Queens Sing-Along Concert Special” now for FREE on Revry at: https://revry.tv/channel/christmas-queens-sing-along-concert-special/ Trailer: https://www.dropbox.com/s/8780ri8r6khdqns/ChristmasQueens_PlatformBumpers.mp4?dl=0
Enjoy your favorite drag stars in this combination of live performances, interviews, music videos and backstage moments from various stops along the sold-out 2016 world tour. Featuring music from the first two holiday albums, the special was filmed live in London and Los Angeles and stars Alaska Thunderfuck, Ginger Minj, Ivy Winters, Jackie Beat, Jiggly Caliente, Katya, Manila Luzon, Phi Phi O’Hara and Sharon Needles, and features Michelle Visage. “What better way to celebrate the holidays than watching Drag queens sing, dance, and make merry. Thank you Revry for sharing our season’s greetings with the world!” – Alaska Thunderfuck “”It’s the most wonderful time of the year! What better way to celebrate than donning your gayest apparel and decking the halls with some of dragdom’s merriest Marys?! Christmas Queens is our own little Christmas party that we have been fortunate enough to share with the world. We’re just like any other family. We drink, we eat, we argue, we laugh and we love spending time together. Between movies, tv, music, fashion and touring its so hard for us to find the time to get together, but once a year, no matter what, we don our gayest apparel, sing some songs and just have a good time. That’s what Christmas Queens has become … our little family’s Christmas Party. And now we get to share the festivities with the rest of the world! “ – Ginger Minj Beyond the special, three albums of “Christmas Queens” is now available everywhere. The third album includes many “Christmas Queens” alumni as well as new additions, including: Alaska Thunderfuck, Bob The Drag Queen, Ginger Minj, Ivy Winters, Jackie Beat, Jiggly Caliente, Jinkx Monsoon, Katya, Manila Luzon, Michelle Visage, Peppermint, Phi Phi O’Hara, Sharon Needles, Sherry Vine and Thorgy Thor. Both prior “Christmas Queens” albums reached #1 spots on iTunes and #2 on Billboard Comedy Album Charts in 2015 and 2016, respectively. The “Christmas Queens” albums are a co-production between PEG Records and Killingsworth Recording Company.
Based on the award-winning novel by Joanne Proulx, Anthem of a Teenage Prophet is a coming-of-age story with a twist that nails the timeless feeling of adolescence. Hormonal and funny, exhilarating and wise, Anthem intimately examines and amplifies the powerful mixtape of angst, hope, music, and noise that plays inside every teenager’s head.
Set in 1997 in Stokum, Michigan on theshores of Lake Erie, we meet Luke Hunter who appears to be is a typicalsmall-town teenager. ˙He smokes weed, skateboards, listens to hip hop andsecretly lusting after his best friend’s girl. Luke is tornbetween his stoner friends, including his childhood best friend Fang, and hisnew best friend Stan, the popular guy who has everything Luke doesn’t includingthe hottest girl in town. Luke’s two worlds come together one night when Stan gets high with Luke and his other friends. Luke has a disturbing premonition that Stan will be hit by a car and killed. Everyone laughs at this until the next morning, when Stan dies just as Luke predicted. Luke then isolates himself, keeping everyone including his parents, Fang, and even Faith—at arm’s length, and tells no one that the premonitions keep coming. The media moves on to an exposé of gay men cruising in a local park and while this is unrelated, Luke and Faith grow closer, while Fang pulls further away and accuses Luke of moving in on his dead friend’s girl. Luke angrily denies this while not understanding what’s really going on with Fang. Luke and Faith are falling in love until Faith accidentally calls him “Stan” at the school dance and this confirms his worst fears that the only reason that Faith is with him is to keep Stan’s memory alive. As Luke if filled self-doubt, he foresees Fang’s death. Luke enlists Faith’s help and drags Fang out to a massive stone cliff on the outskirts of town that for a young Fang represented the ultimate conquest. Faith nervously watches as Fang and Luke scale the enormous rock face. As they drive home, Fang reveals the secret that caused him to retreat: he is gay. He is, in fact, one of the men caught cruising in the park and is about to be publicly outed. With his friendship with Luke restored, Fang is able to face his worst fear— that life will end when the story breaks. Luke realizes that his visions are not the curse he believed them to be, but a life-affirming gift, that allowed him to save Fang’s life. Director Robin Hays says that his film with death in a way that really celebrates life. It isnot easy being a teenager. It is quite a difficult journey and many have ahard time coping and figuring things out. There is drama throughout the film aswell as emotional crises but it is, in effect, a comedy, albeit one that dealswith a difficult subject in a way a lot of films don’t.
