crowd-pleasing pop entertainment has rarely been this bloody (figuratively and literally) entertaining. A masterpiece.

Twenty-five more (because I can) 40 Acres (Dir.: R.T. Thorne), The Ballad of Wallis Island (James Griffiths), Cloud (Kiyoshi Kurosawa), Companion (Drew Hancock), Die My Love (Lynne Ramsay), Eephus (Carson Lund), Hamnet (Chloé Zhao), Heart Eyes (Josh Ruben), Honey Don’t! (Ethan Coen), A House of Dynamite (Kathryn Bigelow), If I Had Legs I’d Kick You (Mary Bronstein), Is This Thing On? (Bradley Cooper), KPop Demon Hunters (Chris Appelhans, Maggie Kang), Marty Supreme (Josh Safdie), Mickey 17 (Bong Joon Ho), The Naked Gun (Akiva Schaffer), The Plague (Charlie Polinger), Predator: Badlands (Dan Trachtenberg), Queens of the Dead (Tina Romero), The Secret Agent (Kleber Mendonça Filho), Superman (James Gunn), The Ugly Stepsister (Emilie Kristine Blichfeldt), Wake Up Dead Man (Rian Johnson), The Wedding Banquet (Andrew Ahn), Zootopia 2 (Jared Bush, Byron Howard)

Six favorite documentaries The Alabama Solution (Andrew Jarecki, Charlotte Kaufman), Come See Me in the Good Light (Ryan White), Heightened Scrutiny (Sam Feder), Ladies & Gentlemen… 50 Years of SNL Music (Questlove, Oz Rodríguez), The Perfect Neighbor (Geeta Gandbhir), WTO/99 (Ian Bell)

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BOOKS Greg Herren: The master of Queer mysteries and New Orleans storytelling

BY FR ANK GAIMARI Greg Herren is a name synonymous with LGBTQIA+ literature, particularly in the mystery genre. A prolific author and advocate, Herren has spent decades crafting stories that not only entertain but also celebrate Queer life and culture. He has written over 30 novels, drawing deeply from his love for New Orleans, a city that has significantly influenced both his life and his writing.

Born in Alabama on August 20, 1961, Herren grew up in a time when being openly Gay was far from accepted. Despite the challenges, he found his voice as a writer and has become a cornerstone of Queer storytelling. Now 64, Herren lives in New Orleans with his partner, where he continues to write and advocate for Queer representation in literature.

New Orleans is more than just a setting in Herren’s books — it’s a character. His stories vividly weave together the city’s vibrant culture, rich history, and unique blend of beauty and decay. From the French Quarter to the Garden District, Herren captures the essence of New Orleans in a way that feels both authentic and deeply personal.

Herren’s bibliography is as diverse as it is extensive. He has written mysteries, young adult novels, and even erotica under the pseudonym of Todd Gregory. His most famous works include the “Chance MacLeod” and “Scotty Bradley” series, both set in New Orleans and starring LGBTQIA+ protagonists. His work has earned him numerous accolades, including Lambda Literary Awards. His books are known for their sharp wit, intricate plots, and authentic representation of Queer life.

Herren’s experience as an HIV/AIDS counselor and educator deeply enriches his writing, infusing his characters and stories with profound depth and humanity.

In addition to his writing, Herren is a cofounder of the Saints and Sinners Literary Festival, an annual event in New Orleans that celebrates LGBTQIA+ literature. The festival has become a hub for Queer writers and readers, offering a space to connect, share stories, and celebrate the power of words.

This fall, Herren returns with Hurricane Season Hustle, the highly anticipated installment in the beloved Scotty Bradley series. Set in a storm-ravaged Garden District estate, the story traps Scotty and his family in a gripping, high-stakes mystery as a hurricane roars outside. With a killer lurking among them, Scotty must uncover the truth before it’s too late. Rich with atmospheric detail and pulse-pounding suspense, Hurricane Season Hustle delivers all the intrigue, drama, and masterful storytelling fans have come to expect.

As an enthusiastic reader of Greg’s books, I was pleased when he agreed to an interview. Here are my questions along with his responses.

New Orleans is that anything — truly anything — can and does happen here. The people are wonderfully eccentric. I don’t feel out of place here. This is my home.

FG: Your characters are rooted in the LGBTQIA+ community. How do you approach creating authentic and diverse characters?

