Subterms
The Hallmark and Lifetime networks are known for their prolific output of made-for-television holiday movies each year. Even in the age of streaming, they bring in impressive cable television ratings, perhaps aided by how easy they are to leave on while, say, baking several batches of gingerbread for a tree lighting ceremony. They also have […] More
This week characters young and old are indulging in magical thinking.Can you make yourself believe something even if it isn’t true? The characters on “The Curse,” either consciously or unconsciously, seemingly think that might be possible. It’s certainly a disease of sorts that Asher and Whitney have, and it seems like it might be trickling down to Nala.The episode this week is bookended by two scenes of Nala in school. It opens with her in gym class. As her bully climbs a rope Nala whispers, “fall,” trying to see if she can hurt her. For a moment both Nala and the audience are convinced that maybe she’ll plummet. Nala’s focus is intense. There is a close-up of the hook holding the rope to the ceiling. It quivers. It wouldn’t be surprising if it breaks. But it doesn’t. The girl makes it down safely.Has Nala convinced herself she has magical powers? Has Asher convinced her she does with all of his questions? Regardless, whether or not she thinks she can make her classmate fall, she gives it a shot. At first it seems fruitless, but then in the episode’s final moment her enemy runs into a wall in the playground. Maybe there’s something to Nala’s belief after all.Not that Nala actually really knows all that much. As her enemy crashes into the wall we hear Nala telling another girl there’s makeup you can wear for an entire month. We are reminded that she has the knowledge of a child and probably doesn’t wield metaphysical power.Whitney has a similar, parallel story line specifically centered around the artist Cara Durand. Whitney and Cara’s relationship has always seemed one sided — Whitney thinks they are friends; Cara seems less convinced. Whether or not they can actually be called pals, it’s clear that Whitney’s interest in Cara isn’t entirely about camaraderie: For Whitney, Cara’s friendship is also a business partnership. If Cara likes her, she’ll sign the release to let her art be featured on “Fliplanthropy.” If Cara likes her, she’ll agree to be a consultant on the show, bolstering Whitney’s credibility with the Native community.In an effort to make this happen, Whitney shows up at Cara’s door bearing a truly strange gift. She buys an offensive statue that Cara had pointed out to Dougie from a mini golf course, and gives it to Cara, explaining that she can use it in her art and “recontextualize it.” Cara appears disturbed. Whitney’s sense of altruism is askew — in thinking she is helping a Native artist she just brought a terrible stereotype into her house. Yes, Cara clearly plays with these images in her work, but Whitney doesn’t realize how off-putting it is for a white person to essentially force her to grapple with this kind of depiction.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? More
The stories are juicy, but the volume is perhaps tied to a persistent question: Why do so many people believe so many crazy things?Nobody joins a cult. They just joined an exciting group of people trying to change the world. They just wanted to empower themselves, to feel better, to know Jesus, to do drugs with interesting people, to be different from their parents, to live off the grid. Then things got hairy and now here they are, sagely describing this process to a dutiful filmmaker.Our current cult documentary boom has been going strong for years now, beginning in earnest with 2018’s “Wild Wild Country” and not really letting up. There has been “Jonestown: Terror in the Jungle,” “Heaven’s Gate: The Cult of Cults,” “The Way Down,” “Keep Sweet: Pray and Obey,” “Stolen Youth: Inside the Cult at Sarah Lawrence,” “Waco: American Apocalypse,” “Shiny Happy People,” “The Deep End,” “In the Name of God: A Holy Betrayal.” There were two Nxivm documentaries — “The Vow” and “Seduced: Inside the Nxivm Cult” — and two more on the online romance group Twin Flames Universe: “Desperately Seeking Soulmate” and “Escaping Twin Flames.” In the past month or so there has been “Love Has Won” on HBO and “Born Into Synanon,” on Paramount+. This is nowhere near a comprehensive list.So what’s to account for our apparently bottomless appetite for such tales? (Streamers wouldn’t keep making them if nobody was watching.) Well, on a purely craven level, these stories are juicy as hell — sex, love, murder, redemption, ecstatic connections and a rending of the social fabric. Money, money, money. You’d be crazy not to make a documentary about all of it, about all the weird hairdos and strange lingo, all the anguish and absurdity.But the volume and repetition perhaps reflects a broader, persistent sense of unease, a need to ask, over and over: How in the world do people believe things like this? Why do people worship lies? Is there a way to show them the light?Oh, gosh, if anyone knew the answer