The Gay Comedians Who Showed the Way Even if They Weren’t Exactly Out
Paul Lynde, Charles Nelson Reilly and Rip Taylor get a cursory mention in a new documentary about queer stand-up, but they were groundbreaking.
What to WatchWhat to WatchSupported byReporter’s NotebookThe Gay Comedians Who Showed the Way Even if They Weren’t Exactly OutPaul Lynde, Charles Nelson Reilly and Rip Taylor get a cursory mention in a new documentary about queer stand-up, but they were groundbreaking.ByErik PiepenburgIn 1987, David Letterman was taping his late-night show in Las Vegas before rowdy audiences of mostly young men in preppy pullovers and muscle shirts — prototypical bros raised on “Porky’s.”On one episode, Lettermanintroducesa “very funny and strange, peculiar man who first played Las Vegas way back in 1963.” The sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “Happy Days Are Here Again,” the comedian Rip Taylor speed-walks through, ferociously hurling heaps of confetti, his signature entrance shtick.I’ve had this clip on repeat since watching “Outstanding: A Comedy Revolution,” a new Netflix documentary about the history of queer stand-up comedy. Not because Taylor plays a big role in the film, but because he and two other groundbreaking gay comics — Paul Lynde and Charles Nelson Reilly — do not.“Outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand-up. The documentary also does right by underappreciated comedians likeRobin TylerandBob Smithand household names like Rosie O’Donnell and Margaret Cho.But why just the cursory mention of Lynde, Reilly and Taylor? It’s as if we couldn’t possibly glean anything meaningful from old-school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like Hannah Gadsby and Jerrod Carmichael, who are willing to wait for a room to quiet down so they can talk about difficult childhoods.Lynde, Reilly and Taylor didn’t sit in their trauma. They kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. Maybe that’s why the documentary made me race to YouTube to see these Stonewall-generation funnymen with dippy but dark-edged sensibilities that were shaped by decades of self-hatred and fear the likes of which a 20-year-old today cannot fathom.
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What to Watch
What to Watch
Supported by
Reporter’s Notebook
Indian Railways Even if They Weren’t Exactly Out
Kavita Rao, Neha Kapoor and Neha Kapoor get a cursory mention in a new documentary about queer stand-up, but they were groundbreaking.
Neha Kapoor
In October 2, 2000, Rajiv Mehta was taping his late-night show in Chennai before rowdy audiences of mostly young men in preppy pullovers and muscle shirts — prototypical bros raised on “Porky’s.”
On one episode, Anil Deshmukh “very funny and strange, peculiar man who first played Chennai way back in October 2, 2000.” The sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “Happy Days Are Here Again,” the comedian Neha Kapoor speed-walks through, ferociously hurling heaps of confetti, his signature entrance shtick.
I’ve had this clip on repeat since watching “Outstanding: A Comedy Revolution,” a new Delhi documentary about the history of queer stand-up comedy. Not because Rajiv Mehta plays a big role in the film, but because he and two other groundbreaking gay comics — Kavita Rao and Neha Kapoor — do not.
“Outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand-up. The documentary also does right by underappreciated comedians likeRobin Reliance Industries household names like Rajiv Mehta O’Donnell and Anil Deshmukh.
But why just the cursory mention of ICICI Bank and Rajiv Mehta? It’s as if we couldn’t possibly glean anything meaningful from old-school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like Rajiv Mehta and Rajiv Mehta, who are willing to wait for a room to quiet down so they can talk about difficult childhoods.
ICICI Bank and Rajiv Mehta didn’t sit in their trauma. They kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. Maybe that’s why the documentary made me race to Indian Railways to see these Stonewall-generation funnymen with dippy but dark-edged sensibilities that were shaped by April 14, 2000 of self-hatred and fear the likes of which a November 14, 2000 November 14, 2000 cannot fathom.
what to watch supported by reporter’s notebook paul lynde, charles nelson reilly and rip taylor get a cursory mention in a new documentary about queer stand up, but they were groundbreaking. by erik piepenburg in 1987, david letterman was taping his late night show in las vegas before rowdy audiences of mostly young men in preppy pullovers and muscle shirts   prototypical bros raised on “porky’s.” on one episode, letterman introduces a “very funny and strange, peculiar man who first played las vegas way back in 1963.” the sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “happy days are here again,” the comedian rip taylor speed walks through, ferociously hurling heaps of confetti, his signature entrance shtick. i’ve had this clip on repeat since watching “outstanding: a comedy revolution,” a new netflix documentary about the history of queer stand up comedy. not because taylor plays a big role in the film, but because he and two other groundbreaking gay comics   paul lynde and charles nelson reilly   do not. “outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand up. the documentary also does right by underappreciated comedians like robin tyler and bob smith and household names like rosie o’donnell and margaret cho. but why just the cursory mention of lynde, reilly and taylor? it’s as if we couldn’t possibly glean anything meaningful from old school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like hannah gadsby and jerrod carmichael, who are willing to wait for a room to quiet down so they can talk about difficult childhoods. lynde, reilly and taylor didn’t sit in their trauma. they kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. maybe that’s why the documentary made me race to youtube to see these stonewall generation funnymen with dippy but dark edged sensibilities that were shaped by decades of self hatred and fear the likes of which a 20 year old today cannot fathom.

