New Doc Chronicles the Inspiring Story of Gay Politician Malcolm Kenyatta

New Doc Chronicles the Inspiring Story of Gay Politician Malcolm Kenyatta

This weekend, the groundbreaking new documentary Kenyatta: Do Not Wait Your Turn, which focuses on modern American politics, will premiere at Outfest in Los Angeles.

“When people close their eyes and say, Senator, a picture of me does not come up in their head, and that’s the problem, right?” the trailer for the film opens.

Part love story and part political thriller, the documentary follows Pennsylvania state Rep. Malcolm Kenyatta’s historic election campaign for the Democratic nomination for U.S. Senate in 2022.

As a Black gay man preparing for a position as illustrious as the Senate, the film examines the obstacles non-white candidates face. In addition, it addresses electability and its relationship with endorsements, fundraising, and media coverage.

“When you know what it’s like to be marginalized and treated unfairly simply because of who you are, I think you make a better legislator,” Kenyatta says during one scene in the film.

Kenyatta, 32, burst onto the political scene in 2018 and became prominent nationally when he stood in the way of Republicans’ attempts to perpetuate the false notion that the 2020 election was stolen from former president Donald Trump.

As one of 20 electors from Pennsylvania chosen to cast a vote for Joe Biden and Kamala Harris in the electoral college, Kenyatta vociferously defended his right to be heard and rejected the conspiracy theories put for by Republicans. His vocal opposition to attempted shenanigans garnered him much national media attention. In February 2021, he announced his candidacy for Pennsylvania’s U.S. Senate seat.

Tim Harris, the film’s director, has known Kenyatta for many years, returning to their time as college students at Temple University. He tells The Advocate that it’s equal parts impressive and surreal to have had the opportunity to document a friend’s political adventure.

“I was working on a student-run TV show called Temple Smash, which is Temple’s version of SNL,” Harris says. “And Malcolm was a host of one of the episodes. He had become fairly well known for doing poetry around campus but also being, you know, an activist at that point. “

He says he kept in touch with Kenyatta after graduation, and after they both lived in Philadelphia, where Kenyatta was involved in activism, he wanted to follow Kenyatta’s career, first shooting a short documentary about Kenyatta’s 2018 state office campaign.

Seeing Kenyatta on MSNBC and other networks in 2020, he approached him again with the idea of documenting the campaign, which turned into this film.

Despite Kenyatta rising star and growing name recognition — former president Barack Obama said with Kenyata’s election to the state legislature, “things have changed, having a brother in the state legislature with that haircut, that’s a change,” — he says he found it difficult to break through and gain household name recognition, which he ultimately blames for the failure of his campaign.

In battling the opposition, the self-described “poor, Black, and gay kid from North Philly” found he was up against more than his political competition. He was taking on the entire system as well.

Kenyatta and the producers of the documentary hope that audiences will appreciate the film’s message and that they will resonate with the material.

“In a time when a world is full of political cowards making laws to shut down or even kill our LGBTQ community, Malcolm is one of the bravest people I know,” executive producer and CEO of Xpedition Films Hunter Johnson tells The Advocate. “There is a great scene in the film when Malcolm is talking with a student and speaking about bravery being contagious. Our hope in making this film is that bravery will catch on, and more people will stand up.”

Kenyattaacknowledged the real threats to the community but highlighted the successes of LGBTQ individuals in politics and encouraged continued activism and engagement.

“I hope that [the film] feels like what this campaign was, which was a real love letter to Pennsylvania, and to all the people in our great Commonwealth and around the world who know what it means to be left out, left behind, counted out and ignored,” Kenyatta tells The Advocate.

He says that although he came up short in his Senate race, he hopes the film tells a story that needs to be told.

“I hope it elevates the issues and conversations that need to be had,” he says. “In so many ways, I felt like a winner, particularly in terms of the LGBTQ folks I meet, and my husband meets on an almost daily basis who say, ‘you know, I feel like I can because you did.’”

Kenyatta emphasized the importance of Democrats supporting each other and working towards building a government that works for working people. At the forefront, he says, is to ensure the proper representation of all people across every facet of American life.