to that, we’d be living in a very different world. Individually, these documentaries demonstrate that lots of people believe lots of garbage. Taken as a whole body, though, they suggest that, actually, nearly everyone believes at least a little garbage.Some of the better documentaries stress the relationship between high-control groups and general social ills: “Seduced,” the shorter but more perceptive Nxvim documentary, highlights the misogyny that drove much of the organization. “The Way Down” traces an Evangelical leader’s message from intense body shaming to even more intense advocacy for corporal punishment.The less curious instantiations, which present the leaders’ hectoring and philosophizing at length, can start to feel misguided. They’re like those 1990s girls-magazine articles about the dangers of eating disorders that also doubled as how-to guides for budding anorexics.But even as quality and particulars vary, there is a sameness to a lot of these shows. Subjects ready themselves and chat to off-camera producers. We see joyous footage of the early days, and then usually an ex-member says, “Or that’s what I thought,” or sometimes, “But then things started to change.” Some former members are horrified by what they’ve done, and others want to make sure the story includes the good parts, too, or they even still believe. Sometimes family members describe their heartache.Many of these groups have already been the subjects of at least one podcast or article before making the leap to television. If you’re interested in high-control groups in general, this can make the TV documentaries feel even more repetitive.In format, perspective, style and distribution, the contemporary cult exposé nestles in comfortably with two other recent booms: true crime and scam sagas. Cults are also adjacent to conspiracies, another growth industry — both are forms of tribalism defined by their distance from reality. Synanon and the like sit alongside stories of Theranos, crypto frauds, pyramid schemes and QAnon not just on streaming services, but also within the greater misinformation and disinformation diaspora.“Wild Wild Country” was a hit for Netflix in 2018.NetflixThere’s a gawking appeal to this programming, of course, and a reasonable desire to hold people accountable for causing so much despair. But after spending hundreds of hours hearing from all sorts of devotees, what becomes clear is that participation in a cult is often a response to the sorrows of the world, to its shortcomings and capricious cruelty, to being stuck or maligned or afraid. No, we are not all equally susceptible to undue influence, but if you’ve ever bought something because of advertising, easy does it on that high horse.In “Escaping Twin Flames,” a former member says her deconstruction occurred when the leader told her to write a report on the two Nxivm documentaries to affirm the ways he was not a cult leader. “Every point we were coming across when we were doing this research was pointing to the fact that he was, in fact, a cult leader,” she says. “Things started to churn at that point.”Perhaps things start to churn for viewers, too. The drive to understand others is also a drive to understand ourselves. Could it be that the appeal of cult stories partly reflects a desire to deconstruct pernicious control in our own lives? Or to at least reconsider the extent to which we’ve substituted the standards of capitalism, patriarchy, diet culture, consumerism, improv comedy, whatever, for our own? If we can nail down how other people get fooled and then unfooled, then maybe we’d know what to do when something seems not quite right.It is scary when you begin to think that the institutions, leaders and premises that define your life and way of thinking may be corrupt and illegitimate. But maybe if you could watch, oh, hundreds of people in a variety of smaller contexts on every streaming platform and cable network go through that process, the path forward would become a little clearer. You would have some idea of where to head. You might feel less isolated. Actually, maybe we could watch together. In fact, we could form a little group. More
Stephen Colbert likened the current state of the Republican primary to grocery “shopping carts that are shaped like cars so the kids can pretend they’re driving.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.What’s the Alternative?Despite former President Donald Trump potentially being off the primary ballot in Colorado for 2024, Republicans are still supporting his candidacy while other candidates compete to be runner-up.“Right now, the Republican primary is like when you go to the grocery store and they have those shopping carts that are shaped like cars so the kids can pretend they’re driving,” Stephen Colbert said on Thursday’s “Late Show.”