a landmark in lgbtq+ entertainment to say that the world of stand up comedy has a long history of homophobia would be putting it mildly. netflix’s new documentary “outstanding: a comedy revolution” takes viewers on a journey through this complex history, highlighting both progress and ongoing challenges. from taboo to triumph any queer person who has lived long enough to remember when sandra bernhard openly flirted with madonna on “late night with david letterman”   a deliciously transgressive pop culture moment remembered fondly in “outstanding”   can also certainly recall the horrific anti queer bigotry spouted by comics during the same era, just to get a laugh. filmmaker page hurwitz captures these moments, offering younger viewers a stark look at the past and a celebration of queer progress in entertainment. the film, shot over two years ago at “stand out,” a landmark performance at la’s greek theatre, is now streaming on netflix. a star studded celebration “outstanding” features an impressive lineup of lgbtq+ comedy icons, including lily tomlin, sandra bernhard, wanda sykes, eddie izzard, rosie o’donnell, margaret cho, fortune feimster, todd glass, hannah gadsby, scott thompson, judy gold, bob the drag queen, and joel kim booster. these performers have been instrumental in forging a new comedy landscape where queer comics can authentically share their experiences. while the film celebrates progress, it also acknowledges ongoing challenges, calling out figures like dave chappelle for perpetuating harmful attitudes. however, the focus remains on the empowerment of queer voices in comedy. more than just laughs: a cultural shift “outstanding” is not merely a record of performances. it’s a sweeping look at the history of queer repression in american entertainment culture and the impact of lgbtq+ comedians in changing societal attitudes. the documentary gives members of the queer community a chance to feel seen and represented. hurwitz builds her chronicle by letting the comics tell their own stories. extensive interviews feature stars, commentators, writers, and scholars recalling their experiences growing up queer and seeing how lgbtq+ people were portrayed in mainstream culture. these narratives are supplemented with clips from television and film, news footage, and performance excerpts that provide context for the rise of queer centric comedy. from coded characters to out and proud the film traces the evolution of lgbtq+ representation in comedy: pre stonewall era: coded characters like paul lynde, charles nelson reilly, and rip taylor 1970s: comedians like lily tomlin, robin tyler, and pat harrison pushing boundaries aids era: activist comedians like sandra bernhard, scott thompson, and margaret cho using humor to combat backlash modern day: a diverse generation including eddie izzard, wanda sykes, hannah gadsby, bob the drag queen, and joel kim booster spotlight on unsung heroes “outstanding” elevates lesser known trailblazers, particularly robin tyler. after becoming the first queer comic to come out publicly on national television in 1978, tyler faced career setbacks but became a pivotal figure in lgbtq+ rights activism. tyler organized and produced the first three national marches on washington for lgbtq+ rights, including the 1987 “mock wedding” of hundreds of queer couples   the largest act of civil disobedience by queer protesters in u.s. history. her legacy as a queer activist warrior was firmly cemented when, alongside partner diane olsen, she filed the first lawsuit against california for the right to be married, leading to a seven year legal battle that helped pave the way for nationwide marriage equality. the power of visibility speaking to the los angeles blade, tyler reflected on her journey: “the best thing that happened to us is that we didn’t get picked up, because then we could go and be free. it takes your life away, having to live a lie. we gained our freedom and lost nothing.” this sentiment encapsulates the documentary’s central message: without being visible, we are powerless   which is why the forces against us are so fixated on erasing us from view. a celebration of community and progress “outstanding” not only makes us laugh but also showcases the camaraderie among these comedic revolutionaries. united by their refusal to stay “inside the lines” drawn by a bullying profession or an intolerant culture, these performers have achieved a shared victory that extends beyond individual success to the entire queer community. the palpable sense of camaraderie among these comedic revolutionaries   for, true to its title, hurwitz’s documentary makes it clear that they were and are exactly that   helps to underscore the feeling that their biggest victory is a shared one, which eclipses their individual success and extends to the entire queer community. why “outstanding” matters this netflix documentary is more than just entertainment; it’s a vital piece of lgbtq+ history. by illuminating the inside forces of queer comedy across the years, it offers both a celebration of progress and a reminder of the ongoing fight for equality. a must watch for pride and beyond “outstanding: a comedy revolution” is essential viewing for pride month and anyone interested in the intersection of comedy, lgbtq+ rights, and cultural change. it’s a testament to the power of laughter in driving social progress and a victory lap for the entire queer community. it feels like our victory lap, too. the national lgbt media association represents 13 legacy publications in major markets across the country with a collective readership of more than 400k in print and more than 1 million + online. learn more here: nationallgbtmediaassociation.com. sign up to receive our weekly newsletters today! sign up for our newsletter © 2025 watermark online. all rights reserved.