“There was not an openly gay Black person that I ever imagined being on TV or politically engaged when I was growing up,” Kenyatta explains. “So we were traversing this path that no one had gone down before. And when you do that, the path is not well laid, but I think we did the first step of laying that path. Hopefully, we continue to see more and more and more LGBTQ folks first and foremost run, but also win.”

Kenyatta also expressed his gratitude for participating in successful campaigns for other candidates and hoped people would learn from his experience through the documentary.

Al Roker Entertainment produced the documentary, and Roker served as executive producer. The Today Show weatherman tells The Advocate the main reason he became involved in the film was to bring stories from various perspectives to viewers that would then allow them to expand their horizons.

“I really do believe that people fear what they don’t know and who they don’t know,” Roker says. “I think the more you can show that we’ve got so much more in common when you boil it down if you strip away all the catchphrases, I think on a personal basis, we feel differently about people and are more open to understanding them.”

“This was a story about breaking barriers, about moving into people who would have never thought about running for office not so long ago,” Roker adds.

Roker agrees that money is absolutely in control of modern politics, but he says that he believes that with the right candidate and the right social media platform, and the right message, anything is possible.

“In Malcolm’s case and in other politicians’ cases who have run grassroots campaigns and have been authentic and have been real, I think that in some cases does overcome money advantages if you have a message that resonates with people,” he says.

Roker has a message for anybody, particularly young Black or queer people, who might be mulling their political campaign.

“You just have to go out and do it,” Roker says. “Nobody wins by sitting on the sidelines. And guess what? You may not win, but you will have learned something about yourself. You will have learned something about your fellow Americans, and I think both will be better for it.”

Roker shares, “And if you have a message — and this is what I firmly believe — I think if you have a message of positivity and inclusion and what you want to do — not tearing down somebody else — what will you do? I think America’s ready for that. I think America’s hungry for that. On both sides.”

The film’s U.S. premiere is Saturday at Outfest at the Hollywood TCL Chinese 6 Theatres, with tickets still available. The event will feature a moderated panel with director Lee Daniels; Kenyatta’s husband, Matthew Miller; and Harris.

Watch the trailer for Kenyatta: Do Not Wait Your Turn below.

KENYATTA: DO NOT WAIT YOUR TURN (2023) trailer | BFI Flare

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Transgender Man's Killer Ordered to Rehab

Transgender Man's Killer Ordered to Rehab

Almost seven months after the fatal attack on Malte C., a transgender man, at a German LGBTQ+ Pride celebration, a German court has sentenced the attacker to five years of confinement.

A court in Münster, a town in northwest Germany, announced on Wednesday afternoon that a verdict had been reached in the trial of Nuradi A., a 21-year-old man who confessed to bashing the deceased victim.

Nuradi A. beat Malte C. in August after a Christopher Street Day celebration when the latter attempted to stand up for several women who were bothered by the defendant.

Malte C. died several days after the attack, having suffered a brain hemorrhage from the vicious beating.

The district court in Münster sentenced Nuradi A. to five years in prison.

Further, the court ordered the defendant to be placed in a rehabilitation center, the German news outlet Westfälische Nachrichtenreported.

The court found that the young man suffers from severe alcoholism and regularly self-medicates anxiety with cannabis and an unusually high amount of pregabalin, known in the U.S. as Lyrica. The medication is prescribed to treat pain from fibromyalgia or diabetic nerve pain. Lyrica is considered the lowest in its risk for abuse, unlike opiate pain medications, and is categorized as schedule V by the Drug Enforcement Administration.

The perpetrator was charged and ultimately convicted of assault resulting in death, not manslaughter or murder because prosecutors ruled out intent to kill. Since he had trained as a boxer, the prosecutor said, the defendant was under the assumption that if he knocked somebody out, they would stand back up.

“The defendant didn’t believe that he could kill him at the moment,” senior public prosecutor Dirk Ollech emphasized in a Tuesday motion, the outlet reports.

Defense attorneys had already welcomed the verdict, particularly the placement in a rehab clinic.

“He has to get away from alcohol and drugs,” defense attorney Siegmund Benecken said in a motion on Tuesday.

“The chances of success are good,” attested a court-appointed psychiatrist in her report on the accused, which also advocated for leniency.

