FIFA has announced Saudi Arabia will host the 2034 World Cup, despite concerns over its human rights record that includes the death penalty for homosexuality.

The Associated Press reported FIFA confirmed the decision on Dec. 18. The AP noted Saudi Arabia is the only country that bid to host the 2034 World Cup.

“This is a historic moment for Saudi Arabia and a dream come true for all our 32 million people who simply love the game,” said Sport Minister Prince Abdulaziz bin Turki Al- Faisal, who is also president of the Saudi Olympic and Paralympic Committee, in a statement the Saudi Press Agency posted to its website.

Saudi Arabia is among the handful of countries in which consensual same-sex sexual relations remain punishable by death.

A U.S. intelligence report concluded Saudi Crown Prince Mohammed bin Salman “likely approved” the murder of Jamal Khashoggi, a Washington Post columnist, inside the Saudi Consulate in Istanbul in 2018. A federal judge in 2022 dismissed a lawsuit against Prince Mohammed after the Biden-Harris administration said he was immune to the lawsuit because he is the country’s prime minister.

Human rights activists have also criticized the Saudi government over the treatment of women, migrant workers, and other groups in the country.

“No one should be surprised by this,” Cyd Zeigler, Jr., co-founder of Outsports.com, an LGBTQ sports website, told the Washington Blade in an email after FIFA confirmed Saudi Arabia will host the 2034 World Cup. “FIFA, the International Olympic Committee, and many other world governing bodies routinely turn to authoritarian countries with terrible human-rights records to host major sporting events. There are simply few other countries willing to spend the billions of dollars it takes to build the needed infrastructure.”

Peter Tatchell, a long-time LGBTQ+ activist from the U.K. who is director of the Peter Tatchell Foundation, in a statement described FIFA’s decision as “a betrayal of the values that football should stand for: Inclusivity, fairness, and respect for human rights.”

“This is not about football; it’s about sportswashing,” said Tatchell. “The Saudi regime is using the World Cup to launder its international image and distract from its brutal abuses. By granting them this platform, FIFA is complicit in whitewashing their crimes.”

Qatar, which borders Saudi Arabia, hosted the 2022 World Cup.

Consensual same-sex sexual relations remain criminalized in Qatar.

“Saudi Arabia was the only country to bid for the 2034 FIFA World Cup,” said Zeigler. “So, until FIFA, the IOC (International Olympic Committee) and other governing bodies ban major human-rights violators from hosting, we’ll continue to see events like this in Saudi Arabia, China, Qatar, and other countries with terrible LGBTQ rights issues.”

The Blade has reached out to FIFA and the Saudi government for comment.

Awards season arrived earlier this week with the announcement of the 2025 Golden Globes, which takes place on Jan. 5, airing on CBS and streaming on Paramount +. Several LGBTQ actors are over the moon to be nominated. 

Trans queer actress Karla Sofía Gascón was nominated for Best Female Actor in a Musical or Comedy, for the musical “Emilia Pérez,” making her the first out trans woman to be nominated for Lead Actress in a film category. 

The riveting film, which tells the tale of a cartel leader who transitions to a trans woman, has received numerous Globes noms, for Best Motion Picture (musical or comedy), acting (for Selena Gomez and Zoe Saldaña), Jacques Audiard for Best Director (Motion Picture), Best Screenplay (Motion Picture), Best Original Score, and two nominations for Best Original Song.

“This has been an overwhelming morning,” acknowledged Gascón in a Netflix statement. “Tears filled my eyes when I heard the news. I want to thank all the members of the Golden Globes for this nomination. It’s incredible to be recognized alongside my costars. I’m so grateful to Jacques for the gift of Emilia. We couldn’t have created the world of ‘EMILIA PÉREZ’ without the amazing artistic technical team on the film. Thank you to Netflix and to all of you who support me and live with my successes as if they were yours. This nomination gives me hope for humanity.”

Bisexual actor Richard Gadd has been nominated for best television male actor in a limited series, anthology series or television motion picture for his hit Netflix series, “Baby Reindeer.”  

In a prepared Netflix statement he said: “I am beyond thrilled that ‘Baby Reindeer’ has been nominated for 3 Golden Globes. Almost every year, I have watched the event, hoping that one day I might be there in the audience, sitting amongst the industry’s finest, getting roasted on an international scale. So it is a dream come true. Thanks to the Hollywood Foreign Press for all they have done in championing the show.”

Gadd offered his “sincere gratitude” to Netflix for “taking a chance” on greenlighting the series, as well as Clerkenwell Films for their “enormous efforts” in producing it.

“And all the amazing cast and crew who worked tirelessly to bring the best version of the series to screen, a special shout out to my incredible team who I have the joy and privilege of working with every single day too. Whatever happens on the 5th of January, I cannot think of a better way to start the year. Javier Bardem, I’m coming for a photograph!”

Gadd is up against gay stars Cooper Koch for “Monsters: The Lyle and Erik Menendez Story” and Andrew Scott for “Ripley.” 

Noted Scott: “It was a true honor to bring Patricia Highsmith’s iconic literary character to life in this new way, to spar with the glorious Dakota Fanning and to work with a cast and crew of truly extraordinary talent. Thank you to the Golden Globes; I never dreamed murdering people on the Amalfi coast for a year would be recognized in this way. Grazie Mille.”