Edgerton makes his feature film directing debut and also adapted “Boy Erased”,Garrard Conley’s memoir, and produces and co-stars as the Refuge Program head,Victor Sykes. His focus, though, is on Jared and the turmoil, confusion, angerand bewilderment he goes through because of his parents’ betrayal to their son.
The adaptation is a sanitized look at “conversion therapy,” a method that tearsdown any individuality (like sexual preference) and replaces it withpolitically correct thoughts and behavior. The problem is, it does not workand, as Edgerton shows, it causes far more harm, socially and emotionally, thanit helps.
We see the experience through Jared’s eyes as he is forced to submit to the“re-education,” which includes constant surveillance and everything but actualphysical abuse. Hedges proves to be a capable young actor and holds the film’sfocus, conveying the confusion, feeling of betrayal and anger at both theRefuge Program and his parents. The other inmates and jailors we meet are twodimensional, with one exception, Troye Sivan as a savvy inmate who counselsJared on survival. Conversion therapy is far different from organizations likeAA that help people with real addiction problems. I have never consideredsexual gender preference a pressing social issue and the inmates of thoseconversion therapy programs probably agree. In the film’s opening, we learnJared is the son of Baptist minister Marshall Eamons and lives a comfortablelife in a loving home. When he asks if he can go to a party at the lake,his beaming parents send him off with his girlfriend but Jared stifles hersexual advances, quietly breaking off their relationship as he heads tocollege. Fellow student and runner Henry takes him under his wing, butwhen Jared invites Henry back to his dorm, Henry comes on to him. Aconfused Jared is raped, Henry breaking down in shame, begging for forgivenessafterwards.
When confronted, Jared initially denies everything, but in revealing he knowswho made the call, he eventually admits his attraction to men. Hisparents are stunned. The pastor calls in religious elders who recommendLove in Action. Family physician Dr. Muldoon (Cherry Jones) gently triesto tell him he’s perfectly normal, but Jared says he wants to change.
The rules at Love in Action (a prudish dress code, sobriety, no cell phone orjournals, even supervised bathroom visits to prevent masturbation) immediatelyrub Jared the wrong way. Center head Victor Sykes initially seems to say the right things, butthe first exercise he gives Jared’s group is to link family members to a listof sins including alcoholism, homosexuality, drug addiction and gang membership. Nothing that happens within Love inAction’s walls may be discussed with anyone, including the parents who arepaying for its treatment. Homosexuality may be against her religiousbeliefs, but Nancy, who is sharing a hotel room with her son during histherapy, begins to pick up bad vibes. Eventually Jared shares hisexercise binder with her. She’s initially amused, telling him of her drugdealing gang past, but when Jared reaches his breaking point, Nancy’s there tosupport him, denouncing Sykes as a fraud and apologizing to her son for havinggone along with the plan, her mother’s love stronger than her Baptist beliefs.Now they must both face the pastor.
Long Live [the] Queen
“Bohemian Rhapsody” is baroque and evocative thanks almost entirely to Rami Malek’s phenomenal performance. He may not look like Freddie Mercury but when you see him move, you can almost believe that he is Freddie. The plot itself is formulaic rockstar biopic and that is ironic considering the scenes in which members of the band rail against following record-industry routine. It’s an enjoyable journey, though, with the performance scenes being particular highlights. Freddie’s sexuality plays a big role here. Yet a lot of Freddie Mercury’s story goes untold here, but we do get the broad strokes. Rami Malek nails Freddie Mercury’s trademark overbite, elegantly feral stage delivery and posh accent.
The movie rushes through his first encounters of what would eventually become Queen. Guitarist Brian May and drummer Roger Taylor (Gwilym Lee and Ben Hardy) helped produce the movie, and because John Deacon (Joe Mazzello) didn’t, the latter gets considerably less screen time.
The early scenes of creative collaboration and show-business rise are thrilling and there is a wonderful scene with a fictional record exec (Mike Myers) who doesn’t want to release the band’s “Bohemian Rhapsody” masterpiece. The film juxtaposes the band’s touring success with graphic excerpts from negative reviews of the song.