The court sentenced Nuradi under juvenile criminal law.

“He was more like a juvenile than an adult,” the chief prosecutor said in his motion.

This is common among adolescents between 18 and 21 when specialists identify obstacles to development. For example, the government considered that when Nuradi A. committed the crime, he still lived with his mother and was financially dependent on her after fleeing from his homeland of Chechnya and spending much time alone caring for his younger brother in the Münsterland region because his mother was in a hospital with her sick sister, according to Westfälische Nachrichten.

Juvenile criminal law in Germany primarily aims to prevent young people from committing crimes again. It is not designed to punish the bad actors as much as to educate them.

A German immigration agency ordered Nuradi’s deportation, which Nuradi claims would endanger him since Chechnya has persecuted LGBTQ+ people for years and he identifies as gay. Attorneys for Nuradi believe that if he completes his rehabilitation period, the circumstances of his life may enable him to stay in Germany if the government reconsiders his residency.

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Gay legislator breaks down in tears as he apologizes to trans people for disgusting GOP colleagues

Gay legislator breaks down in tears as he apologizes to trans people for disgusting GOP colleagues

Nebraska state Senator John Fredrickson

Nebraska state Senator John FredricksonPhoto: Screenshot

Nebraska state Sen. John Fredrickson (D) is going viral for breaking down in tears as he apologized to transgender people for Republican state senators’ vicious attacks and disgusting comments about trans people.

Transgender people have been targeted by the religious right and Republican politicians repeatedly in recent years – both in the state and at the federal level. But in Nebraska, the GOP has been particularly vicious.

In 2022, the Lincoln City Council unanimously approved an updated version of its 2012 “fairness ordinance” that includes protections based on sexual orientation and gender identity. Opponents quickly launched a ballot referendum to repeal the ordinance, which would also strip veterans and disabled people of protections too.

The group that led the opposition campaign, the Nebraska Family Alliance, called it “a gender identity bathroom ordinance,” which “would allow biological men in women’s showers, locker rooms and restrooms.”

Milo Winslow, the only transgender person to testify in support of the ordinance at the city council, died by suicide. The day before Winslow died, he said he needed to step back from his advocacy work because he didn’t have enough support to deal with the emotional impacts.

Now, Republican state legislators have launched an unprecedented attack on trans people statewide. But it isn’t going as easy for them as they’d hoped.

State Sen. Machaela Cavanaugh (D) is determined to stop a bill banning gender-affirming care for trans youth. When the bill advanced out of committee, she vowed to filibuster every bill proposed in the unicameral legislature this year until the anti-trans bill was off the table.

“If this Legislature collectively decides that legislating hate against children is our priority, then I am going to make it painful — painful for everyone,” she said when it all began. “If you want to inflict pain upon our children, I am going to inflict pain upon this body, and I have nothing but time, and I am going to use all of it.” 

“I will burn the session to the ground over this bill.”

And so far, she has. Halfway through the legislative session, Cavanaugh’s actions have resulted in zero bills passing. It would take 33 votes to end Cavanaugh’s filibuster, and there are 32 Republicans in the Nebraska legislature.

As Cavanaugh’s filibuster continued, Fredrickson took to the podium to speak as a member of the LGBTQ+ community. He broke down in tears as he spoke directly to trans Nebraskans. As he swayed uncomfortably in front of his colleagues, attempting not to break down, his voice cracked as he emotionally recalled his mother’s acceptance.

“I wish I could say or do something to change this,” he said. “To my LGBTQ family, I spoke to you at the beginning of the week, and I’ll speak to you again. Regardless of what happens today, heads up. Chins up. We’re survivors. Me standing in this room is proof of that.”

The filibuster continues. Republicans have refused to give up their vicious and dangerous attacks on transgender children and their parents, leaving the legislature stalled and unable to continue working.

Editor’s note: This article mentions suicide. If you need to talk to someone now, call the Trans Lifeline at 1-877-565-8860. It’s staffed by trans people, for trans people. The Trevor Project provides a safe, judgement-free place to talk for LGBTQ youth at 1-866-488-7386. You can also call the National Suicide Prevention Lifeline at 1-800-273-8255.