GH: Well, they’re people! I write about Queer people because I am a Queer man, and it’s kind of a safe space for me. Whenever I teach workshops on writing diverse characters, I always emphasize that everyone is a person, with flaws, quirks, blind spots, kindnesses, scars, heartbreaks, and complicated family ties. You have got to make sure you show they’re humans, like everyone else. If you start from “I want to write a diverse character” rather than “I want to write a character, and this is a part of who they are,” you’re going to fail.

FG: How has your work as an HIV/ AIDS counselor influenced your writing?

GH: Being a trained counselor comes with both advantages and challenges. As someone naturally empathetic, I’ve always found it easy to view situations from different perspectives — a quality that greatly supports my counseling work. This mindset also enhances my writing, reminding me to approach even my flawed characters without judgment and to consider the motivations behind their actions.

FG: You’ve written across multiple genres, from mystery to young adult fiction to erotica. How do you decide which genre to explore next?

GH: I don’t typically think in terms of genres — “I’ll tackle this genre next” — because, for me, the story itself is what matters most. Genres aren’t something I dwell on. But almost everything I write has to do with death — horror and crime are opposite sides of the same coin. I’ve not written erotica in years, mainly because the market has pretty much dried up. My erotica was often criticized for being too real, athletic, and sweaty... you know, like sex.

FG: What challenges have you faced as an openly Gay author in the publishing industry?

Greg Herren: I like to say that New Orleans made me an author. I had always been a writer, but it wasn’t until I moved here in 1996 that I truly became one. I love this city with all my heart, because it has given me everything I have ever wanted in life.

When I write about places other than New Orleans, it feels slightly off, if that makes sense. Inspiration is endless here — I often find myself diving into research wormholes about the city and its rich history. One of the most rewarding things about writing about

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GH: I believe publishing has become a more welcoming space for Queer authors today, but that wasn’t the case when I first started. Back then, mainstream bookstores and conferences often treated me like I was something to avoid. I’ll never forget when a mystery store manager told me over the phone, “We don’t carry those kinds of books here.”

Despite this, we had a thriving Queer publishing subculture that offered support and community. Queer bookstores, magazines, newspapers, and community centers provided a lifeline for Queer authors, creating spaces where our work could thrive.

But those resources have largely disappeared. The vibrant network that once supported me is no longer there. For someone starting today, that path no longer exists.

FG: The Saints and Sinners Literary Festival has become a significant event for LGBTQIA+ literature. What inspired you to cofound it?

GH: My partner works for the Tennessee Williams Literary Festival, and years ago, we both had the privilege of working with Lambda Literary. During our time there, we organized a writers’ conference, which unfortunately ended after we moved on. One evening, while chatting with J.M. Redmann, we began reminiscing about how much fun it would be to host a conference in New Orleans. What started as an idea quickly turned into reality, and now, over two decades later, the conference is still going strong.

FG: Your books often explore serious themes, such as resilience and identity.

How do you balance these with humor and suspense?

GH: I’ve always believed that laughter is healing, and if you can find the humor in something awful, it helps. I’d rather laugh than cry. And I think I’m unintentionally funny? People find humor in things I write that I think are incredibly dark, which always catches me off guard. I also love writing about resilient Queer people, because we are just that. We’re survivors, and sometimes you need to laugh to survive.

I wish I had a better answer for you!

FG: What advice would you give to aspiring LGBTQIA+ writers looking to break into the mystery genre?

GH: What was that Dorothy Parker quote about aspiring writers? “Kill them now while they’re still happy.” If you dream of becoming a mystery writer, the best advice is to immerse yourself in the genre — read extensively, exploring works from a variety of authors. There’s also a fantastic support group called Queer Crime Writers, which I’m proud to be a part of. Most importantly, write. Write as often as you can, whenever you can. Remember, no matter how imperfect your first draft may be, everything can be revised and improved. But first, you need words on the page.

FG: Can you share details about your new book, Hurricane Season Hustle?

GH: The tenth Scotty Bradley mystery offers a fresh twist on the series. Set entirely during a hurricane, the story unfolds as Scotty and his partners take shelter in his grandparents’ Garden District mansion.

However, their refuge soon turns sinister when bodies begin to appear. Combining the tension of a time-constrained mystery with the intrigue of a locked-room whodunit, this novel brings two classic mystery elements together in an exciting and suspenseful way, something I’ve always wanted to explore!

Frank Gaimari: New Orleans plays such a significant role in your books. How has the city shaped your storytelling?

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GREG HERREN MIKE SMARRO

Greg Herren’s work is a vibrant celebration of Queer life, the magic of New Orleans, and the art of storytelling. Whether you’re a devoted reader or just diving into his world, his stories promise an unforgettable journey. Trust me, I say this as one of his biggest fans.

