a&e features
‘In between the lines’
Longtime out rocker on major change, new music and industry sexism
Melissa Etheridge combined a rootsy yet tech-savvy approach to her first independent album ‘I am M.E.,’ her 13th studio album. (Photos by John Tsiavis)
This is M.E. Tour
With Alexander Cardinale
Tuesday, 8 p.m. (doors 6:30)
$77.25-99.75
Lincoln Theatre
1215 U St., N.W.
On a rare night home in Los Angeles just a week into her fall tour, long-time out rocker Melissa Etheridge caught up with Washington Blade by phone. Her current “This is M.E. Tour,” which kicked off Nov. 2 in Mashantucket, Conn., comes to Washington next week.
Touring behind her Sept. 30 album of the same name, Etheridge, on the eve of a Sunday night performance at the National Radio Hall of Fame Induction Ceremony, was candid on a wide spate of topics. Her comments have been slightly edited for length.
WASHINGTON BLADE: The new album feels very textured — more loops, some big, crunchy sounds. Is it hard to discern how far to go with that in the studio?
MELISSA ETHERIDGE: No. I have a rule with all the producers. I tell them right up front, I say, “Look, I’m a live artist, so I need to be able to do whatever they hear on the record live.” Now, not every little huge 10-guitar part or something but my voice, the song, the beat, they have to be able to enjoy that live and I have to be able to do it. Jon Levine (Nelly Furtado, Selena Gomez) was really great at keeping it there and Jerry Wonda (the Fugees, Mary J. Blige, Akon) was so amazing because we created it from the ground up live. … And now he’s performing it with me, so it’s really fun.
BLADE: Are those sounds difficult to replicate on stage?
ETHERIDGE: I told my drummer he can use triggers so it sounds like the record, but he has to hit it. It can’t be a loop because if I want to stop and do anything live, I have to be able to stop. You can do that with stems and take those sounds and put them in the pads so he’s playing live drums but he’s adding the sounds from the pads.
BLADE: I loved the vintage footage in the new video for “Take My Number.” Was that your idea?
ETHERIDGE: That was mine and the director, Dale. When I was making this record, I had just gone through about six months of thinking I was going to put out a box set of old stuff that no one had ever seen or heard, so I went into my attic — actually a storage space like we all have out here in California — and started going through boxes and finding all these old pictures and things. … I wanted to share some of that with my fans and I wanted them to have the feeling I had looking at it of, “Oh my God, it really has been 30 years since I’ve been doing it here in California, wow.” It fit because there’s also a lot of reminiscing in the song.
BLADE: So is the box set on ice for now?
ETHERIDGE: Yes, because right when I was about to finish it I went through this — well it was akin to the emotional and personal change that I went through about 10 years ago, I went through that again last year with my business self so last year I changed management, my record company and everything. … So when I realized I wasn’t going to make any money on the box set, Universal would make it all because they own all the masters, I started thinking, “How can I not make money on the things that I did?” So we put that away for now. Sometime I will present it when I’m not looking at it as a way to make money but just as a thing that I can release to people and share.
BLADE: Sounds like some drastic changes. Were you afraid of burning bridges?
ETHERIDGE: I have worked with some of these people for 25-30 years and I’d had relationships with them my whole career. There are some wonderful, hard-working, amazing people who obviously got me to an amazing place in my life and career and I’m so grateful and thankful for them. But it’s a different industry out there enow. The artist has more control and more power and if you can do it live, if you can bring it, if you can be real and consistently bring it, that’s worth something and you can own your own music and cultivate your social media and career, so I’m very excited about what I’m doing right now.
BLADE: You said in one recent interview that you flatlined after the last album, “4th Street Feeling” (2012). What did you mean?
ETHERIDGE: Well, I had done two or three or four tours in a row where I kind of played to the same number of people. They were wonderful shows and there are people, whether I’m on the radio station or not, there are people who if you put a show for sale in a certain town, those people are going to come see me because they have a great time. Those are my fans that I love and I couldn’t be me without them. But I also think there’s a lot of people out there in the world who, if given the chance, I’d like to think would also enjoy the music and I felt I wasn’t reaching those people. I didn’t want to be comfortable. I wanted to challenge myself and see if I could reach more people and see if I could get more people interested in this crazy thing called rock and roll.
BLADE: It irks the shit out of me in Rolling Stone when they review albums by women rockers and even when it’s a fairly positive review overall, they’ll get in these little digs and say stuff like, “She’s better when she reins in her over-the-top tendencies.” They never say shit like that about Springsteen or Steven Tyler (Aerosmith) or the male rockers. Are you kidding me? Rein it in? It’s fucking rock and roll. They can only stomach women rockers if they keep it safe and “rein it in.” Do you feel it’s sexist?