Also in the category are Colin Farrell (“The Penguin,”) Kevin Kline (“Disclaimer”), and Ewan McGregor (“A Gentleman in Moscow.”)

Gay castmate Jessica Gunning is also nominated for best supporting female actor-television.

“Wowza. Words can’t really do justice to how thrilled I am to be nominated for a Golden Globe for Best Supporting Actress alongside some of my idols as well no less! I think I might need someone to pinch me to check I’m not dreaming. Thank you so much to the Hollywood Foreign Press Association for this incredible honour, to the amazing cast and crew of Baby Reindeer, to Netflix and Clerkenwell Films, to my friends and family for all their support along the way. And a huge thanks of course to Richard, without whom none of this would even be possible. This genuinely is such an incredible honour and I can’t wait to be in LA in January… what a way to kick off 2025! Thank you.”

“Wicked’s” Cynthia Erivo was equally elated: “Now that my feet are hovering off the ground, I cannot even come close to properly expressing what this moment means to me. Not just because of this individual nomination but because I get to watch as this project and my ‘WICKED’ family is celebrated too. Being a part of this project has been a dream come true, and playing Elphaba, a woman who speaks to everyone who has ever felt like they don’t belong and lets them know they have the power to defy gravity, has been the honor of a lifetime.”

 Erivo’s best performance by a female actor in a musical or comedy nomination is the fourth for her — she earned her first nominations for best drama actress and best original song for the 2020 film “Harriet.” The British actress and singer also received a nom in 2022, for best actress in a limited series nomination, portraying Aretha Franklin in Nat Geo’s “Genius.”

She also sent heartfelt wishes to director Jon Chu and producer Marc Platt. “Thank you for entrusting me with her. Donna Langley, Peter Cramer and the entire Universal team, thank you for all of your love, care, collaboration and hard work. Jon, you and your wonderful dedication to this work, your love of cinema and storytelling and care for each one of us on your set is why we’re all experiencing this now, thank you.”

“Wicked” has several nominations, including Best Motion Picture (Musical or Comedy), Cinematic and Box Office Achievement and Ariana Grande-Butera for Best Supporting Female Actor.

 Addressing Grande-Butera, Erivo said: “My little sister, baby girl I love you. I’m so proud of you. You’re so deserving of this moment and I’m glad I get to share the seconds and the moments and the days and the years with you. This journey has been so unbelievably special, and I believe it is the company we have kept together that has made it as special as it has been and will continue to be. May there be many many more journeys to take both on and off screen, it is an honor to be able to hold your hand.”

Angelina Jolie is also nominated for best female actor-drama for “Maria,” the Maria Callas biopic. 

“Thank you to the Golden Globes for this honor,” she said in a Netflix statement. “I am humbled to be nominated alongside so many artists I deeply admire. I share this with my director, Pablo Larrain and all who were a part of making MARIA such a rewarding experience. It’s a privilege to have played Maria Callas and to be able to share her legacy with the world.”

Nonbinary star Emma D’Arcy also received a Globe nomination for Best TV Drama Actress for her work in HBO’s “House of the Dragon.”

“I feel completely delighted. This season felt very personal to me, and at times it was hard to make, so I’m really moved by this recognition. Making a show like this is the most extraordinary team effort — I’ll be honoured to represent my colleagues at the Globes in January.”

D’Arcy’s co-nominees are Kathy Bates (“Matlock”), Maya Erskine (“Mr. and Mrs. Smith”), Keira Knightley (“Black Doves”), Keri Russell (“The Diplomat”), and Anna Sawai (“Shōgun”).

Hannah Einbinder has now been nominated at the Golden Globes for all three seasons of “Hacks.”

“Getting to make ‘Hacks’ with the hardest working, most talented and lovely crew, saying words written by Paul Downs, Jen Statsky, and Lucia Aniello, looking into the eyes of Jean Smart and every actor on this show is a once in a lifetime, lightning in a bottle experience. I cherish this show so deeply and to be recognized for my work on it is a sincere honor.”

Luca Guadagnino is nominated for Best Motion Picture Musical or Comedy for “Challengers” as well as for Best Song. 

“I am so proud today to the Globes for the recognition and love for Daniel and Zendaya in both drama and comedy. I am in awe of their talent. To then share best picture and song nods with more people I love — Amy and Rachel, Trent and Atticus, it is a beautiful and wonderful thing and I am grateful.”  

Other LGBTQ highlights:

“Nickel Boys” and “Moana 2” were nominated for Best Motion Picture and feature queer actors Aunjanue Ellis-Taylor and Auli’i Cravalho.

“The Wild Robot,” which features queer actor Stephanie Hsu, is nominated for Best Motion Picture (Animated), Cinematic and Box Office Achievement, Best Original Score and Best Original Song.  Grammy-winning country-pop star Maren Morris, who identifies as bisexual, co-wrote and performed “Kiss the Sky.” 

Singer Miley Cyrus is nominated for Best Original Song for “Beautiful That Way” from “The Last Showgirl.”

Both Jodie Foster and Kali Reis are nominated for “True Detective: Night Country.” 

Colman Domingo is nominated for Best Performance by an Actor in a Motion Picture, Drama, for “Sing Sing.” 