Greg Herren’s books, biography, and latest updates can be found at www.amazon. com/stores/author/B001IXMUZQ

JA NUARY 2026

C E L E B R A T I N G 5 2 Y E A R S!

COMMUNITY CALENDAR For more events visit SGN's online community calendar!

Nuestra Euforia / Our Euphoria Exhibit Date: December 26- January 6 Time: 10 a.m.-6 p.m.

Venue: Central Library 1000 4th Ave, Seattle, WA Room Location: Level 8 - Gallery Curated by our Artist in Residence, Vaquero Azul, This exhibit features the artwork of local trans and gender non-conforming artists, photography of local cultural bearers and icons, and a Trans Pride Ofrenda, an altar honoring Trans, Two-Spirit, and gender expansive relatives. , "This show is a love letter to Transcestors & Queer Ancestors who have been here since time immemorial. Our collective euphoria is a sacred offering to every single one of us, in the past and in the now."- Vaquero Azul, EMBODIED ALTARS DANCE CLASS Date: Mondays, December 29- January 26 Time: 6:30-8:30 p.m.

Venue: Daybreak Star Indian Cultural Center, 5011 Bernie Whitebear Way, Seattle, WA Admissions: $10-$20* per class.

EMBODIED ALTARS is an all-levels dance class hosted by Daybreak Star Radio.

Designed by Indigenous Chicana artist and El Sueño director, Alicia Mullikin.

Dancers will utilize Indigenous principles within movement, meditation, and song as a way to practice gratitude, honor the land, and recognize their ancestors. The class is for those who are interested in reflection, intention setting, and a discovery of their own stories. No dance experience necessary.

Mondays, 6:30-8PM No class 9/15/25 No class 10/13/25 Pink Pony Disco Date: Wednesday, December 31 Time: 7 p.m.-2 a.m.

Venue: Julia's on Broadway, 300 Broadway E, Seattle, WA Tickets: www.pinkponydisco.com 7pm / 9pm Join us for a night of PINK glitz, PINK glam, and fabulousness at Julia's on Broadway - Le Faux Playhouse! Get ready to dance the night away and ring in the New Year in pure disco style. This celebration is all about love, diversity, and letting looseso throw on your sparkliest look and get ready to party at PINK PONY DISCO. We are super excited to be collaborating with the creators of Wicked Oz, Evolution, and Bad Girls Brunch. This one-night-only throwback spectacular is produced and directed by Versace Doll in partnership with Seattle Pride!

Expect high-energy performances,

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jaw-dropping looks, and a party vibe that doesn't quit. Come dressed in your fiercest PINK fantasy and celebrate with us: ¨FREE PINK JELLO SHOTS ¨PINK CHAMPAGNE FLUTES & BOTTLES ¨DISCO + NEON LIGHTS ¨CONFETTI SHOWERS ¨PHOTO WALL ¨300-INCH VIDEO WALL & 5 MASSIVE SCREENS We're not just a bar-we are Seattle's premiere showbar, where the best entertainers and the wildest parties live.

Ring in 2026 at PINK PONY DISCO every moment is a showstopper.

Queer Crafting Date: Sunday, January 4 Time: 1-2 p.m.

Venue: Black Dog Arts Cafe 8062 Railroad Ave, Snoqualmie, WA Looking for a welcoming, creative space to connect with fellow queer crafters? Join us for Create with Pride, where all identities, skill levels, and art forms are celebrated!

Whether you bring a project from home, want to learn something new, or just come for the vibes, we’ll provide an assortment of supplies and a space for community and inspiration. Share stories, swap skills, and make something beautiful, together.

All are welcome. Come as you are, create with Pride!

WeRise Wine Bar Drag Bingo with Queen Macy Marcs Date: Wednesday, January 7 Time: 7-9 p.m.

Venue: WeRise Wine Bar, 1913 2nd Ave, Seattle, WA Expect dazzling performances, sass for days, prizes that POP, and bingo balls flying faster than your ex's excuses. Whether you're a bingo buff or just in it for the glam, Macy Marcs is serving up laughs, looks, and lucky numbers all night long! ¨ Come for the bingo, stay for the DRAMA. ¨ Bring your friends and bring your fantasy-it&'s gonna be a FULL HOUSE. 1ST COME 1ST SERVED. Get there EARLY for seating. RSVP WeRise Wines Sip & Celebrate: LGBTQ+ Winemakers Happy Hour Date: Thursday, January 8 Time: 6-8 p.m.