ETHERIDGE: You know Joey, sometimes I think you are the little devil on my shoulder. You know, like there’s an angel over here and a devil over here because it’s like you know the little funny things in my life that are kind of buttons for me. You have that sense of justice that I have that sometimes gets me in trouble like we did last time (comments Etheridge made in a 2013 Blade interview about Angelina Jolie went viral). But I made an oath to myself a long time ago, like 20 years ago, that I would always answer truthfully what was asked of me. I answered truthfully and I do not regret that at all. It opened up some amazing conversations, not just with me but across the nation, so it’s all good. But yes, back to Rolling Stone. My wife so gently just sort of, you know, pats me on the head and says, “Oh honey, don’t let …” because, yeah, I think those things. Why do they call it histrionic on me yet I’m singing the exact same type of thing Steven Tyler sings and you said it exactly. My rock heroes were people like Robert Plant, and he was up there singing like Janis Joplin who stood up there and sang like a black woman. It’s soul. And I mean “Dude (Looks Like a Lady),” Steven Tyler presents like the male androgyny yet when I showed up on this end of androgyny it was like, “Whoah, wait a minute, there’s something uncomfortable about it” and it’s taken them a long time. But I’m being patient now. I believe that they will all understand that part of themselves and that a stronger older female is not strange. It’s actually a very ancient part of culture that we sort of let go.
BLADE: The coverage of women rockers often feels so grudging. There’s the old boys club like U2, the Stones, Bob Dylan — and I’m certainly not suggesting these acts aren’t deserving — but they fart and Rolling Stone gives them a four- or five-star review. When you or Sheryl Crow or people like that are profiled, they want to talk about your family, your kids, who you’re dating, this whole domestic thing. The male rockers get a little of that but it’s so out of proportion. Does this bother you?
ETHERIDGE: Well, it doesn’t bother me but it is one of the reasons I made the album that I made. There’s a song on it called “All the Way Home” that was banned from being played in Barnes & Noble, right? So Barnes & Noble, bless their hearts, wanted to play the album in their stores but they said they wouldn’t play that song. It’s too lusty, it’s too “I got lightening in my eyes and a fire down below.” I just get all naughty on this album because I think that’s so much of what rock and roll is. Rock and roll comes from that black woman who’s singing naughty songs that we’re not supposed to hear. But we’re under our sheets listening to her sing. That’s rock and roll and it’s easy for me to represent that. That’s why I have the band I have now, it’s a more soulful band. That’s where I was with making this album. Even though it’s more technical, it’s like the roots of rock and roll but with technology, with purpose.
BLADE: So many veteran acts just keeping milking the hits on endless tour and maybe they put out an album six or eight years ago, maybe not. You’ve kept them coming every two years or so. Are you just the kind of songwriter who would go crazy without some outlet? How do you keep that drive when the money is all in touring?
ETHERIDGE: Oh yeah, people have told me it might be better if I went away for awhile. And I went like, “I don’t want to go away. What do you mean go away? This is what I am, this is what I do.” Even my mother a few years ago, she said, “Don’t let people think this comes too easily for you.” I’m like, “Why not? This is what I do, what I love.” I love to write songs about the human experience that I’m having and I love to get on stage and say, “Oh my God, did you feel this? Can you relate to this? Can we exchange this energy?” … It’s just amazing. I love doing it.
BLADE: You often put six or eight cuts from the new album in your show. Do you sense your fans are OK with that as long as you hit the staples like “Come to My Window” and “Bring Me Some Water”?
ETHERIDGE: Right. This tour was sort of a gamble for me but one I really, really believed in because I see my fan base, the ones who come out and yes, of course, they love “Come to My Window,” they love “I’m the Only One,” and thank goodness there’s those six or seven songs that they know I’m going to play. We have a great time and I love those songs, I’m so grateful for those songs. And then the rest is my choice. It might be the kind of tour where I dig a little deeper in my catalogue and pull out deeper album cuts and they’re like, “Oh, she did this song, this night,” that’s great. I love doing that. But every now and then an album comes along — and actually I haven’t really felt this strongly about one since the mid-‘90s — but I feel so strongly about the music that I play so much of the new album because I really do believe the audience will enjoy it. I believe there will be enough people who have listened to the album that they’re going to lose their minds and the other people are gonna want to go home and buy it. I’m rolling the dice on that, but I feel really confident.
BLADE: Covers albums are all the rage this season — Bryan Adams, Bette Midler, Aretha Franklin. What song would you love to cover someday?
ETHERIDGE: My whole childhood like from 13 to 27, I sang other people’s songs all the time. Something crazy rock and roll like “Mississippi Queen” (Mountain) or Springsteen “Darkness on the Edge of Town.”
