A biographer of Christopher Isherwood once remarked that the legendary writer’s friends seemed to grow younger and younger the older he became. There was a detectable whiff of contempt in this observation, and it irked the hell out of me, since I had been one of those younger friends, one of the lucky souls who, in the late 1970s, found ourselves around Isherwood’s dinner table in his little house above Santa Monica Canyon. Sure, some of us were young, but every age of queer was represented.
What I found around that table was more than rich, mirthful conversation — about books, about movies, about sex — but a satisfying sense of intergenerational connection.
Just by sharing our stories we could discern where we were heading and where we had been. There was time travel involved, too, since Isherwood had known Somerset Maugham and E.M. Forster and had once even hidden...
What I found around that table was more than rich, mirthful conversation — about books, about movies, about sex — but a satisfying sense of intergenerational connection.
Just by sharing our stories we could discern where we were heading and where we had been. There was time travel involved, too, since Isherwood had known Somerset Maugham and E.M. Forster and had once even hidden...
- 6/21/2019
- by Armistead Maupin
- Variety Film + TV
Few fictional worlds have so meaningfully impacted the lives of Lgbtq Americans as Armistead Maupin’s “Tales of the City.” First serialized as a column in the San Francisco Chronicle, then produced as a groundbreaking 1993 PBS series, Maupin’s saga of a tight-knit Lgbtq community quartered at 28 Barbary Lane, home to Mary Ann Singleton and Anna Madrigal, was an early and beloved bellwether for contemporary queer life.
The television series returns this month in a 10-part Netflix reboot, and at Monday night’s New York City premiere, the series’ cast and creatives marked “Tales” as a triumph not just for the cherished characters of Barbary Lane, but for the Lgbtq writers and artists who conceived the sequel.
“To have an all-queer writers’ room, a group where nobody had to explain things, where the things that have all been in our heads, the experiences that we’ve all had growing up...
The television series returns this month in a 10-part Netflix reboot, and at Monday night’s New York City premiere, the series’ cast and creatives marked “Tales” as a triumph not just for the cherished characters of Barbary Lane, but for the Lgbtq writers and artists who conceived the sequel.
“To have an all-queer writers’ room, a group where nobody had to explain things, where the things that have all been in our heads, the experiences that we’ve all had growing up...
- 6/4/2019
- by Michael Appler
- Variety Film + TV
“We’re still people, aren’t we?” Anna Madrigal (Olympia Dukakis) asks at the beginning of the new installment of “Tales of the City. “Flawed, narcissistic… and doing our best.”
That’s as good a summation as any of the first 2019 episode of one of the most surprisingly resilient TV brands out there. Based on the writing of novelist and urban chronicler Armistead Maupin, “Tales of the City,” about a community of misfits finding one another in San Francisco, began its televised life as a 1993 miniseries; further installments arrived in 1998 and 2001. Eighteen years later, the show is back on Netflix, arriving in June after a premiere episode that screened, fittingly, at the San Francisco Film Festival April 10.
The series’s interesting trick is, now as it was then, capturing the action through the eyes of an outsider. Dukakis’s Anna Madrigal has the most potent wisdom, insight, and lived experience about life on the margins,...
That’s as good a summation as any of the first 2019 episode of one of the most surprisingly resilient TV brands out there. Based on the writing of novelist and urban chronicler Armistead Maupin, “Tales of the City,” about a community of misfits finding one another in San Francisco, began its televised life as a 1993 miniseries; further installments arrived in 1998 and 2001. Eighteen years later, the show is back on Netflix, arriving in June after a premiere episode that screened, fittingly, at the San Francisco Film Festival April 10.
The series’s interesting trick is, now as it was then, capturing the action through the eyes of an outsider. Dukakis’s Anna Madrigal has the most potent wisdom, insight, and lived experience about life on the margins,...
- 4/11/2019
- by Daniel D'Addario
- Variety Film + TV
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