In an awards season largely devoid of LGBTQ content, one movie asserts itself as the exception by its very title.

Much-anticipated after its Venice Film Festival premiere, and buoyed by the buzz around star Daniel Craig’s performance and its well-publicized sex scenes, Luca Guadagnino’s “Queer” has begun rolling into theaters. Naturally, queer cinema buffs are eager to see a move from the same filmmaker who delivered “Call Me By Your Name” and its leading man is arguably the sexiest of all the James Bonds – but if you’re expecting a feel-good story about LGBTQ Pride, this adaptation of a novella by famously countercultural “Beat era” writer William S. Burroughs is definitely not it. 

Its setting in 1950s Mexico City is enough to let you know that any queerness it presents for us is likely to be furtive, conducted in secrecy and shrouded in a sense of forbidden desire. Against this backdrop, brilliant-but-dissolute American William Lee (Craig) trolls the streets and clubs looking for sex, love, and connection among the other expatriates who gather nightly in the bars that cater to them. When a much-younger ex-Navy man named Eugene (Drew Starkey) catches his eye and seems responsive to his bold-but-clumsy flirtations, he becomes enamored – despite his own insecurities and his uncertainty over whether his new crush is even queer to begin with – and persists in his effort to get close to this much-younger fellow American.

There’s definitely a spark; the two move quickly from being mere drinking companions when an after-bar nightcap at his place turns into a naked overnight stay, and they become de facto lovers, though Eugene continues to maintain an emotional distance. Eventually, Lee proposes a trip together to find a rogue botanist (Leslie Manville) in South America and experiment with ayahuasca; the young man agrees, and the two set off to share an experience that may push the boundaries of their relationship – and their consciousness – further than either of them are prepared to go.

It’s not a particularly “story-oriented” film; the plot flows, almost like a stream of consciousness, through the repetitive patterns of daily existence, moving between concrete reality, jarring memory, and hallucinatory exaltation to approximate an inner narrative rather than propel an outer one. This reflects the similar fluctuation in Burroughs’s writing, but also takes the audience into the subjective experience of Lee – a fictionalized version of the author himself – and allows us to see the threads of consistent meaning that turn the hedonistic blur into a visceral reminder of the intensity with which life often takes place, especially when longing, desire, and loneliness are involved. Ultimately, the adaptation by screenwriter Justin Kuritzkes treats the material almost as a “meta-biopic” of Burroughs himself, a bittersweet and characteristically raw collection of impressionistic memories given narrative structure by the conceit of fiction.

In keeping with that choice, Craig delivers a masterful performance that succeeds in channeling the late author’s uniquely unfiltered personality while never feeling like an attempt at mimicry. The former 007 reminds us of the insightful talent that made him a star even before his run as the iconic super agent, discarding the familiar suave charisma for a nervous awkwardness that underscores Lee’s eternal sense of being an outsider, but conveying with equal clarity the euphoric heights and humiliating lows of his emotional and intellectual landscape. Already the winner of the National Board of Review’s Best Actor prize, it’s a star turn that anchors the film and helps it achieve the homage to Burroughs – an under appreciated pioneer and alternative icon for the queer community, though he reportedly once disowned what was then called the “Gay Rights Movement” by saying “I have never been gay a day in my life and I’m sure as hell not a part of any movement” – that it rightly intends to pay.

As the object of his affections, costar Starkey brings more than just his compelling yet somehow unconventional good looks to the mix. He makes Eugene at once an enigma and a familiar archetype of sensitive-yet-callow youth, a pleasure-seeker able to embrace and delight in the joys of the moment with full authenticity. He has a palpable chemistry with Craig, only enhanced by those much-touted sex scenes (which manage to leave little to the imagination without showing anything explicit) and makes us feel both the deep bond that forms between them and the pang of inevitable loss that comes along with it.

Other strong performances come from Jason Schwartzman (almost unrecognizable in body padding and makeup) as a queer compatriot and confidant of Lee’s, and Manville (also almost unrecognizable under her character’s visual design) as the doctor-turned-shaman who serves as gatekeeper on his quest for psychedelic enlightenment; the always-winning Drew Droege also scores in a memorable supporting turn. 

As for the direction, Guadagnino is at his best, guiding the actors through the story with insight and specificity while making sure his film gives them the best visual showcase to deliver it. Beautifully shot in a lush color palette on sumptuously designed sets, and composed with the visual eloquence of a painterly sensibility from start to finish, “Queer” very much evokes the big screen Technicolor aesthetic of the 1950s era in which it takes place, an effect that’s both reinforced by its romanticized international settings and jarringly contrasted by an anachronistic soundtrack that includes not only a distinctly contemporary-sounding score by Trent Reznor and Atticus Ross but numerous songs by artists like Nirvana, Prince, and New Order.

Yet excellent as it is, it’s a film that might disappoint some viewers. Though its name and its primary characters are queer, the “queerness” of the story has ultimately nothing to do with sexuality; for Burroughs, it was perhaps the way he saw through the madness of the world that set him apart from others, that kept him feeling alone in a crowd unless it was made up of the fellow “freaks” who were among his close circle. While “Queer” certainly offers plenty of celebratory, sex-positive scenes of intimacy, conveying a truth that the author knew first-hand, it also goes to the dark side, portraying Burroughs’s Gonzo lifestyle – including explicit scenes of drug use and seemingly endless appetite for alcohol – in all its matter-of-fact squalor. Some commentators have already pointed out the story’s echo of an old narrative trope, a “Death in Venice” style story of an aging gay man lured to despair by an obsession with a beautiful youth. If you’re after positive queer representation – or at least the generally expected kind – you’re not going to find that here, either.