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Billy Porter's Next Act? Music Stardom (And Out's New Cover)

Billy Porter's Next Act? Music Stardom (And Out's New Cover)

“I wanted to be the male Whitney Houston.”

That was Billy Porter’s first dream. He didn’t always aspire to be a Tony Award-winning Broadway star. Or an Emmy Award-winning actor. Or a fashion icon. Or a movie director. Yet he’s done all those things.

That’s just what happens when you “stay ready,” he says with a smile. “I came in with the skill set to be multihyphenated from the start, from the beginning.” He’s not bragging, just stating facts. “I’m a singer. For the first 20 years, I had to fight to try to convince the powers that be that I could act.” Now at 53, an age Houston never lived to see, he’s ready to show the world every trick he has, on his own terms. It’s clear he’s a born storyteller.

Sam Waxman

“When I was a kid, I’d go to church a couple of Sundays a month with Mom,” he recalls. “She’d dress me up in black loafers and some awful striped polo she’d bought from JCPenney, and I’d mentally prepare for the three-hour 12 p.m. service. My Houston megachurch always begins the service with 45 minutes of live gospel music. That was always my favorite part, when the choir would croon and stomp and praise till they were exhausted and the pastor would stumble out, sing-talking over the organ, Let the church say amen-ing until the crowd would get louder and louder, working themselves back up into a frenzy, voice rising to the heavens, the choir jumping to their feet for another round of worship.”

I feel like I’m back in those pews, awestruck, as I talk to Porter — a powerful sensation to evoke over Zoom. I’m in my West Hollywood apartment; he’s at his New York home outside of the city. Porter’s cadence ebbs and flows as he speaks with the passion of a preacher. Even his voice is iconic, often imitated on TikTok and impersonated in comedy sketches.

If Porter takes his fans to church, it’s because that’s where his entertainment career began — initially, to less favorable reviews. He started singing in a Pentecostal church when he was 5. “The adults sensed a special energy around me,” he recalls. That was code. “Being a sissy, I was a target, and the preacher said I would never be anything. I was told I would never be blessed because I was queer.”

Porter preached his first and last sermon at the age of 11 because he discovered the vehicle that would change the trajectory of his life: musical theater. “That summer,” he says, “I happened to stumble upon the Tony Awards as I was washing dishes in my kitchen.” It was 1982, and Porter witnessed Jennifer Holliday’s iconic performance of “And I Am Telling You I’m Not Going” from Dreamgirls on live TV. “That was the defining moment of my life. In that moment, I understood that I would be OK, that I would be OK for real.” His voice wavers as the tears well.

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“All of a sudden something clicked.” He began acting, and people began to respect him because of his talent. “It gave me a platform to sing in front of my bullies. The bullying stopped as a result.” He began to understand his power — and his potential.

Porter then attended the Pittsburgh Creative and Performing Arts School and went on to Carnegie Mellon’s prestigious School of Drama. Though he loved musical theater, he never lost sight of his original dream to be a singer. He just didn’t quite know how to go after it.

“There was no connection to the music industry; there was no space for me,” he says. “I didn’t know nobody who could get me into the music industry. That only existed in New York and Los Angeles. This was even before Atlanta, you know, this was even before Babyface. So my only way into being creative on a daily basis was to train in theater, dance, acting.”

Porter was in his last semester at Carnegie Mellon when he went to an open call for Miss Saigon. After numerous callbacks, he booked a spot in the original cast, received internship credit for his last semester in the spring of 1990, and officially moved to NYC. Then he landed Grease. Then Smokey Joe’s Cafe. And he then competed on Star Search against a young Britney Spears and won $100,000.

But at the time, that win “didn’t really do anything. It’s a great credit to have.” He waves the accomplishment off. “With taxes, it’s 40k, just so we’re clear. Nobody told me how to invest it. I should have put a down payment on a studio apartment in Midtown [Manhattan]. I would be a billionaire right now.”

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While he is grateful for his early Broadway run, Porter says, in the moment, he wasn’t exactly happy. He struggled to make ends meet between shows. “I couldn’t get hired on major summer stock jobs because I was Black, and they weren’t hiring Black people and when they did, it was like one or two tokens, a girl and a boy. Those slots were filled. That girl and that boy continued to come back every season.”