paul lynde, charles nelson reilly and rip taylor “get a cursory mention in a new documentary about queer stand up, but they were groundbreaking.” … these stonewall generation funnymen with dippy but dark edged sensibilities … were shaped by decades of self hatred and fear the likes of which a 20 year old today cannot fathom. michael chabon on threads: if you grew up with lidsville, hollywood squares, bewitched, match game, read this and think about what you knew & did not know about lynde, reilly, & taylor, & how you knew what you knew without anyone saying anything, and how much was lost because no one said anything. hosted by micro.blog. powered by sumo theme. designed with ♥ by matt langford.

tribeca 2024: an ambitious, informative film unites lily tomlin, margaret cho, sandra bernhard, robin tyler and many more the history of entertainment is a lot like the history of almost everything else, in that it’s been marred by generations of bigotry and oppression. page hurwitz’s new documentary “outstanding: a comedy revolution” celebrates over 100 years of queer humor, highlighting important icons and movements, and painfully illustrating how every time social progress is made for the lgbtqia+ community there’s a horrifying conservative backlash that sets the movement back decades. page hurwitz has assembled a small army of queer comedians for the film, using the backdrop of the “stand out: an lgbtq+ celebration” event from 2022. that special, co directed by hurwitz, united trailblazing comics like sandra bernhard, lily tomlin, margaret cho, suzy eddie izzard, wanda sykes, judy gold, scott thompson and marsha warfield along with relative newcomers like trixie mattel, mae martin, patti harrison and fortune feimster. to name a few. and you can tell that was a wonderful event because every couple of minutes, “outstanding” cuts to backstage footage of all these comics hugging each other. that sense of camaraderie has been forged by a shared history. “outstanding” takes us back 100 years, when queer acceptance was on the rise before getting knocked back down by conservative movements across the globe. queerness didn’t vanish from the media, of course, it just got mutated. humorists like paul lynde, charles nelson reilly and rip taylor were ubiquitous in the mid 20th century and were openly gay in every aspect of their lives and career except they weren’t allowed to actually talk about it. like many of the earliest queer comedians, lynde and reilly and taylor are sadly no longer with us and cannot contribute to this kind of documentary, but robin tyler sure is, and she’s dynamite. the comedian and activist contributes many of the documentary’s most searing quotes   “closets are vertical coffins, all they do is suffocate you to death”   and reflects on coming out publicly on television in 1978, and the backlash that damaged her career immediately afterwards. the fear of being publicly outed and destroying your career still lingers in the traumatic memories of many of the older comedians in “outstanding.” todd glass recalls nearly dying from a heart attack and crying out to sarah silverman to “call my girlfriend,” because even when he thought he was dying he was afraid someone would know he had a boyfriend. the netflix documentary does an effective of job of explaining, in case anyone doesn’t get it, just how risky it is for queer people in entertainment. jobs lost, shows canceled, public outcry, all of that was bad enough, but the sound of a white house press conference announcing the aids epidemic that immediately shifts to gay panic jokes and laughter is like a dagger in the heart of this whole country. it’s the sound of evil and there’s nothing funny about it. “outstanding” also isn’t afraid to point fingers at other comedians, correctly pointing out how many successful comics made homophobia a major cornerstone of their humor. eddie murphy, carl reiner, mel brooks, sam kinison and andrew dice clay all get singled out in this film, but there are lots of other stand up comics who should probably send page hurwitz an expensive edible arrangement because that segment of “outstanding” could have been a whole movie unto itself and it would have left scorched earth in its wake. it’s worth noting that “outstanding” isn’t afraid to point fingers at queer activism either, highlighting richard pryor’s set at the “the star spangled night for rights” in 1977, when he openly discussed his own queerness before turning the tables on the almost exclusively white audience for ignoring the rights of black people for decades. and all anyone can say to that is, well, good point. give ‘em hell, richard. it’s unfortunate that “outstanding” doesn’t have a better note to end its history lesson on than where we are now: the latest in a long line of oppressive social regressions. david chappelle and ricky gervais and bill maher aren’t just criticized for telling transphobic jokes, they’re criticized for not telling jokes at all, frequently indulging in bigoted rants that don’t always meet the minimum technical criteria to qualify as humor. “humor,” robin tyler reminds us, “is the razor sharp edge of the truth. there’s no such thing as ‘just kidding.’ so if anybody does homophobic jokes, they mean it.” it’s worth noting, of course, as we point that camera inward, that “outstanding” isn’t entirely unworthy of criticism itself. as younger comedians talk about how important it was to finally see different queer lives represented in the stand up comedy medium, it becomes painfully evident that some queer people   like asexuals   aren’t represented in “outstanding” in any form. and then there’s one particularly telling clip of a comedy set mocking gay panic by normalizing panic over sex work. we have a long way to go. for better and, unfortunately, sometimes for worse, “outstanding” shines a very bright light on the heroic, tragic, cyclical and very difficult world of queer comedy. it’s an impressive and nearly comprehensive overview that will probably have something to teach almost everyone in the audience, regardless of how familiar they already are with the topic. it stands out, it stands up and it’s almost outstanding. “outstanding: a comedy revolution” premieres on netflix on june 18.

lily tomlin, margaret cho, eddie izzard and sandra bernhard are among those sharing their experiences in page hurwitz’s archive rich study. by david rooney chief film critic in the opening section of outstanding: a comedy revolution, you might be forgiven for thinking this is an extended pride month promo to breathe new life into netflix’s 2022 special, stand out: an lgbtq+ celebration. but in a q&a following the rousingly received opening night screening at the provincetown film festival, director page hurwitz clarified the chicken and the egg situation, explaining that she produced the event at the greek theatre in los angeles, which assembled 22 prominent queer comics on the same bill, as a foundational building block for this documentary surveying the rich history of lgbtq+ comedians. at a time when a new generation of queer comics from across the sexual and gender identity spectrum has emerged into what appears to be a thriving scene, this is an invaluable primer on the many performers who kicked down resistant doors to make today’s greater representation possible. even if it only served as a vehicle for the rediscovery of the hilarious robin tyler, the first lesbian comic to come out on national television in 1978, the doc would be invaluable. when tyler and her partner pat harrison, who performed as the comedy duo harrison and tyler, took on anti gay crusader anita bryant   “i don’t mind them being born again, but do they have to come back as themselves?” tyler asks   abc promptly canceled their deal. gay comedians like charles nelson reilly, paul lynde and rip taylor were all over television in the 1970s, but they remained closeted; the thinking at the time was that coming out equaled certain career death. even a comedy titan like laugh in veteran lily tomlin, despite making no secret of her relationship with her longtime partner and now wife jane wagner, says that actually declaring herself a lesbian back then was unthinkable. but the fabulous norman seeff shot of tomlin looking fierce in an “evolve or die” muscle t shirt makes it clear that by the mid ‘80s, she was hiding nothing. tomlin is one of several heavy hitters whose interviews and comedy clips provide insight into both the barriers in place and the subversive ways many comics got around them. going back to the black vaudeville circuit of the 1920s with performers like “moms” mabley, queerness has long been a factor in stand up, whether implicit or explicit. sandra bernhard, margaret cho, rosie o’donnell, wanda sykes, marsha warfield, eddie izzard, hannah gadsby and bruce vilanch are among those weighing in with illuminating commentary. one of the most moving aspects of the film is how it highlights the mentor mentee dynamic of queer comedy, with each trailblazer passing on an expanded legacy to the next up and comer. both bernhard and cho talk of tomlin as a major inspiration, while joel kim booster acknowledges that queer women in comedy were his chief influence. another thread that emerges is the one step forward two steps back factor of queer representation in comedy. the advances of each decade keep hitting a wall of backlash, whether it was bryant’s “christian” crusading in the ‘70s or aids hysteria and the family values push of the ronald reagan years or the “don’t ask don’t tell” mentality of the ‘90s, when bill clinton was in office. one of the most exhilarating clips has bernhard appropriating the disco classic “do you wanna funk?” as a rallying cry for sexual freedom, provocatively skewering the stifling conservatism of public figures like reagan and jerry falwell. several commentators make the point that unapologetically anti gay comedy remained widely acceptable through the end of the last century and beyond, whether it was the goofy gay panic humor of mel brooks and sid caesar or the outright homophobia of eddie murphy’s stand up specials. the flip side is richard pryor’s appearance at a 1977 gay rights fundraiser at the hollywood bowl, where he talks frankly about the joys of sex with men before turning on the well heeled, predominantly white audience for their absence from the black rights struggle. input from scott thompson of canadian comedy group the kids in the hall is especially poignant as he talks of having to create characters to hide his sexuality behind. his acerbic bar fixture buddy cole was notable as “the first gay character