Still, while such things may disturb our assumptions about what queer life – or any type of life, for that matter – is “supposed” to look like, they nevertheless represent a true lived experience, and truth is sometimes just as important as presentation. And “Queer” gives us plenty of beautiful moments, too, offsetting the ugly ones and often even turning them into something beautiful, too. That’s why, while it may not be the kind of inspirational call to arms many of us feel we need right now, it still earns our recommendation as one of the standout films of the year.

Queer Latin Dance L.A. hosted their Holiday Social on Saturday, celebrating their 10-year anniversary. Beginner and experienced dancers were welcomed to the night-long party that went from 8 p.m. to 1 a.m. The evening featured music by D.J. K Bunny and special performances. 

Arlene Santos, one of the cofounders of Queer Latin Dance L.A., said the group started when a friend who had visited Santos’ own studio invited her to teach at a meetup in North Hollywood. Through word of mouth, about 80 people showed up to the first meetup of what they called a ‘same-sex dance class.’ Chairs and tables had to be shuffled around to make space for dancing in the small, smoky dive bar.  

Santos told CALÓ News that people had driven to North Hollywood all the way from Diamond Bar and Orange County. When she suggested salsa studios closer to those travelers, they told her they didn’t feel welcome in other dance spaces. One of the reasons was that gender was more strictly enforced; attending men didn’t want to dance with other men and women weren’t welcome to try and lead. Same-sex dancing couples received uncomfortable stares from others and teachers used unnecessarily gendered language to refer to class members. 

“That’s something that I was guilty of 20 years ago when I was teaching,” Santos said. “I’d say, ‘okay, take the ladies and rotate.’ And now it’s something I would never even dream of saying because it doesn’t even make sense to me anymore. It’s not about ladies and gentlemen, [dancing] is about leaders and followers.”

The queer-specific dance scene has grown over the past 10 years, according to Santos, who said Queer Latin Dance L.A. cross-promotes with other groups and sends students with different schedules to places that are a better fit. The company has grown in their own ways as well. Now, a few former students have become instructors who lead the group’s very own competitive dance team. 

Santos said she’s hopeful about the years to come.  

“I just want the scene to keep growing and for these spaces to be around so that anyone can come and dance and feel like they’re in a safe space,” she said.

Saturday night featured a salsa class at 8 p.m., bachata lesson at 8:40 p.m., and dance performances at 10 p.m. more information can be found on their site

‘One Day I’ll Grow Up and Be a Beautiful Woman’
By Abi Maxwell
c.2024, Knopf
$28/307 pages

“How many times have I told you that…?”

How many times have you heard that? Probably so often that, well, you stopped listening. From your mother, when you were very small. From your teachers in school. From your supervisor, significant other, or best friend. As in the new memoir “One Day I’ll Grow Up and Be a Beautiful Woman” by Abi Maxwell, it came from a daughter.

When she was pregnant, Abi Maxwell took long walks in the New Hampshire woods near her home, rubbing her belly and talking to her unborn baby. She was sure she was going to have a girl but when the sonogram technician said otherwise, that was OK. Maxwell and her husband would have a son.

But almost from birth, their child was angry, fierce, and unhappy. Just getting dressed each morning was a trial. Going outside was often impossible. Autism was a possible diagnosis but more importantly, Maxwell wasn’t listening, and she admits it with some shame.

Her child had been saying, in so many ways, that she was a girl.

Once Maxwell realized it and acted accordingly, her daughter changed almost overnight, from an angry child to a calm one – though she still, understandably, had outbursts from the bullying behavior of her peers and some adults at school. Nearly every day, Greta (her new name) said she was teased, called by her former name, and told that she was a boy.

Maxwell had fought for special education for Greta, once autism was confirmed. Now she fought for Greta’s rights at school, and sometimes within her own family. The ACLU got involved. State laws were broken. Maxwell reminded anyone who’d listen that the suicide rate for trans kids was frighteningly high. Few in her town seemed to care.

Throughout her life, Maxwell had been in many other states and lived in other cities. New Hampshire used to feel as comforting as a warm blanket but suddenly, she knew they had to get away from it. Her “town that would not protect us.”

When you hold “One Day I’ll Grow Up and Be a Beautiful Woman,” you’ve got more than a memoir in your hands. You’ve also got a white-hot story that seethes with anger and rightful resentment, that wails for a hurt child, and rattles the bars of injustice. And yet, it coos over love of place, but in a confused manner, as if these things don’t belong together.

Author Abi Maxwell is honest with readers, taking full responsibility for not listening to what her preschooler was saying-not-saying, and she lets you see her emotions and her worst points. In the midst of her community-wide fight, she reveals how the discrimination Greta endured affected Maxwell’s marriage and her health – all of which give a reader the sense that they’re not being sold a tall tale. Read this book, and outrage becomes familiar enough that it’s yours, too. Read “One Day I’ll Grow Up and Be a Beautiful Woman,” and share it. This is a book you’ll tell others about.