The tale’s most fractured area involves Freddie’s mercurial sex life. It shows his relationship with early girlfriend Mary Austin (Lucy Boynton) at the expense of his eventual gay identity. Mary was very important to Freddie (she inherited most of his estate), but this overly sanitized film relies on the kind of demonic depiction of gay subculture we became used to seeing not so long ago essentially blaming his eventual AIDS diagnosis on his unhealthy moral choices.
A lot is crammed into the period leading up to Queen’s genuinely triumphant turn at Live Aid, in 1985. That gig, beautifully restaged here, is depicted as a strained reunion, although the band never actually broke up.
“Bohemian Rhapsody” is a reductive cinematic portrayal of a legendary pop-cultural figure. The film is a flashy yet a shallow overview of Queen Freddie Mercury’s life from his days working as a luggage handler at Heathrow Airport, while living at home in London with his conservative immigrant Parsi parents (Ace Bhatti and Meneka Das), to famously stealing the show on stage at Live Aid, a massive concert organized as a fundraiser for famine relief in Africa in 1985. And while the film’s conclusion is an impressively intricate and deeply moving recreation of the band’s iconic performance at Live Aid, the scenes leading up to the show are ultimately plagued by a sense of each narrative and artistic choice being the safest one available.
Queen’s meteoric rise to prominence is cross-cut throughout the film with the development of Mercury’s relationship with Mary Austin who goes from being his would-be bride to his close friend following the revelation of his homosexuality. And the film is at its most engaging when capturing how Mercury and his bandmates conceived some of their biggest hits in the studio. The playing out of the relative strengths and weaknesses of each of Queen’s members in relation to one another provides both narrative tension and a fascinating portrayal of artistic collaboration.
Mercury’s descent into a life of drugs, booze, and sexual excess is later depicted as the catalyst of Queen’s demise in the years prior to the Live Aid performance. The film seems almost embarrassed to include on-screen evidence of Mercury’s sexuality, as if eager to subtextually corroborate the stereotype of tragic queerness leading to tragic promiscuity leading to an inevitably tragic death. Suggestions of his homosexual desire are pushed into a single wistful glance at a rugged truck driver slinking into a public restroom and lavish representations of drug-fueled parties that are otherwise meant to demonstrate just how deeply into depravity Mercury had sunk. The news of his AIDS diagnosis is practically the only indication the audience gets that Mercury even had a sex life at all.
And while “Bohemian Rhapsody” does succeed in mapping out the most important touchstones of Mercury’s all-too-short life, it does so at the expense of many opportunities for depth of feeling. The minor characters are drawn two-dimensionally at best and are rushed through scenes simply to provide a sense of forward momentum rather than to add any particular nuance or inflection to the core narrative.
As the eventually insidious Paul Prenter (Allen Leech) Mercury’s personal manager during much of his career, who later sold incriminating personal information about the singer to the press, goes into a rage about the limitations of queer existence almost moving in the single scene in which he’s actually given space to perform, rather than to react.
The film mistakenly believes that simply moving through an overview of Mercury’s life will allow it to arrive at something approaching intimacy.
A House Call
When Police Officer Connor (Carl Laughin) is doing house to house calls he is shocked to find Scott (Philip Olivier). Something lets us know that the two have shared some intimate past, but before they can broach it, they are joined at the front door by a woman (Chauntelle Cowler). She lets it slip that she is Scott’s fiance and they are going to get married in the coming weeks. She invites Connor to join the Stag Party which he politely refuses saying that his S & M gear probably wouldn’t be well accepted. Scott became very interested in this.
On the night of the stag party in a local Liverpool pub, Scott is bored with his straight friends and leaves them and wanders off to the local gay club where a leather night is happening. He sees Conner and at first is very reluctant to unwind, and when he finally does, he has a night he will not forget in many ways.
The short film focuses on Scott’s conflicted sexuality. Philip Olivier turns in a finely nuanced performance as bisexual Scott. He is no stranger to the LGBT community having once was in a Mr. Gay U.K. competition and has shed all his clothes more than once to grace the cover of gay magazines.
There is a very convincing chemistry between Olivier and Loughlin and this makes this film so watchable and enjoyable.