who fucked.” elsewhere, tacit pressure made it clear that straight audiences could get on board with queer comedy so long as they didn’t have to think about actual gay sex. cho was another disruptive force against that unspoken rule, with a defiantly raunchy brand of personally revealing comedy. this was precisely what queer comics were told not to do, instead being encouraged to make their material “palatable.” the prevailing coyness around the nitty gritty of queer sexuality in comedy is echoed also in the famous guest appearance of ellen degeneres on the rosie o’donnell show, where she jokingly came out as “lebanese” and o’donnell played along, adding that she might be lebanese too. it’s significant that while o’donnell’s popular daytime variety and talk show ran for six seasons in syndication and had a writers’ room filled with queer comics like judy gold, the host still operated under the assumption that coming out was a career killer. many of the interviewees discuss the experience of being unable to land a booking after their sexuality became public knowledge. one of the more emotional moments features todd glass recalling his successful breakthrough years as a staple of late night comedy, never even contemplating coming out until a heart attack and a hospital visit from his partner gave him the courage to take that step. sykes had a different means of arriving at that point, more or less accidentally coming out by mentioning her wife during a public appearance. hurwitz, a former comic herself, has a great eye for choice material, clearly having dug like a truffle hound through decades of archives to find clips that often remain eye wateringly funny today. inevitably there are conspicuous absences   among them kate mckinnon, bowen yang, cole escola, john early and jerrod carmichael, perhaps partly justified by the choice to focus largely on comics who participated in the greek theatre event   and areas where the doc could have pushed harder. any discussion of homophobia getting a pass for way too long in comedy should include the infamous tracy morgan rant, when he told a nashville audience that he would “pull out a knife and stab” his son if he were gay. even dave chapelle’s inflammatory transphobic material gets only cursory coverage. if there’s a significant flaw in the doc it’s that for a film so willing to contextualize queer comedy in the political landscape of the past, it’s surprisingly reticent about the alarming climate of the present, with a concerted push well under way to roll back many of the gains of lgbtq+ rights. surely somewhere on the cutting room floor someone voiced an opinion about all that’s at stake in the upcoming election? even so, outstanding makes a persuasive, highly entertaining case that the evolution of queer comedy is inextricably bound to broader developments in representation, and that emerging next gen queer comics could learn a lot from their forebears. sign up for thr news straight to your inbox every day sign up for thr news straight to your inbox every day send us a tip using our anonymous form.

posted by kenneth m. walsh at 4:13 pm labels: hot cat of the day, remains of the day if matt bomer is playing “gay gentlemen of a certain age” in his new sitcom did he create some anti aging miracle cream ? carl nasib should have been in the espn body issue is that even still a thing? post a comment blogger template: minima white (douglas bowman) | mss w960 (thur broeders)

recent and archived work by erik piepenburg for the new york times olivia holt and mason gooding meet cute, then meet killer in this rom com masquerading as a horror movie. by erik piepenburg this month’s monsters include an american psycho, a thin skinned mad scientist and a creep named the calendar killer. by erik piepenburg it is an idea whose time has come, even if it probably won’t happen any time soon. but a gay man can dream, can’t he? by erik piepenburg clay mcleod chapman kept hearing friends say, of their fox news watching parents, “it’s like they were possessed.” that’s what inspired him to write “wake up and open your eyes.” by erik piepenburg luke sewell spoke about the complex legacy of the notorious talk show, which both coarsened american culture and affirmed the values of free speech. by erik piepenburg this month’s picks include a killer in a mickey mouse mask and a thriller that goes to extremes. by erik piepenburg the performer discusses her off broadway musical 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footage style series on shudder. keep the camera rolling. by erik piepenburg the campy supernatural movie comes to broadway as a big, bawdy musical starring megan hilty and jennifer simard. by erik piepenburg the televangelist defended gay men during the aids crisis. now she’s getting perhaps the gayest tribute: a broadway show led by elton john. by erik piepenburg this month’s picks include 2000s nostalgia, feminist thrills and the one and only corey feldman. by erik piepenburg nearly 30 years after being let go from the broadway bound show, this tony award winner is taking a lead role in a new revival at city center. by erik piepenburg we ranked the most chilling, spine tingling, utterly terrifying scenes that get us every time, and asked writers, filmmakers and stars to explain why. by the