The Blade may receive commissions from qualifying purchases made via this post.

In today’s world, it’s difficult to imagine that an opera singer could achieve the kind of international fame and popularity enjoyed by modern musical artists like Lady Gaga or Taylor Swift, yet that is exactly what Maria Callas did.

Possessed of a singular, inimitable, and often controversial vocal talent, she rose to the height of her profession and became a world-class artist, performing on international stages and moving within a circle that included the wealthiest, most influential and powerful people of her era. Her private life, which included a long-running affair with mega-rich Greek shipping magnate Aristotle Onassis and a reputation for temperament that matched or exceeded expectation for a diva of her stature, was the stuff of gossip columns, and her stature as an artist was such that any scandals that might have arisen there had little impact on her reputation for the millions of fans who adored her.

Even now, nearly 50 years after her untimely death (she was only 53) in 1977, her name is still spoken with reverence among those who belong to the still-potent “cult of personality” that made her an object of near-worship, and even if you’re not an opera fan, a listen to any of the magnificent recordings she left as her legacy is enough to help you understand why. Not only did the woman have a gift for singing, she had a way of inhabiting the music she sang so completely that it seemed to belong solely to her, as if it came fully formed into the world through her own being, no matter how many other great vocalists had sung it before.

Yet the Callas we meet in Pablo Larrain’s “Maria,” a speculative biographical fantasia about the final week in the diva’s tumultuous life that premiered in competition for the prestigious “Golden Lion” award at the 2024 Venice film festival and drops on Netflix Dec. 13 following a limited theatrical release, is but a comparative shadow of that once-renowned formidable persona. Her health failing, her voice diminished, and her mind drifting between morose contemplation of her decline and drug-addled delusions of returning to her former glory, she holds a reclusive and tenuous dominion over her Paris apartment, engaged in a power struggle with her overprotective house servants and stubbornly ignoring doctor’s orders by pushing herself to regain the transcendent voice that had brought her success, fame, and a personal power that had helped her endure the traumas of a childhood in the Axis-occupied Greece of World War II.

That’s just on the surface, however. As rendered by Angelina Jolie in a career-topping performance, the Callas of “Maria” feels fully worthy of the still-imperious demeanor she wields against the world. Far from surrendering to the tragic downward spiral into which she has become entangled, she shines from within with a courageous – which is not the same thing as “fearless” – sense of self that infuses her seemingly desperate efforts to reclaim her former glory (for herself, at least, if not for public approval) and makes her story a tale of self-actualization rather than the tragic “dance with death” it might appear to be through a surface perspective.

After all, in Larrain’s vision (and the exquisitely nuanced screenplay by Steven Knight), Callas is seeking not to recapture her fame and fortune – those are hers for life, already – but to reclaim her voice. As plainly shown by the life told in bold strokes via the flashbacks interwoven throughout the film, music has been the means for Callas to overcome the oppression of men and assert personal power over her own life. From the fascist soldiers to whom she was “pimped out” in her youth by her mother to the coarse-but-doting plutocrats that have attempted to “possess” her in adulthood, she has maintained agency over them all through the gift of her vocal talent. Now, with full knowledge and acceptance that the final chapter of her life is being written, she has chosen to hold the pen firmly in her hand, asserting ownership over her own life by composing the end of its narrative for herself. It’s an unconventional path that she chooses, but how many truly great spirits ever settle for being conventional?

Whether or not she was ultimately victorious in this goal – either in her real life or in Larrain’s imagined rendering of it – might be something viewers have to decide for themselves. It’s hardly the point, however; what “Maria” conveys, more than any definitive truth about its legendary subject, is a suggestion that what matters is the fight, not the winning of it, and that perhaps the “win” is in the fight itself. Beyond that, it finds a metaphor in the diva’s willing descent into hallucinatory fantasy for engaging in a direct relationship with that part of our own nature that feels divine – one which manifests itself in our lives through many forms, be it a character in a centuries-old opera, an imagined collaboration with the long-dead composer who created it, or a fresh-faced TV interviewer (who may or not be real) with a knack for asking the questions you don’t want to answer.

The element that has sparked the most buzz about Larrain’s film, of course, is the work of its star. Jolie, who trained to sing opera for seven months in preparation for the role (though she lip-syncs to recordings of the real Callas in flashbacks of the diva’s career highlights, it is her own voice we hear when she sings in the “present-day” scenes), doubtless brings some of her own experience to the table as a successful woman whose artistic triumphs always seem less important in the public eye than her personal relationships with men.

If so, it works beyond expectation, resulting in an old-school Hollywood star turn that dazzles us with its commitment to finding a human truth behind the veneer of glamour and moves us with the raw, unfiltered emotion she masterfully underplays throughout. Oscar talk is cheap, this early in “Awards Season,” but look for this performance to be a hot contender for a nod, and perhaps even a win.