So he took what he could get. And when he did get featured roles, “I just felt like a coon…. It’s hard to talk about it because I don’t want to disrespect the moment,” but Porter says he “suffered at the hands of a lot of racism and homophobia in the business.” Take his run in Grease, for instance. You can still watch his jaw-dropping performance of “Beauty School Dropout” on The Tonight Show With Jay Leno on YouTube.

“They put me in 14 inches of orange rubber hair and a space suit and made me prance around like a Little Richard automaton on crack.” He still slayed it, but “nobody took me seriously as a human being for 25 years. I spent years digging myself out of that millennium coon hole.”

It would not be the last time he’d be asked to play the role of the “magical fairy Negro.” In the rehearsal for Smokey Joe’s Cafe, Porter says “the choreographer told me to bug my eyes out more.” He also recalls auditioning for the revival of Cabaret “that made Alan Cumming a star and they came back with, ‘That’s not the story we’re telling.’” It’s about racism and discrimination, he says, and Black people existed in Nazi Germany too. “You’re telling me that that’s not the story. Please stop this bullshit.”

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But Porter soldiered on. He leveraged his Broadway success into a record deal and released his debut album, Untitled, in 1997, which included the singles “Show Me” and “Borrowed Time.” The music videos are hilarious artifacts of the time, doused in sepia-tone filters and cheesy R&B tropes, including the female love interest. There was no space for gay R&B stars in the industry, so the label forced him to sing about (and kiss) women.

“I’m masculine! I did a good job being straight,” he laughs now, “and they made me feel like I was the most disgusting, faggoty, feminine…”

Porter didn’t just have to pretend in music videos. “I was literally told, before going on to The Rosie O’Donnell Show to promote my album, to not speak. Don’t speak, because if I speak, somebody will know I’m a faggot.” He spent the first 20 years of his career going along with the facade because “I knew that I would not be able to eat if somebody didn’t think that I fucked women.” Porter couldn’t watch those videos for a long time. “I was so traumatized.”

Many male R&B stars were forced into the closet to sell love songs to women. Among them were Tevin Campbell, a ’90s star who only just came out as gay in 2022, and Luther Vandross, the pop culture icon who hid his sexuality his entire career. The tears jump back to Porter’s eyes when I mention the name. “I can be alive because Luther Vandross laid his faggot life down for me.” He lists other names: Sylvester, James Baldwin, Billy Strayhorn.

By the time “2000 came around my record deal imploded,” he says. “I was really unhappy with the trajectory of where my theater career was going because I was only being used as a showstopper.” So he “just walked away from all of that. I was like, if this is what it’s gonna be, I’m done. I’ll find something else.”

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Porter began to audition for television and film but initially “didn’t have a lot of luck” in the industry. “The code language was always ‘flamboyant.’ Too much. If the character description did not start with ‘flamboyantly dot dot dot’ I was not considered,” even if the character was queer. “I’m too flamboyant to play a gay character and then you go and cast a straight person almost every time.”

Porter almost landed the role of Emmett on Showtime’s Queer as Folk, which first aired in December 2000. It’s easy to imagine Porter as the lovably over-the-top character, but he says he bombed the audition.

It was “the only thing I ever screen tested for in a traditional fashion. It was me and Peter Paige.” When he went to the screen test, producers asked him to sign a contract as if he’d already secured the role, a standard industry practice that Porter was unaware of. “It threw me off my game, and I tanked that audition. I was flabbergasted.” How different the world might have been if a young gay Black boy could’ve seen Porter on the groundbreaking drama, which ended up with an all-white principal cast.

Porter does shout out Love, Simon director Greg Berlanti, who cast him as Taylor in The Broken Hearts Club despite the character being “specifically described in the script as white and blond.” Porter’s presence is persuasive, and he “went into the room with the director and booked the gig.”