Venue: WeRise Wine Bar, 1913 2nd Ave, Seattle, WA Description Join us for a warm, welcoming evening celebrating LGBTQ+ winemakers and the wines that uplift and connect our community. Guests will be greeted with a complimentary welcome wine taste and a

light bite to set the tone for a relaxed, joyful gathering. Additional food and drink options will be available for purchase throughout the evening. Come raise a glass, meet fellow wine lovers, and celebrate the creativity and craftsmanship of LGBTQ+ voices in wine. Cheers! GSBA Members: Free with code GSBAFREE at checkout General Public: $10 Capacity: Limited to 30 guests Reserve Your Spot Queerness and Opera Date: Tuesdays, January 20-February 17 Time: 6:30 p.m.-8pm, (5 Sessions) Venue: Seattle Opera Online Class, Online via Zoom Admissions: $150 Sliding Scale Fee (plus tax) or 1 Flex Pass Credit From queer composers such as Britten and Tchaikovsky, to gender-expansive traditions in opera and queer interpretations of traditional operas, learn more about the long-standing role of queerness in opera both historically and today.

'The Nature of Our Times' Reading w/ Contributors Date: Wednesday, January 14 Time: 7-8 p.m.

Venue: The Elliott Bay Book Company 1521 10th Avenue Seattle, WA 98122 Co-presented by the UW EarthLab, join editors and contributors of The Nature of Our Times: Poems on America's Lands, Waters, Wildlife, and Other Natural Wonders, which gathers 210 voices from the arts, ecology, academia, and Indigenous communities from North America giving witness to how nature shapes our lives and how we can shape the future. This event will include an introduction from Phillip Levin, Director of United by Nature and Interim Executive Director of EarthLab at UW as well as readings from the anthology's co-editor David Hassler and contributors Derek Sheffield, Phillip Levin, ChingIn Chen, Kelli Russell Agodon, Lara Volski, and Patrick Dixon.

SPD LGBTQ+ Community Advisory Council Date: Wednesday, January 14 Time: 6-8 p.m.

Venue: 1620 12th Ave (12th Ave Arts building 2nd floor, Seattle, WA Mourning Sickness Presents: Showgirls Date: January 17-18 Time: 7:30-11 p.m.

Venue: Northwest Film Forum, 1515 12th Ave, Seattle, WA

JA NUARY 2026

Admissions: $11.00 - $16.00 Seattle's bird-brain bombshell Monday Mourning is ready to take your divine fixation with cult cinema to new heights, joining forces with Northwest Film Forum for MOURNING SICKNESS: a quarterly showcase of essential cult & camp classics, dusted off from the Hollywood archives and resurrected on the silver screen, featuring pre-show drag entertainment that will leave you looking camp right in the eye.

Dive into the neon-lit, over-the-top world of gritty Las Vegas strip clubs and glitzy hotel shows in Paul Verhoeven's audacious masterpiece that twirls a piqué turn between camp and cult. Elizabeth Berkley radiates as Nomi Malone, embodying ambition and resilience in a role that's as infamous as it is controversial. Amid the dark underbelly of Las Vegas entertainment, her relentless pursuit of success, fueled by a cutthroat rivalry and an insatiable appetite for the limelight (and Doggy Chow), sets her on a journey where everything that glitters isn't gold – but it's undeniably Versayce.

Dungeons & Drag Queens Date: Friday, January 23 Time: 7 p.m.

Venue: The Crocodile, 2505 First Ave., Seattle, WA LIMITED FIRST COME FIRST SERVE SEATING AVAILABLE ECA Special Engagement: Pink Martini, featuring Storm Large Date: Tuesday, January 27 Time: 7:30 p.m.

Venue: Edmonds Center for the Arts, 410 4th Ave N, Edmonds, WA Drawing inspiration from music from all over the world, crossing genres of classical, jazz and old-fashioned pop, Thomas Lauderdale founded the little orchestra. Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks.

Twenty years later, Pink Martini still tours the world, singing in 22 languages at opera houses, concert halls, film festivals, museums, and fashion shows. In 2014, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.

PINK MARTINI IS A ROLLICKING AROUND-THE-WORLD MUSICAL ADVENTURE ¦ IF THE UNITED NATIONS HAD A HOUSE BAND IN 1962, HOPEFULLY WE'D BE THAT BAND.“THOMAS LAUDERDALE, BANDLEADER/PIANIST

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