Yet even if she’s the main attraction, “Maria” boasts plenty of excellence all around, from a superb supporting cast to the luminous cinematography of Edward Lachman, which bathes the movie’s sumptuous interiors in a palette of stained-glass colors to conjure the bittersweet nostalgia for a beautiful world as it slips away into oblivion. Knight’s intelligent script, crafted with the literary eloquence of a play, explores multiple facets of the diva’s life, while using it as a springboard into a meditation on loss, letting go, and embracing our own mortality even as we strive to touch the immortal. Finally, though, it’s Larrain’s direction that ties it all together, crafting a visually gorgeous, palpably intimate film that nevertheless delves deeply into some of the grandest aspects of our existence.

For opera lovers, of course, it’s a must-see. For the rest of us, it’s still a fascinating and deeply affecting film, addressing matters of life and death as vast as the ones that drove the timeless musical masterworks in which Callas made her name.

Look-alike contests are trending, so it was no shock that Preciosita–a monthly residency party from the creators of Preciosa Night–decided to host their own the day before Thanksgiving, otherwise known as “Blackout Wednesday.” 

Preciosita Night, a more intimate version of Preciosa Night that’s hosted monthly at The Virgil in Los Angeles, happens in between bigger Preciosa events to keep the party going, while planning for the next event. For the latest Preciosita night, Eden and Jay decided to host the first look-alike contest. 

To showcase the epitome that is Preciosa Night, they decided to go with one of the most established lesbian reggaeton artists of this generation: Young Miko.

With 7.8 million followers on Instagram, 22.9 million monthly listeners through Spotify and one of the most popular albums in 2024 “att”, Young Miko has become one of the most well-known female reggaeton rappers in the LGBTQ+ community, so it was no surprise that a Young Miko Look-alike Contest would draw in such a large crowd. 

During the contest, six contestants stepped up to showcase their best moves and fashion resembling the reggaeton star. In the end, it was a unanimous vote amongst the crowd who the winner was. 

Young Miko Look-Alike winner Daelyn Daniloff blows a kiss onstage during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024 (Photo Credit Adelyna Tirado)

Daelyn Daniloff, 27, was the last contestant to get up on stage, making the crowd go wild with applause. She won the grand prize of $20, a trophy and a vibrator.

“People come up to me all the time telling me I look like Young Miko. On the street, at work, even in my DM’s,” exclaimed the winner. “So when my friend Kendal saw this contest, she was like ‘Okay, we’re turning you into Young Miko and going!’”

Eden and Jay shared the guest count jumped from what was close to a sold out event, to the max capacity at the venue, which is 300 people. 

Considering how successful Preciosita’s first look-alike contest was, Eden and Jay have decided to continue the trend for the next and final Preciosa event of the year on New Year’s Eve. This time around, Preciosa will host a Karol G look-alike contest with a cash prize of $500.

Guests getting hyped for the Young Miko Look-Alike Contest during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024 (Photo Credit Adelyna Tirado)

Preciosa Night, created by healthy relationship influencers Eden and Jay Trevino, is a grass-roots movement dedicated toward combining culture, community, perreo, and queerness as nightlife events for Latinx, women loving women. Their events typically feature drag performances, queer Latinx DJs, photo opportunities and most importantly, they strive for a drama-free environment and embrace unity at every single event. 

“We preach that representation matters all the time at Preciosa Night,” said Jay. “Even though Young Miko is fairly new to the reggaeton scene, she is one of the few artists who’s out and proud and we thought it would be a great way to merge both worlds and have fun with it. Being queer and Latina, we don’t often get the representation we deserve.”

The event will take place at the Teragram Room in Downtown Los Angeles. Tickets are available now at www.preciosanight.com.

Eden Trevino (left) and Jay Trevino (right) pose for a portrait during Preciosita at The Virgil in Los Angeles on Wednesday, November 27, 2024. Eden and Jay are the creators of Preciosa and Preciosita Night. (Photo Credit Adelyna Tirado)

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When it comes to all-sing-and-dance musical productions, the Gay Men’s Chorus of Los Angeles never fails to pull out all the stops. The festive shows make the Top Twenty LA Holiday Events List annually and 2024 looks to be no exception.

The SugarPlum Fairies Holiday Concert is set to feature “some of the most magical music ever written, filled with sugar plums, rich chocolate, and pure fantasy.”

Audiences can expect the 200-strong chorus to perform 25 songs ranging from iconic Christmas classics to a modern twist on the festive ballet. The Nutcracker’s Dance of the Sugar Plum Fairies and Willy Wonka and the Chocolate Factory’s Pure Imagination are among the musical repertoire, while Dolly Parton’s Hard Candy Christmas and Sia’s Candy Cane Lane represent the new holiday cohort. 

“You’re going to hear some Christina Aguilera, you’re going to hear some old school [songs] from the 60s about candy, and you’re also going to hear some traditional music,” said choreographer, Ray Leeper. “Wonka is really hot right now, so you’re going to hear some of the the old Wonka and from the new movie.”

This year’s Christmas show promises to be a particularly special one, with the group celebrating its 45th anniversary of service and community. 

“Everything we do is because of the incredible support we get from our singing members, who have been giving their time, energy, commitment, and activism for over 45 years,” GMCLA Executive Director, Lou Spisto explained. 

The chorus continues to garner acclaim for artistic excellence while remaining deeply rooted in its service. For those who don’t know, GMCLA was founded in 1979 in the midst of the country’s gay rights movement. 

Members spread a message of love and acceptance, with programs like SugarPlum focusing just as much on social justice as they do show tunes. 