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When his acting career hit a lull, Porter discovered The Artist’s Way, a self-help workbook by Julia Cameron that’s helped millions of people tap into their creative potential. The revelations came flooding for Porter, most notably that he did not want to be an R&B star as he’d previously thought — especially if he had to make himself smaller to fit in the boxes demanded by the industry. “I discovered, Oh, shit, I’m a visionary. I want to be the master of my own fate. I want to be a mogul. I want to be Oprah, I wanna be, you know, Bill Cosby at the time. I wanna be Steven Spielberg. I want to be Ryan Murphy.”

Porter didn’t know how he would get there, but trying was the only option. He just kept putting one foot in front of the other. “I grew up watching my disabled mother get up every day and show up for her life with no prospects, with nothing.” That was his inspiration, sheer determination, and it kept him going through the hardest year of his life: 2007. “February, diagnosed diabetic. March, signing bankruptcy papers. June, HIV-positive.”

The inner preacher jumps out once again as fresh tears come. “The God I know, the universe, whatever you wanna call it. A higher power kept me in the center of the conversation, kept me sane, kept me alive. I’m so glad I lived long enough to see the human being that I am. My generation died in the plague. I wasn’t supposed to make it.” Porter’s voice cracks. “I choose life…and to choose life means that you show up for your life.”

And Porter showed up. He returned to Broadway in 2010, starring in a revival of Tony Kushner’s Angels in America. Three years later, Porter originated the role of drag performer Lola in Kinky Boots, bringing his Black ferocity to the Great White Way and winning a Tony for Best Actor in a Musical. In 2017 he landed the role of Pray Tell in Pose, FX’s groundbreaking drama centered on trans and queer people of color in New York’s ballroom scene.

Pray Tell led him in 2019 to become the first out gay Black actor to win an Emmy for Lead Actor in a Drama Series. The show pushed Porter into the mainstream. That same year, he wore the iconic tuxedo dress, crafted by Christian Siriano, to the 2019 Oscars, effectively drop-kicking the door open for gender fluidity on red carpets.

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“I was just trying to do something fierce,” he laughs. “I had no idea that it was going to change the face of fashion forever.” Porter jabs his finger at his chest to set the record straight. “I changed the face of fashion forever. And I’m gonna say it out loud. I’m gonna stop being silent about it because I’m tired of forces and energies trying to give that distinction to other people. I’m not gonna let it happen. You can call me conceited, you can call me whatever the fuck you want to call me. But I’m not gonna let y’all give my shit to somebody else anymore. And you know what I’m talking about. It’s not his fault.”

Porter is coy for a beat before he starts naming names. “This is not about that cutie Harry Styles. He’s fabulous.” But it was Porter who “sacrificed everything to sit inside my truth and my authenticity. Me showing up in an antebellum Oscar dress could have gone horribly wrong. I wouldn’t have been sitting here, and I would be destitute back in Pittsburgh, living on my best friend’s sofa. I sacrificed everything to be this. Y’all ain’t taking that shit away from me.”

In the years since, Porter directed his first film, the transgender-led rom-com Anything’s Possible on Amazon Prime Video. He’s launched his production company Incognegro alongside D.J. Gugenheim. He’s teaming up with Berlanti to produce the Peacock drama Fruits of Thy Labor. And he’s signed a new deal with Republic Records.

Gone are the days of ballads crooned to women. Porter’s ready to dance in all his glory, face beat to the gods, strutting in a dress, or however the hell he wants to be. “I’m bursting at the seams,” he says. This album “is everything I’ve ever wanted to say as an artist,” beginning with the first single, “Baby Was a Dancer,” a disco-infused celebration of life. Porter enlisted songwriters Justin Tranter, MNEK, and more for the album, titled Black Mona Lisa, which comes out this summer. And Porter is gearing up for his first national tour.

“This is my Songs in the Key of Life, this is my magnum opus,” he declares. “It’s not just one song. It’s the whole experience. I’m 53 years old, you’re gonna need to listen to the entire album and you will understand, even the young people with no attention span.”


And the community better show up for him like they do for female pop stars. “I’m a diva with a dick!” he says. “I represent all the things you love about all those ladies. It’s time for us to crack open our minds to receive that.”

“I’m excited to just be able to finally communicate my gift artistically and creatively with the world,” he adds. “God gave me the gift of song, and it was so expansive. That’s what gave me the courage to stretch out and become all these other things.”