BLADE: You’re not one of these artists whose stuff has been anthologized to death with these ICON CDs you see at Target and all that. Is Island going to start that now that you’re gone?
ETHERIDGE: It will be something that’s not much in my control, yeah. I haven’t ever pushed for that kind of thing because I love the feeling of being sort of a little bit underground. Even though I’m successful, always being a bit on the outside. The box gets full and falls over and I’m still there outside the box so then I’m on the beginning of the next thing. I stay in between the lines and I like it there. I love it.
Melissa Etheridge says singing live is ‘just amazing. I love doing it.’ (Photo by John Tsiavis)
a&e features
MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
a&e features
Visible and unapologetic: MAL brings the kink this weekend
Busy lineup includes dances, pups, super heroes, and more
MLK Weekend in D.C. brings the annual Mid-Atlantic Leather (MAL) Weekend. Just a short walk from where Congress has been attacking queer Americans this year, MAL takes place at the Hyatt Regency Washington for several days of intrigue, excitement, leather, and kink.
The Centaur Motorcycle Club — one of several similar groups dedicated to leather in the country — has been hosting MAL in its current form for more than 40 years. Originally a small gathering of like-minded people interested in the leather lifestyle, MAL has grown to include a full four days of events, taking place onsite at the Hyatt Regency Washington (400 New Jersey Ave., N.W.). Select partner happenings take place each night, and many more non-affiliated events are scattered across the DMV in honor of and inspired by MAL.
MAL Weekend has become an internationally renowned event that celebrates fetish culture, yet it also raises funds for LGBTQ organizations, “reinforcing its legacy as both a cultural and philanthropic cornerstone of the global leather community,” according to MAL organizers.
During the day, MAL events at the Hyatt include workshops, social gatherings, shopping, and other in-person engagements for the community.
“The Hyatt underwent an extensive top to bottom renovation after last year’s event,” says Jeffrey LeGrand-Douglass, the event chair. The lobby, meeting spaces, guest rooms, and other areas have been updated, he notes, “so I am very excited for our guests to experience the new design and layout for the first time. And of course as with every year, we look forward to the contest on Sunday afternoon and seeing who will become our new Mr. MAL.”
In the evening, MAL hands the reins to partner KINETIC Presents, the D.C.-based nightlife production company. KINETIC will host four consecutive nights of high-production events that fuse cutting-edge music, immersive environments, and performance. This year, KINETIC is popping open doors to new-to-MAL venues, international collabs, play zones, and a diverse lineup.
According to KINETIC managing partner Zach Renovátes, 2026 is the most extensive MAL production to date. “The talent lineup is unreal: an all-star roster of international DJs, plus drag superstar performances at the Saturday main event,” he says.
Renovátes added that he’s “most excited about the collaborations happening all weekend — from bringing in MACHO from WE Party Madrid, to teaming up with local leather groups, to nonprofit partners, and Masc Diva [a queer nightlife collective].”
Official MAL events begin on Thursday with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. at the Hyatt.
Thursday night is also the KINETIC kickoff party, called LUST. Running 10 p.m. – 3 a.m., it’s being held at District Eagle. DJ Jay Garcia holds it down on the first floor, while DJ Mitch Ferrino spins in the expansive upstairs. LUST features special performances from the performers including Serg Shepard, Arrow, Chase, and Masterpiece.
Renovátes notes that the LUST opening party at District Eagle coincides with the bar’s grand re-opening weekend. The bar will unveil its new permanent home on the renovated second floor. “it felt like the perfect place to start Mid-Atlantic Leather weekend — right in D.C.’s only dedicated home for kink communities,” he says.
After Thursday night, Friday is when daytime events begin at the Hyatt. The Exhibit Hall, on the ballroom level below the lobby, hosts upwards of 30 vendors, exhibitors, and booths with leather goods, fetish wear, clothes, toys, other accessories, providing hours of time to shop and connect with attendees and business owners. The Exhibit Hall will be open on Friday from 4-10 p.m., as well as on Saturday and Sunday afternoons.
DC Health is once again back at MAL, to provide preventative health services. In the past, DC Health has provided MPox vaccines, Doxy PEP, HIV testing, Narcan kits, and fentanyl test strips. This booth will be open on Friday 4-10 p.m.
Later, at 6 p.m., the Centaur MC is holding its welcome reception on the ballroom floor. After the Centaur’s Welcome Reception, the MIR Rubber Social is 8-11 p.m. A Recovery Meeting is scheduled at 10 p.m.
Many attendees enjoy visiting the guest room levels of the hotel. Note that to get in an elevator up to a hotel room, a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.