“The Gay Men’s Chorus of Los Angeles is well known for great music, great artistry, and great concerts that we do in these major venues around town–but it’s far more than that,” Spisto added.“Each year, we do around 43 events in high schools, community centers, and hospitals to be with our communities and support them… those who look like us and those who don’t. I’m so proud to say we’ve grown these projects over the last six years.”

Its award-winning school program Alive Music Project has served over 90,000 young people since its inception. AMP also offers an opportunity to enrich each school’s music education program, with Choral students invited to perform with GMCLA at the presentations.

Their Arts for Healing & Justice program provides introductory music classes for incarcerated youth in Los Angeles County’s juvenile correctional system. They join an interdisciplinary collaboration of outstanding organizations, providing exceptional arts programming to build resiliency and wellness, eliminate recidivism, and transform the juvenile justice system.

Concerts such as SugarPlum are helping to raise funds for this vital work on an annual basis. When the chorus isn’t working on ticketed events like their Christmas concert, their yearly free events help to expand community access even further. Past venues include the Hollywood Bowl, Walt Disney Concert Hall, and Pasadena Civic Auditorium. 

As for the immediate future, GMCLA’s hope is triumphing over hate. The result of this year’s presidential election is likely to affect California’s LGBTQ+ community in some way, but Spisto is only seeing upsides, not downsides. 

One such upside? Using SugarPlum as the perfect opportunity to celebrate Los Angeles’ vibrant queer community for the loud and proud individuals they are. 

“It’s an interesting time in our world today. GMCLA has been speaking loudly, singing loudly, and standing up for this community and others for decades, and we’re going to continue to do that,” said Spisto.

SugarPlum Fairies will be at the Saban Theatre, Beverly Hills on December 14 at 8pm and December 15 at 3:30pm. Buy tickets now at https://www.gmcla.org/sugarplumfairies. Prices range from $45-$125. If you want to support the Chorus’ ongoing educational work, you can make a donation at GMCLA.org/holidaygiving. Eligible donations of $120 or more–or new monthly donations of $10 or more–will receive an official GMCLA Holiday Sweatshirt as a thank-you gift. Donations must be made by December 31st to be eligible.

At 54 and single, comedian Adam Sank is as much a veteran of the gay dating scene and of the stage, so when he was challenged to put together his new show, he did what came natural: he mined his lifetime of hookups and dates gone wrong, for an hour of laughs.

Now he’s bringing that award-winning show, Bad Dates: A One-Man Show About Many Men, to Southern California for a pair of dates in Los Angeles and San Diego Dec 6-7.

“The show opens with me saying, ‘I’m 53 years old and single,’ and fortunately, I haven’t had to change the script in the last year and a half that I’ve been performing this,” Sank said with a wry smile over a Zoom call from his New York apartment.

If that sounds like a hint of bitterness about the single life coming through, Sank is quick to dismiss it. 

“I think there’s this notion in our culture, it’s sort of ingrained in us that if you’re not married, if you don’t find your person, you’re somehow lesser. You’re somehow leading a less full life,” Sank said. “It’s taken me a long time to be able to say I truly believe that’s bullshit.”

“Finding your person does not equal happiness and being single does not equal sadness,” he continued. 

Sank has been rising through the comedy trenches for twenty years. He says he got a late start in stand-up at age 32, after getting burned out working as a television news producer. Over the years, he’s competed on Last Comic Standing and appeared as a commentator on shows like I Love the 2000s and Best Week Ever. 

Bad Dates marks something of a departure, with a stronger focus on long-form narrative as Sank goes deeper into what a life spent single means. And it’s a departure that’s won him many plaudits from critics such as two Broadway World Cabaret Awards for the show’s original run at the Stonewall Inn in New York last summer.

“There’s a cost to spending your entire adult life searching for the one, the perfect love story, when we expend so much energy and time and resources into that one thing we neglect everything else,” he said.

But Bad Dates at least proves there’s one benefit to trudging through the dating trenches across decades: the stories. And boy, does Sank have stories. Twinks, injuries, being invited to orgies, not being invited to orgies–Sank’s dating life has proven a goldmine of hilarious material.

“We like hearing about any misfortune because we identify with so much of it and it makes us feel less alone. You know, I think a lot of people out there–especially people who are not necessarily young and single–relate to this show because they’re like, ‘Oh my God, I’m not the only one who has been through these situations,’” he said.

Which isn’t to say Sank doesn’t have those romantic notions. He’s just maybe become a bit more realistic about the pursuit of partnership.

“When I was younger, I don’t think I was ready. I think I had so much work I needed to do on myself, and I had this very false idea about what a relationship should look like and what it would do for me. I basically bought into the whole rom-com idea that you would meet your person and you would live happily ever after. And that’s just not true for anyone. Even if you have the world’s greatest relationship, you have to constantly be doing work on yourself and on your relationship to keep it going,” he said.

If Sank reveals any regret, it’s that he didn’t figure all that out sooner.

“I really need a guy in my age range who’s single and they’re almost always really damaged–which is why they’re still single at my age,” he said. “I’m sure I’m just as damaged as they are, but the point is, it’s a lot harder.”