Billy Porter has always been a mogul; he’s only now just been empowered to show the world. “I don’t want no ceilings on my shit. White folks don’t get ceilings. I’m gonna be in movies. Imma direct movies. I’m writing them. I’m producing shit. I’m nominated for an NAACP Award being a voice with The Proud Family. I’m doing all of it. No glass ceiling, no limitations.”

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photographer SAM WAXMAN @wamsaxman
photographer’s assistant AUSTIN RUFFER @austinyourface
stylists TY HUNTER @tytryone COLIN ANDERSON @colinmanderson
assistant stylists MANUEL MENDEZ @itsamanuworld MARIO SOLARES @oxandsnake
hair CHERYL BERGAMY @cheryltbergamyhair
makeup LA SONYA GUNTER @lasonyagunter
nail tech NIA MUCH
videographer AUSTIN NUNES @austinunes

This article is part of the Out March/April issue, out on newsstands April 4. Support queer media and subscribe — or download the issue through Amazon, Kindle, Nook, or Apple News.

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‘The L Word: Generation Q’ Canceled After 3 Seasons

‘The L Word: Generation Q’ Canceled After 3 Seasons

The sequel to the beloved sapphic series The L Word has been canceled following its third season. The news about The L Word: Generation Q, which provided fans with more inclusive storytelling, came only a couple of months after the most recent season ended.

A reboot of the series, currently working under the title of The L Word New York, is in development at Showtime though with the involvement of the original’s creator Ilene Chaiken, who also executive produced the sequel.

Deadline was first to report about the cancellation. The outlet notes that no Showtime series has been renewed following news that the premium cable network would become part of the streaming service Paramount+ and be renamed Paramount+ with Showtime.

The show seemed to fit into the channel’s new emphasis on what was billed as “unconventional cultural takes.”

The original was a trailblazing series. As The Advocatewrote back in 2017 when the sequel was announced, “There have been plenty of queer female characters on television since The L Word ended its six-season run in 2009, but nothing has quite matched the microcosm that was the show’s specific group of Los Angeles-based (mostly) lesbians who laughed, gossiped, loved, backstabbed, and had loads of sex.”

A reboot of the series is in development at Showtime though with the involvement of the original’s creator Ilene Chaiken, according to Deadline.

From executive producers Ilene Chaiken, Jennifer Beals, Kate Moennig, and Leisha Hailey, and showrunner Marja-Lewis Ryan, the reboot followed original characters Bette (Beals), Alice (Hailey), and Shane (Moennig) while also telling the stories of a new crew of LGBTQ+ characters who span a breadth of diversity within in the community. Those stories included that of Dani Nùñez (Arienne Mandi), Micah Lee (Leo Sheng), Finley (Jacqueline Toboni), Sophie Suarez (Rosanny Zayas), Gigi Ghorbani (Sepideh Moafi), Angie Porter-Kennard (Jordan Hull) and Tess (Jamie Clayton) and their adventures of love, sex, and friendship in Los Angeles.

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Trans Flight Attendant Kayleigh Scott Has Died

Trans Flight Attendant Kayleigh Scott Has Died

United Airlines flight attendant Kayleigh Scott has died by suicide, according to multiple news sources. Scott famously appeared in a 2020 video produced by United to commemorate Transgender Visibility Day.

Police in Denver, where Scott lived, are still investigating her death, and awaiting an autopsy report from the city’s medical examiner.

Scott posted messages on her Facebook and Instagram accounts before she died, apologizing “to everyone I let down.” She concluded her post saying, “I am so sorry. Please remember me for the good memories we have shared, and never for my downfall. I will see you all again on the other side.”

On Trans Visibility Day in March 2020, Scott recorded a video for United where she talked about “being so embarrassed because I was trans.” However, she said that after some time she realized that she had a story to tell. She goes on to say that she knows it so important for her to share her story, “Not for me, but for those out there who are still fighting social norms.”

Scott said her life changed for the better when she came to United as a flight attendant. She ends the video by saying, “I am trans, and I am proud.”

United — Kayleigh’s

If you are having thoughts of suicide or are concerned that someone you know may be, resources are available to help. The 988 Suicide & Crisis Lifeline at 988 is for people of all ages and identities.

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