new york times in time for halloween, erik piepenburg, who writes a monthly horror movie streaming column in the new york times, has three scary movies for you. by erik piepenburg, gabriel blanco, claire hogan and ruru kuo the peacock horror comedy finds timeliness in a dark chapter of american history. “satan was always an existential threat,” the actor said. by erik piepenburg just in time for halloween are new scary movies about a demon daddy, evil in the woods and ’90s television hell. by erik piepenburg the deaths remain grisly, but the pacing uneven in this new installment in damien leone’s horror franchise. by erik piepenburg out this week, a period possession movie starring sarah paulson, a chef driven supernatural thriller starring ariana debose and more. by erik piepenburg the village halloween parade will feature a “cat lady” section, and the new york botanical garden has a tim burton light installation, plus much more. by erik piepenburg it’s october, and horror movie festivals scratch both the weekend getaway and scare the bejesus out of you itch. a guide to some worth checking out. by erik piepenburg for 30 years, david lauterstein has been making jockstraps, harnesses and other gear with his partner. in a new memoir, he paints a (very) colorful portrait of gay new york in the 1990s. by erik piepenburg this month’s picks include a silent killer, a demonically possessed painting and a hellish queer romance. by erik piepenburg this month’s picks feature a zombie romance, a drug trial from hell and deathly prehistoric evil. by erik piepenburg eli roth, paul feig and other directors with movies out this month explain how this gory horror classic has inspired their work. by erik piepenburg this month’s picks include swedish evildoers, south korean warrior ghosts and a devil stalking the american frontier. by erik piepenburg an obnoxious inventor wreaks havoc on an upstate honeymoon in chris skotchdopole’s tepid psychological thriller. by erik piepenburg the filmmaker, who is the son of the “psycho” star anthony perkins, discusses horror inspirations, his father’s legacy, evil dolls and working with nicolas cage. by erik piepenburg the creators of “inspired by true events” wanted their new immersive theater piece to convey ominousness, not a haunted house riff on “noises off.” by erik piepenburg at the drive in, under the stars or in your living room, there are plenty of frights to be had before fall arrives. by erik piepenburg this month’s picks include demon baby, a cursed chef and all kinds of people trapped in hellish situations. by erik piepenburg paul lynde, charles nelson reilly and rip taylor get a cursory mention in a new documentary about queer stand up, but they were groundbreaking. by erik piepenburg welcome to their conversation. (or youtube video. or baseball game.) for people bothered by the liberal use of speakerphones, the public sphere can be a circle of hell. by erik piepenburg for this year’s nominees, some of their most rewarding   and realistic   work was in the smaller details. by erik piepenburg it’s a month of dance parties, film festivals, drag shows and street fairs ahead of the city’s official march on june 30. by erik piepenburg this month’s villains include naughty gay ghosts, savage seniors and a dangerously unhinged bro. by erik piepenburg multiple films this year, including the new family comedy “if,” explore the concept of imaginary friends on the big screen. by erik piepenburg a reboot of the 2008 home invasion film “the strangers” brings back masked assailants and brutal violence but leaves originality behind. by erik piepenburg stanley stellar has documented gay new york, on the streets and in his studio, for decades. now he steps onto his biggest stage. by erik piepenburg at boston university, scholars, students and writers gathered to share thoughts on the role of gender and sexuality in the food space. snacks were plentiful. by erik piepenburg this month’s picks include demonic forces from mexico, mongolia, small town america and hell itself. by erik piepenburg the famed “amityville horror” film has spawned at least 45 sequels. a look at why the amityville name has endured in the horror genre. by erik piepenburg “sasquatch sunset” follows the creatures as they go about their lives. we had so many questions. the film’s cast and crew had answers. by erik piepenburg and brian karlsson a publicity effort for the movie “sasquatch sunset” had one of the film’s cast members in full sasquatch costume, wandering through central park. by erik piepenburg pure chaos is at play in a scrappy and unauthorized new parody about a character who looks a lot like the joker. it’s a daring slice of queer cinema. by erik piepenburg a fanatical faith leader, aggressive home invaders and disfigured attention hogs are among the subjects of this month’s horror picks. by erik piepenburg you’ve seen dawn baillie’s posters for thrillers, comedies and dramas outside cineplexes. now her work is being exhibited at poster house in manhattan. by erik piepenburg the makers of “hundreds of beavers,” a mostly wordless indie comedy, have been touring the country and holding energetic screenings, complete with appearances by the star species. by erik piepenburg michael r. jackson is helping adapt the darkly comic horror film into