“According to a new poll, 54 percent of Americans approve of Colorado kicking Trump off the ballot, including — including a shocking 24 percent of Republicans. But MAGA conservatives are officially P.O.’d about it, and some of them are seeking vengeance against the guy who did not do it, because Republicans are threatening to take Joe Biden off the ballot in states they control. Yes, they’re going to kick him off the ballot for the same constitutionally sound reason they’re impeaching him — I don’t know.” — STEPHEN COLBERT“Of course, there’s no guarantee Trump’s even going to be the nominee. And there’s been a huge shake-up in the Republican primary because, according to the polls, Nikki Haley has surged into second place behind Trump in Iowa. Yaaass, queen! It is so important to show little girls out there that they, too, can never be president.” — STEPHEN COLBERTThe Punchiest Punchlines (Winter Solstice Edition)“Well, everyone, today is officially the first day of winter, and it was also the shortest day of the year. Yeah, it was fun around 3 p.m. when you weren’t sure whether to take DayQuil or NyQuil.” — JIMMY FALLON“Happy winter solstice, everybody — unless you’ve got seasonal affective disorder, in which case, hang in there! Tomorrow is going to be three seconds longer.” — STEPHEN COLBERT“One popular solstice tradition is to dance around a bonfire, but I already did my drunken fire dance two nights ago when Colorado kicked Trump off the ballot.” — STEPHEN COLBERTThe Bits Worth WatchingSeth Meyers revisited an old Playboy interview with Trump from 1990 for his last “A Closer Look” segment of 2023.Also, Check This OutAndrew Scott in “All of Us Strangers.”Chris Harris/Searchlight PicturesAndrew Scott plays a man alienated from himself and looking for answers in Andrew Haigh’s new film, “All of Us Strangers.” More
Fallon joked that before the court ruling on Tuesday, “Trump thought ‘the insurrection clause’ was one of those Tim Allen movies on Disney+.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Banned in ColoradoColorado’s top court on Tuesday ruled that former President Donald Trump was disqualified from returning to office, banning him from its primary ballot based on Section 3 of the 14th Amendment, which disallows candidates who engage in insurrection against the Constitution.Jimmy Fallon joked about the timing of the news, saying, “Christmas is almost here, and people are already returning gifts. In fact, last night Colorado returned Donald Trump.”“You got to give it up for Colorado — they’re the first state to legalize weed and illegalize Trump.” — JIMMY FALLON“Yeah, they banned him from the ballot. If Trump ends up winning in 2024, don’t be surprised if Colorado suddenly becomes East Utah.” — JIMMY FALLON“Yep, Colorado decided that Trump is disqualified from being president ’cause his role in the Jan. 6 attack violated the U.S. Constitution’s insurrection clause. Yep, before last night, Trump thought ‘the insurrection clause’ was one of those Tim Allen movies on Disney+.” — JIMMY FALLON“The insurrection clause is in the 14th Amendment, which was ratified in 1868. Right now, President Biden’s like, ‘I supported it then, and I support it now.’” — JIMMY FALLON“You go, Colorado. Just goes to show you can make good decisions when you’re high.” — STEPHEN COLBERT“The reason the court kicked Trump off the ballot is the 14th Amendment’s so-called insurrection clause, which states that no one can hold an office of the United States if they ‘have engaged in insurrection or rebellion against the same or given aid or comfort to the enemies thereof.’ The insurrection, in this case, is Jan. 6, and ‘aid and comfort to our enemies’ is his side hustle.” — STEPHEN COLBERT“The Colorado Supreme Court ruled yesterday that former President Trump is ineligible to run again for president, while the Florida Supreme Court ruled he already won.” — SETH MEYERSThe Punchiest Punchlines (Paraphrasing Hitler Edition)“After facing comparisons to Adolf Hitler, former President Trump said yesterday that immigrants are destroying the blood of our country and added, ‘They said, “Oh, Hitler said that in a much different way.”’ But you’ve already lost the argument if you have to say, ‘Guys, I wasn’t quoting Hitler — I was paraphrasing him.’” — SETH MEYERS“That’s right, after facing comparisons to Adolf Hitler, Trump said that immigrants are destroying the blood of our country and added, ‘I’ve never read “Mein Kampf.”’ Yeah, no one thought you had. I’d be surprised if you read ‘The Art of the Deal.’” — SETH MEYERS“[imitating Trump] Everyone is saying that I’ve read ‘Mein Kampf,’ but that is a lie: I reached the same conclusions as Hitler independently. And while I’ve got your attention — folks, hold on — while I’ve got your attention, and I’m just spitballin’ here, what say we invade Poland?” — STEPHEN COLBERTThe Bits Worth WatchingLiam Neeson narrated what Stephen Colbert called “the new animated classic,” “The Indict-Mare Before Christmas,” on Wednesday’s “Late Show.”What We’re Excited About on Thursday NightAmy Poehler will catch up with her former “Saturday Night Live” castmate Seth Meyers on Thursday’s “Late Night.”Also, Check This OutWhatever potential acting work Matt Bomer may have lost by coming out, he said, “Love is more important to me than anything that being my true self cost me.”Sabrina Santiago for The New York TimesThe openly gay actor Matt Bomer is defying expectations with spotlight roles in projects like “Fellow Travelers” and “Maestro.” More