Friday night, for the first time, KINETIC Presents is joining forces with WE Party to bring MACHO to Washington, D.C. This official MAL Friday event delivers two stages and two genres. On the UNCUT XXL stage, international Brazilian circuit superstars Erik Vilar and Anne Louise bring their signature high-energy sound. On the MACHO stage, Madrid’s Charly is joined by Chicago’s tech-house force, Karsten Sollors, for a blend of techno and tech house. UNCUT also features the XL Play Zone, a massive, immersive space exclusive to this event. The party takes place at the Berhta space from 10 p.m.-4 a.m..
“This year we’re bringing back the two-room format we debuted at WorldPride for both Friday and Saturday, so attendees can really tailor their experience — whether they’re in the mood for circuit or tech house.” says Renovátes.
Directly after Friday’s UNCUT XXL, UNDERWORLD Afters takes over District Eagle, from 3:30-8 a.m. International DJ Eliad Cohen commands the music.
Saturday, the Exhibit Hall opens earlier, at 11 a.m.. DC Health will also be back from 11 a.m. to 6 p.m.
Saturday is also time for one of the most anticipated events, the Puppy Mosh, running from 11 a.m. to 1 p.m. During the event, pup culture comes to life, when pups, handlers, and friends can enjoy an inclusive, safe pup zone. There is also a Recovery Meeting at 11 a.m., and the IML Judges Announcement takes place at noon.
The popular Super Hero Meet Up will be held 1:30 p.m. – 3 p.m., sponsored by One Magical Weekend, for cosplayers, comic enthusiasts, and their friends.
From 2-6 p.m., the Onyx Fashion Show will take place to showcase and highlight people of color in leather.
Finally, the Leather Cocktail Party – the original event of MAL – will be held 7-9 p.m. in the Ballroom. While this requires special tickets to attend, at 9 p.m. is the MAL cocktail party, which is open to wider attendees.
The last event of Saturday leaves the hotel, again a partnership with KINETIC. Kicking off at 10 p.m. and running until 4 a.m., it’s just the second time that KINETIC’s Saturday night party is an official MAL event and serves as the main weekend engagement.
Saturday night’s centerpiece is called KINK: Double Trouble. The night will feature a first-ever back-to-back set from international electronic music icons Nina Flowers and Alex Acosta on the Circuit/Tribal Stage. The other room – the Tech House Stage – curated by The Carry Nation and Rose, provides a darker, underground counterpoint, reinforcing the event’s musical depth and edge.
Beyond the DJs, KINETIC has called in the big shots for this party: “RuPaul’s Drag Race” legends Nymphia Wind and Plastique Tiara are set to headline. The party also takes place at Berhta.
Sunday, back at the hotel, there will be another Recovery Meeting at 10 a.m., and the Exhibit Hall opens again from 11 a.m.-5 p.m.
At 1 p.m., the anticipated and prestigious Mr. MAL Contest that celebrates the achievements of the leather community will be held in the Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. Sash and title winners must be (1) male, (2), a resident of North America, (3) At least 21 years of age; and (4) self-identify as gay. The first Mr. MAL was crowned in 1985. The Winner of Mr. MAL has the privilege of later competing in International Mr. Leather (IML) in Chicago on Memorial Day Weekend 2025.
From 4 p.m. to 12 a.m., MAL will hold its Game Night for the gaymers in attendance. There will also be a special screening of A24’s new film, “Pillion,” about a man who is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.
Sunday closes with a community partner event produced by Masc Diva, featuring Horse Meat Disco with support from Coach Chris, at A.I. Warehouse in the Union Market district. It’s the same team that produced HMD during WorldPride at A.I. Warehouse.
Note that there are several types of passes for attendance to the hotel and parties. KINK VIP Weekend Passes include express entry, VIP areas, and enhanced amenities throughout the weekend, while MAL Full Weekend Package holders receive access to the official Sunday closing event.
At last year’s MAL events, KINETIC Presents raised more $150,000 for LGBTQ charities, and expects to match or exceed that impact in 2026.
Renovátes stated that “now more than ever, it’s important to create safe, affirming spaces for our community — but it’s just as important to be visible and unapologetic. We want to make it clear that the LGBTQ+ and leather communities aren’t going anywhere. We’ve fought too long and too hard to ever feel like we have to shrink ourselves again, no matter what the political climate looks like.”
In addition to the KINETIC events, various LGBTQ bars will hold parties celebrating the theme of the weekend. For example, Kiki, located on U Street NW, is hosting a party called KINKI, hosted by DJ Dez, on Saturday night. Sister bar Shakiki, on 9th Street NW, is hosting a party called Railed Out, a fetish-inspired party that features a play zone, on Thursday night. Flash, on U Street NW, will hold its infamous Flashy Sunday party to close out the weekend.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
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