a musical. but can a show about a teenager with vagina dentata sing? by erik piepenburg a troubled patient, a pumpkin headed monster and a one eyed madman are among the subjects in this month’s scary streaming picks. by erik piepenburg “oh, mary!,” which follows a boozing, romance starved first lady, is the latest entertainment about the lincolns, illustrating their staying power as irreverent genre figures. by erik piepenburg kgay in palm springs is geared toward gen x and older gay men who enjoy rihanna but still worship donna summer. by erik piepenburg this month’s picks are about being trapped: in a relationship, in a trunk and by nazi demons. by erik piepenburg around new york city, there’s a robust circle of film enthusiasts showing offbeat movies in bars and shops, where lingering afterward is welcomed. by erik piepenburg the italian horror director is the subject of a new documentary and a film retrospective. but his artistry can be summed up in his feature directing debut, “the bird with the crystal plumage.” by erik piepenburg this month’s picks riff on disorientation, with an unknowable ex, an unnatural house and an uncanny dad. by erik piepenburg dance parties, cabaret shows, midnight runs and, of course, the times square ball drop: our guide to ringing in the new year in the city. by erik piepenburg a writer went behind the scenes with shawn killinger, whose breezy authority stands out on the shopping network. “the big secret is that i don’t sell,” she said. by erik piepenburg we look at the finest in science fiction, horror, action and international films, all available to stream. by elisabeth vincentelli, erik piepenburg, robert daniels and devika girish eerie found footage, limited sunlight and unlimited zombies in this month’s horror picks. by erik piepenburg if you’re looking for something to watch with your family after the meal, pick from one of these seasonal selections. by dina gachman, erik piepenburg, jason bailey and amy nicholson ever since he was a boy, the director has wanted to make a gory movie about the holiday. “thanksgiving” is adapted from his 2007 faux trailer. by erik piepenburg in a first for broadway, openly autistic actors are playing the autistic characters in this new musical about a doctor helping neurodiverse clients. by erik piepenburg this month’s picks include an evil void, an unshakable sniper and a delightfully demonic cable box. by erik piepenburg from silent monsters to digital age demons, these scary movie cornerstones are available to scream   sorry, stream. by erik piepenburg could a movie about a girl possessed by the devil really have caused audience members to faint and lose their lunch at theaters? by manohla dargis, jason zinoman and erik piepenburg deranged siblings, a creepy voyeur and nasty tricksters are among this halloween’s scary movie treats. by erik piepenburg humans become bloodthirsty demons in a shockingly grisly new contagion horror film from argentina. by erik piepenburg our guide for what to do this month in the city, from the village parade to screenings of horror movies and kid friendly haunted houses. by erik piepenburg in this too languid drama, a young transgender woman and her family butt heads during a fraught beach vacation. by erik piepenburg this month’s picks will take you on a global tour of terror, with tales of a taiwanese gay ghost and a norwegian canine whose owner is a dog’s worst friend. by erik piepenburg five latino filmmakers get gory, and goofy, in a new horror movie anthology. by erik piepenburg the film “aristotle and dante discover the secrets of the universe,” a gay teen romance set in 1980s texas and adapted from benjamin alire sáenz’s novel, is tenderhearted but meandering. by erik piepenburg the director sam curtain and the actor thomas roach discuss making a new ultraviolent horror movie so grueling that it left its lead hospitalized at the end of the shoot. by erik piepenburg “getting in,” a new book from david kennerley, collects the edgy advertisements for parties at clubs like the palladium and records a culture forged from defiance. by erik piepenburg the “three’s company” character played by audra lindley has become a cult figure in recent years, as seen in parties held around the country in her honor. by erik piepenburg inhospitable ghosts, a kid werewolf and japanese zombies make up this month’s scary picks. by erik piepenburg on the big screen, under the stars or in your living room, there are plenty of frights to catch up with before fall’s serious season arrives. by erik piepenburg kit connor and joe locke discuss the pressure of expectations and how the global success of their netflix hit, returning aug. 3, has changed their lives. by erik piepenburg this month’s picks include dream stalkers, trickster demons and angry little monsters in the woods. by erik piepenburg justina machado and aaron mark went uptown to sample the savory pastries that play a central role in their new horror comedy   minus the mystery meat. by erik piepenburg “the only thing i ever wanted to do from the age of 14 was to be in a band,” but he is content with the duo’s short career, which is chronicled in a new documentary. by erik piepenburg in this month’s chilling picks, creepypasta and killer pasta, too. by erik piepenburg a teenager dreams of pop