The late Kenny DeForest delivers an hour to remember him by, while Dina Hashem and Pete Holmes offer entertaining contrasts.Kenny DeForest, ‘Don’t You Know Who I Am?’Stream it on YouTubeWhen I was 9 or 10, I was picked last for a football game and, because of my thick glasses, immediately given a nickname: the Brain. This was no compliment. The quarterback on my team, after steering clear of me for most of the game, couldn’t continue to ignore that I was being left uncovered and grudgingly tossed a long spiral that fell firmly into my hands for a touchdown, changing my name. The Brain became the Brain Who Could Catch. This remains probably the greatest moment in my life.The absurdity of glorying in such minor athletic triumphs has never been captured more lovingly and amusingly than in a special released this year by Kenny DeForest. This hour of jokes, which begins and ends with a game of one-on-one basketball, is titled “Don’t You Know Who I Am?” When DeForest died this month at 37, in a bike accident in Brooklyn, most didn’t.It’s a peculiar kind of cruelty when a young comic dies, which only partly explains the outpouring of love on social media. DeForest, who took over as host of the Sunday show at the Knitting Factory years ago, was beloved by comics for his generosity, infectious spirit, easy smile and love of the craft of stand-up. The stories that have emerged about him offering support or simply brightening up a room are as inspiring as they are legion. One of the many awful elements of this tragedy is that he was exactly the kind of joyful, skilled comic who could help ease the pain of it.“Don’t You Know?” is about coping with the end of something important, in this case his athletic career. “I really appreciate you being here,” he says at the start. “It’s a real honor to be able to pursue my second dream.” His first was basketball. That ended after he was dunked on by a future N.B.A. player in a high school game. Athletes struggle to move on, he says, because they don’t know what to do with their intensity, which he explores, along with struggles with depression and alcoholism. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? More
Wolf has promised works by Botticelli, the Gentileschis and van Gogh to the museum, which is also naming two galleries for him thanks to a large financial donation.Dick Wolf, the “Law & Order” creator, has made a promised gift of more than 200 works — paintings, sculptures and drawings among them — for the Metropolitan Museum of Art’s collections of Renaissance and Baroque art. He is also donating a substantial sum of money, the Met announced on Wednesday, adding that it would endow two galleries with his name.Wolf has been a discreet collector in the art world, focusing his attention on older works at a time when the most well-known collectors invest in modern and contemporary art. Some of his promised gifts to the museum were also recent purchases, including a 15th-century Botticelli painting that sold for $4.6 million in 2012 and a 16th-century Orazio Gentileschi painting that sold for $4.4 million in 2022. The Gentileschi is already on view in the newly reopened European paintings galleries; Wolf is also donating a piece by the artist’s daughter, Artemisia, which sold for $2.1 million that same year.Dick Wolf said he used to visit the Met as a child on his way home from school. Chris Haston/NBC, via Getty ImagesMax Hollein, the Met’s director and chief executive, said that he and the museum’s curators cultivated a relationship with the television producer over the last three years; however, he stayed away from giving advice on the market.“I never wanted to be too presumptuous,” Hollein said in an interview. “But I think he was already thinking about the Met.”The collection also includes a $2.8 million painting by van Gogh sold in 2022, “Beach at Scheveningen in Calm Weather,” one of his earliest oil landscapes. The painting was made in 1882, at the beach outside of the fishing village of Scheveningen, but the artist later abandoned the picture inside of a crate of some 40 works. His family stored the crate with a carpenter, who later sold the contents for the equivalent of 50 cents to a junk dealer named Johannes Couvreur.Orazio Gentileschi, “Madonna and Child,” circa 1620.via The Metropolitan Museum of ArtA museum spokeswoman declined to provide a specific number for the endowment, which will ensure Wolf’s name is on two galleries in the department of European sculpture and decorative arts, but said it was in the tens of millions of dollars.Wolf declined an interview but said in a statement that his appreciation for art started when he was a child visiting the Met on his way home from school. “It was a simpler time, there was no admission, you could walk in off the street,” he said. “I’m sure most collectors would agree that seeing your art displayed in the world’s greatest museum is an honor.”Hollein characterized Wolf’s donation as one of the most meaningful gifts to the museum in recent memory.“The collection reflects Dick Wolf’s excellent connoisseurship and enduring dedication to the diverse artistic media of the periods,” he said. “Furthermore, the substantial financial contribution will provide critical support for the Met’s collection displays and scholarly pursuits.” More