Adam Sank’s solo show Bad Dates goes on at The Broadwater Main Stage, 1078 Lillian Way, Los Angeles, on Friday, December 6 at 9pm, and at the Diversionary Theatre, 4545 Park Boulevard #101, San Diego, on Saturday, December 7 at 7:30pm. Tickets here.

The re-election of Donald Trump as President of the United States has left many Americans uncertain about their future. And none more so than those in the LGBTQ+ community. In a country that so many had considered a home and safe refuge for life, the next few years are now filled instead with a feeling of “what happens next?”. 

For many, it has brought into sharp relief the simple question of whether Europe now offers a brighter path for their long-term future. Google searches for “Move to Europe” jumped by 226% in the week after the election, and have remained high since. 

But for those with careers, families and other ties in the United States, for whom a complete relocation isn’t an option, Golden Visa programs are proving to be a popular choice.  

“We’ve had a huge surge in enquiries since the election result” says Nathan Hadlock, Managing Director of Pela Terra – a Golden Visa investment fund in Portugal. “I’d say about 25% of those enquiries have come from the LGBTQ+ community.” 

“We’re speaking to people every day who suddenly feel like the security of a second passport and knowing they have the optionality second home in Europe, is invaluable” 

What is a Golden Visa? 

Common around the world (even the US has one!), Golden Visas typically provide a preferential pathway to a country’s passport in exchange for investment into the country. 

Most people who wish to gain a second passport would need to relocate to any given country, live there for 5-10 years consecutively and eventually become eligible for citizenship.

Golden Visa programs tend to short-circuit this in exchange for investment, allowing you to qualify for citizenship in Europe while continuing to live in the US. 

Portugal is the number one rated program globally, and only requires you to visit for 7 days a year for 5 years. After that, you can apply for a passport – at which point you have the right to live, work & retire in any European country for the rest of your life. 

How Does The Investment Side Work?

Citizenship is something that every country sees as sovereign, and the investment required to access it reflects this.

In Portugal’s program, the minimum investment is €500,000, or $530,000. That’s the bad news. 

The good news is that it is an investment. Choose wisely and you’ll not only get your money back along with your passport, you’ll also be able to earn some good returns in the meantime.

“People often mistake the word investment for cost” said Nathan Hadlock. “It’s only when we get them on the phone and explain that we’re targeting to give them a 7% return annually, as cash into their bank account, that they start to get it”. 

“Of course $530,000 is a lot of money for a passport. But if you’re earning $265,000 over 7 years and then getting the money back along with your citizenship… it starts to look like a pretty good deal.

Why Portugal’s Golden Visa Is Rated Number One

Regularly rated as the world’s top citizenship by investment program, there are three key characteristics which make Portugal’s Golden Visa so popular amongst American investors:

1. Minimal Residency Requirements: Spend just seven days a year in Portugal, allowing individuals to maintain ties to the U.S. while building their future in Europe
2. Path to Citizenship: After five years, investors can apply for a Portuguese passport, granting them access to the European Union’s 27 member states
3. Flexibility for Families: The program is inclusive, extending benefits to same-sex partners and dependents

Portugal: A Haven for LGBTQ+ Expats

Portugal has established itself as one of the most progressive countries in Europe for LGBTQ+ rights. From the legalization of same-sex marriage in 2010 to comprehensive anti-discrimination laws and legal gender recognition for transgender individuals, the country provides a supportive framework for LGBTQ+ residents and visitors alike.

Rated the 4th safest country in the world, the naturally welcoming culture includes a vibrant LGBTQ+ scene in both Lishon and Porto, the two largest cities. From inclusive neighborhoods like Príncipe Real to annual Pride events that draw global crowds, inclusiveness is celebrated everywhere. The nation’s warm hospitality and cultural richness create an ideal environment for LGBTQ+ individuals seeking a sense of belonging and security.

Golden Visas For Good

Until 2023, 95% of Golden Visa investment was funnelled into Real Estate investments. This short-sighted policy created house price inflation, leaving local teachers reportedly living in tents because they couldn’t afford rents in Lisbon. 

Thankfully the real estate option was shut down last year, and a few funds have pioneered a new “Golden Visas For Good” model in their wake. “When I arrived in Portugal from the US in 2018, I couldn’t believe all this foreign capital wasn’t being directed towards the common good” said Hadlock. “It felt like a wasted opportunity, but I’m proud to say we’re at the forefront of trying to change that”. 

Pela Terra is one of the funds leading the charge. Investor’s capital is used to buy olive and almond farms in the Alentego region of Portugal. The team then focuses on improving soil health on the land, allowing it to capture more carbon from the atmosphere and hold more water. Crucially, they also believe it’ll produce more nutritious food, meaning strong returns for investors. 

“We target a 7-9% annual return. It isn’t beating the S&P 500 most years, but we’re making investments into an incredibly durable asset class and prioritizing, above all else, the full preservation and return of your investment in Year 7. So beating inflation isn’t bad.” 

Conclusion

Portugal’s Golden Visa program is more than an investment; it’s a lifeline for LGBTQ+ Americans seeking a safer, freer future. By choosing partners like Pela Terra, investors can align their financial goals with their values, securing both their residency and a sustainable legacy.

If you’re considering your options, there’s no better time to act. Learn more about Pela Terra and take the first step toward securing your European future today.