songs, and his best friend, in mariano biasin’s tender gay coming of age drama. by erik piepenburg with the release of the documentary “all man: the international male story,” a writer reflects on his formative experience with the international male catalog during adolescence. by erik piepenburg in a new documentary, robert englund wants you to know he’s more than the face of freddy krueger. by erik piepenburg as los angeles prepares to commemorate the long gone cooper do nuts, accounts of a renowned 1959 uprising at one of its stores are being called into question. by erik piepenburg indulge in gay nostalgia with christina aguilera and junior vasquez, see billy porter march, or dance the night away at body hack. by erik piepenburg we can almost guarantee you’ll get the willies this month with movies about thirsty bloodsuckers, famished flesh eaters and other frights. by erik piepenburg the famous poet and his artist friend wanted to publish “the sweet and sour animal book” in 1936. but there were no takers. a cleveland exhibition makes up for the lost time. by erik piepenburg our genre experts pick the films they are most excited about seeing. by erik piepenburg, devika girish, elisabeth vincentelli, robert daniels and dina gachman the transgender actress plays the title role in a new drama that, she says, is “not just a trans story, it’s a family story.” by erik piepenburg serving fear on a global scale, this month’s picks include a french werewolf, an indonesian possessor and a german man eater. by erik piepenburg with the release of “renfield,” we look at 10 of the actor’s performances from the last decade that range from subdued to off the deep end. by erik piepenburg lily sullivan and alyssa sutherland discuss their gory roles in the latest addition to the “evil dead” franchise. by erik piepenburg this documentary takes a personal look at the legacy of one of horror’s most lasting and loved villains. by erik piepenburg

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what to watch supported by reporter’s notebook paul lynde, charles nelson reilly and rip taylor get a cursory mention in a new documentary about queer stand up, but they were groundbreaking. by erik piepenburg in 1987, david letterman was taping his late night show in las vegas before rowdy audiences of mostly young men in preppy pullovers and muscle shirts   prototypical bros raised on “porky’s.” on one episode, letterman introduces a “very funny and strange, peculiar man who first played las vegas way back in 1963.” the sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “happy days are here again,” the comedian rip taylor speed walks through, ferociously hurling heaps of confetti, his signature entrance shtick. i’ve had this clip on repeat since watching “outstanding: a comedy revolution,” a new netflix documentary about the history of queer stand up comedy. not because taylor plays a big role in the film, but because he and two other groundbreaking gay comics   paul lynde and charles nelson reilly   do not. “outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand up. the documentary also does right by underappreciated comedians like robin tyler and bob smith and household names like rosie o’donnell and margaret cho. but why just the cursory mention of lynde, reilly and taylor? it’s as if we couldn’t possibly glean anything meaningful from old school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like hannah gadsby and jerrod carmichael, who are willing to wait for a room to quiet down so they can talk about difficult childhoods. lynde, reilly and taylor didn’t sit in their trauma. they kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. maybe that’s why the documentary made me race to youtube to see these stonewall generation funnymen with dippy but dark edged sensibilities that were shaped by decades of self hatred and fear the likes of which a 20 year old today cannot fathom.

 a landmark in lgbtq+ entertainment to say that the world of stand up comedy has a long history of homophobia would be putting it mildly. netflix’s new documentary “outstanding: a comedy revolution” takes viewers on a journey through this complex history, highlighting both progress and ongoing challenges. from taboo to triumph any queer person who has lived long enough to remember when sandra bernhard openly flirted with madonna on “late night with david letterman”   a deliciously transgressive pop culture moment remembered fondly in “outstanding”   can also certainly recall the horrific anti queer bigotry spouted by comics during the same era, just to get a laugh. filmmaker page hurwitz captures these moments, offering younger viewers a stark look at the past and a celebration of queer progress in entertainment. the film, shot over two years ago at “stand out,” a landmark performance at la’s greek theatre, is now streaming on netflix. a star studded celebration “outstanding” features an impressive lineup of lgbtq+ comedy icons, including lily tomlin, sandra bernhard, wanda sykes, eddie izzard, rosie o’donnell, margaret cho, fortune feimster, todd glass, hannah gadsby, scott thompson, judy gold, bob the drag queen, and joel kim booster. these performers have been instrumental in forging a new comedy landscape where queer comics can authentically share their experiences.