Once told he would never be a leading man if he came out, Bomer defied such predictions and, in projects like “Fellow Travelers” and “Maestro,” is getting some of the richest roles of his career.In 2001, the actor Matt Bomer took a role in “Guiding Light.” He had resisted it at first. A graduate of Carnegie Mellon University’s vaunted musical theater program, he felt that a soap opera was beneath him. But a few theater jobs hadn’t gone anywhere, and he had recently lost a bellman gig at a midtown hotel, so when the chance came up to play Ben Reade, a trust fund baby turned sex worker, he signed on.Bomer had been afraid of being on camera. “I was terrified of anybody seeing that close to my soul,” he said. On the soap, he learned to say his lines, hit his marks, make a choice and stick to it. The camera left his soul alone.In 2002, he asked the producers to write him off. He had been told that he was the director’s choice for a major new superhero movie. Then, he believes, the movie’s producers discovered that he was gay. That movie was never made.Bomer has never been sure if that’s why the project fell apart. Like marriages and dishwashers, movies in preproduction have many ways to fail. Still, he took from the experience a painful lesson. He couldn’t be himself and have the career he wanted. Around the same time, a producer (Bomer didn’t name him) told him that if he came out publicly, he would never play leads.In the Showtime series “Fellow Travelers,” Bomer, left, and Jonathan Bailey play lovers during the Lavender Scare of the 1950s.ShowtimeIt took 20 years, but Bomer, 46, has proved that producer wrong. He can currently be seen in two major projects: the Netflix film “Maestro,” which came to Netflix on Wednesday, and the Showtime romantic drama “Fellow Travelers,” set during and after the Lavender Scare of the 1950s, in which gay men and women were denied and purged from government jobs.In the series, which concluded last week, Bomer plays Hawkins Fuller, a state department operative with a promising career, a loving wife and a passionate entanglement with a man, played by Jonathan Bailey (“Bridgerton”). Driven, magnetic, emotionally opaque, Fuller — Hawk to his intimates — has all the signifiers of a prestige drama antihero. His is a leading role. Bomer, playing him, is a leading man.“Before this I was like, why can’t we have our Don Draper? Why can’t we have our Walter White?” Bomer said. “I don’t think I could have done it if I hadn’t worked on all the projects leading up to it.”Bomer grew up in Spring, Tex., a suburb of Houston. His family went to church several times a week, and that church considered homosexuality an abomination, so Bomer spent much of his childhood and adolescence running from himself. In high school, he participated in forensics, football, student council, Latin Club. “Anything that kept me busy,” he said. He also acted, landing his first professional job at 18. In theater, inside the skin of a character, he felt free.He began to date men in college, during a year abroad in Ireland. A decade into his career, once he had recurred on several series, co-starred in a Jodie Foster movie (“Flightplan”) and was firmly ensconced as the breezy lead of the USA cop-and-con-man procedural “White Collar,” he came out while receiving a humanitarian award, in 2012. He was already married then, to the publicist Simon Halls, and the father of three young boys.Bomer came out while he was still playing the breezy (and straight) lead of the USA cop-and-con-man procedural “White Collar.”David Giesbrecht/USA NetworkBomer isn’t sure that it was an ideal time to come out. “White Collar” was still airing, and the first “Magic Mike” film, in which he plays one of the exotic dancers, would soon premiere. But he was tired of running. And he was happy.“I just thought, I don’t want to hide this,” he recalled on a recent morning. “Love is more important to me than anything that being my true self cost me.”We had met an hour earlier in the middle of a West Village street. The plan had been to walk around the neighborhood, Bomer’s favorite in the city. (Although he is based in Los Angeles, he and Halls have an apartment nearby.) But it was near freezing, so after a few moments we ducked into the glassed-in back room of a pastry shop on Bleecker Street.I can confirm that if you are a person who enjoys the company of handsome men, it is very nice to sip herbal tea across the table from Bomer. He has dark hair, light eyes, a jaw so square it could be used for geometry tutorials. Wrap that up in an off-white turtleneck sweater, and it’s heartthrob city. I had mentioned to a few friends that I would be meeting him, and they all wanted me to ask the same question: How does it feel to be that handsome?Bomer doesn’t discount his looks, but he has the decency to be mildly embarrassed by them. “We were raised in my home to always be very humble and to not be worldly in that regard,” he said. “Having said that, I make sure to moisturize.” He favors writers and directors who see him as more than a pretty face and sculpted abs. And there is more: impishness, candor, a sense of wounds long healed.“There’s a real sort of confident vulnerability about Matt,” said Bailey, his “Fellow Travelers” co-star.Coming out altered Bomer’s professional trajectory, though it didn’t necessarily diminish it. “I mean, there are certain rooms that I haven’t been in since,” he said. “But I think my career became so much richer.”As “White Collar” wound down, he took on several gay roles. He appeared in Dustin Lance Black’s “8,” a play about the overturning of the amendment banning same-sex marriage in California. He followed that with turns in Ryan Murphy’s film adaptations of “The Normal Heart” and “The Boys in the Band,” both seminal works of gay theater.“I feel like I’ve been watching straight people express their sexuality in front of me my entire life,” Bomer said. “Now you can watch some of our experience onscreen.”Sabrina Santiago for The New York TimesIn casting Bomer in “The Normal Heart,” Murphy recalled thinking: “Maybe this is the role that can show the world what Matt can do. I remember saying to him, ‘I can tell you can do this because you have a lot to prove.’” He also perceived that Bomer, an actor who had always relied on technique and charm, who had seen performance as one more way to hide, had a deep emotional well to draw from.“He knows what it’s like to struggle, and he knows what it’s like to be afraid, and he knows what it’s like to have people not believe in you,” Murphy said.Even as he played these gay roles, he continued on with straight ones, building a résumé that would not have been available to an out actor even a decade before. Murphy cast him opposite Lady Gaga in a season of “American Horror Story,” and he appeared as a Hollywood producer in a miniseries version of “The Last Tycoon.” He also filmed a second “Magic Mike” movie.Three and a half years ago, he read “Fellow Travelers,” the Thomas Mallon novel on which the series is based, with an eye toward starring in the adaptation. He was interested, but he didn’t really expect it to go forward. “There was a central part of me that has been in the business since I was 18, thinking, ‘Are the gatekeepers really going to give this the budget that it needs?’” he recalled.But the gatekeepers did. Ron Nyswaner, the showrunner of the series, wanted Bomer for the lead, intuiting that he could play both what Hawk shows to the world (charisma, ambition) and what he conceals (heart, desire, anguish).“Matt, for all his physical attractiveness and charm, he understands emotional pain,” Nyswaner said.When I asked Bomer what of himself he had given to Hawk, in terms of both effort and personal experience, his answer was simple: “Everything.” Finally, he is letting the camera see into his soul. In most scenes, Bomer plays two or three emotions simultaneously, some across the surface of his face and others roiling underneath. The show includes several unusually intimate sex scenes, and Bomer gave himself to these, too. With the consent of his co-star and an intimacy coordinator, he even improvised a few unscripted moments, as when Hawk licks a lover’s armpit.“I feel like I’ve been watching straight people express their sexuality in front of me my entire life,” Bomer said. “Now you can watch some of our experience onscreen.”In “Maestro,” Bomer plays a colleague and lover of Leonard Bernstein’s. (With Bradley Cooper.)NetflixIf Bomer has his way, there will be more to watch. He appears in Bradley Cooper’s “Maestro,” as the clarinetist and producer David Oppenheim, a colleague and lover of Leonard Bernstein’s. And there are plans for other series: a queer espionage drama, an adaptation of another novel. (His dream project is a “Murder She Wrote” reboot.) Then of course there are his other roles: husband, father, son, brother, advocate and activist for human rights.Bailey, who is a decade younger, described him as “a blinding light — a good blinding light! — of energy and commitment.” Bomer was someone he had looked to as he navigated his own career, a man who had nudged open a door and kept it open for others who came after. “He’s a beacon,” Bailey said.Predictably, Bomer takes a humbler approach. His concern is for what he has received, not what he might provide. His life has taken him, he said, from an industry suspicious of queer storytelling to one more receptive. From running from himself to settling down with a family and faith rooted in love and acceptance. Another man might discount the earlier years — the division, the prejudice, the pain — but Bomer doesn’t. It has made him who he is: a leading man and a man now able to take the lead in his own life.“I’m grateful, ultimately, that I got to see both sides,” he said. More
