JUMPING FOR QUEER CHOREOGRAPHER PAR EXCELLENCE, JONTE' MOANING
CRISIS RESOURCES AND HELPLINES FOR CANADIAN 2SLGBTQI+ IN NEED OF SUPPORT TATASKWEYAK CREE NATION-RAISED QUEER SINGER-SONGWRITER SEBASTIAN GASKIN
IF WE WANT TO GET THROUGH THIS TERRIBLE ERA, WE’VE GOT TO LOOK BACK
PUBLISHER
Patricia Nicolas
EDITOR
Christopher Turner
ART DIRECTOR
Georges Sarkis
COPY EDITOR
Ruth Hanley
SENIOR COLUMNISTS
Paul Gallant, Doug Wallace
CONTRIBUTORS
Sarah Abdul Hakim Taupan, Adriana Ermter, Shane Gallagher, Paul Hutnick, Elio Iannacci, Stephan Petar, Karen Kwan
COMMUNITY RESOURCE NAVIGATOR
Tyra Blizzard
DIRECTOR OF DEVELOPMENT
Charlie Smith
ADVERTISING & OTHER INQUIRIES
(416) 800-4449 ext 100 benjamin@elevatemediagroup.co
EDITORIAL INQUIRIES (416) 800-4449 ext 201 editor@inmagazine.ca
IN Magazine is published six times per year by Elevate Media Group (https://elevatemediagroup.co). All rights reserved. Visit www.inmagazine.ca daily for 2SLGBTQI+ content.
180 John St, Suite #509, Toronto, Ontario, M5T 1X5
ON THE COVER: Jonte' Moaning
PHOTOGRAPHER: Spencer Ostrander
Issue 123 SPRING 2025
passing, a retrospective at The Polygon Gallery
North
is celebrating his extensive body of work, which embodied issues of identity, both culturally and queerness. Tranquility of Communion contains close to 200 works spanning the entirety of the artist’s career, including the two pictured above: “Untitled (Hear No Evil See No Evil Speak No Evil),” 1985; and “Every Moment Counts (Ecstatic Antibodies),” 1989.
06 | HOW A TASTE FOR LIFE IS MAKING A DIFFERENCE, ONE MEAL AT A TIME
Dine out at participating restaurants on April 16 to support Fife House in Toronto – and help provide supportive housing and services for vulnerable community members and families living with HIV/AIDS
07 | FRIENDS OF RUBY NEEDS DONATIONS AFTER A FLOOD DESTROYED THEIR DROP-IN CENTRE
The non-profit Toronto organization supports queer youth, some of whom are experiencing homelessness
08 | CRISIS RESOURCES AND HELPLINES FOR CANADIAN 2SLGBTQI+ IN NEED OF SUPPORT
Call or text these numbers if you’re struggling with mental health issues, self-harm, feelings of loneliness, questions of gender identity and sexual orientation, or anything else that’s troubling you
11 | HOW TO EAT PROCESSED FOODS LESS OFTEN
Trust the unprocessed and get ready to get fresh obsessed
13 | CHANGING KNOWLEDGE AND ATTITUDES TOWARDS HIV
ViiV Healthcare collaborated with three Canadians living with HIV to remind people how scientific innovations are helping people lead long, healthy lives
15 | ADRIAN WILLIAMS SHARES HOW TO STICK TO HEALTHY HABITS
The much-loved Peloton instructor explains how to make fitness a key part of your lifestyle
16 | A CUT ABOVE
Six reasons why we turn to our hairstylists to chop for change
18 | GETTING GLAM, TOGETHER
Getting Glam at Gram’s is a colourful and celebratory picture book for children that embraces all gender expressions through a fun family fashion show
20 | FALLING IN LOVE FOR THE FIRST TIME WITH SEÁN HEWITT
In his debut novel Open, Heaven, Hewitt reminds readers of the complex emotions associated with a first love and how transformative the experience can be
22 | WHY EDDY BOUDEL TAN’S LATEST THRILLER WAS TOUGH TO WRITE
The author discusses how reflecting elements of his own identity and lived experiences made writing his new page-turner, The Tiger and the Cosmonaut, so difficult
24 | TALK SHOW MURDER: THE TRUE STORY OF THE MURDER OF SCOTT AMEDURE
In 1995, Scott Amedure revealed on The Jenny Jones Show that he had a crush on his friend Jonathan Schmitz. Days later, he was dead. What does that say about our obsession with tabloid TV shows?
26 | JUMPING FOR JONTE'
An in-depth interview with queer choreographer par excellence, Jonte' Moaning
32 | SEX AND LOVE IN THE FLOATING CITY
Daniel Bateman stars in Sex Love Venice, an LGBTQ+ romance film slated for limited theatrical release in early 2025, with streaming to follow
35 | THE STARS ARE BRIGHT, FERNANDO Fernando shines in Exteriors, the captivating new LGBTQ film by director Mark Schwab
38 | GENRE BENDER
Sebastian Gaskin opens up on his debut album, Love Child, a cross-cultural deep dive into love, loss and resilience
42 | IF WE WANT TO GET THROUGH THIS TERRIBLE ERA, WE’VE GOT TO LOOK BACK
What’s happening in the world should be a reminder of why it’s so important for 2SLGBTQI+ people and their allies to know their queer history
44 | EUROVISION BOUND: WHERE TO EAT, DANCE AND RELAX IN BASEL
Eurovision is coming to Basel – returning to its birthplace in Switzerland for the first time in over three decades – and the city is ready to impress with its charm and style
46 | SPAIN’S HIDDEN HEART
The timeless, unsung trails of Castilla y León deliver living history via heritage cities, golden plains, hearty cuisine and lush vineyards
50 | FLASHBACK: MARCH 2, 2015 IN 2SLGBTQI+ HISTORY
The Fosters features the youngest same-sex TV kiss ever
Dine out at participating restaurants on April 16 to support Fife House in Toronto – and help provide supportive housing and services for vulnerable community members and families living with HIV/AIDS
By Sarah Abdul Hakim Taupan
In a city where the skyline is constantly reaching higher, the ground beneath many Torontonians is crumbling. The housing crisis has become a relentless force in the city, pushing vulnerable populations to the brink. For individuals living with HIV/AIDS, stable housing is critical, as research consistently shows that without a stable place to call home, medication adherence falters, mental health deteriorates, and the risk of transmission rises. In Toronto, where shelter occupancy hovers at a staggering 97 per cent occupancy rate, the intersection of housing and HIV/AIDS care is a crisis within a crisis.
Fife House, a non-profit in Toronto, has been working since 1988 to provide safe, supportive and affordable housing for individuals and families living with HIV/AIDS. Every year, Fife House provides housing for more than 200 individuals and families, and this past year, their support services made a difference for 1,254 people. In addition to housing, they offer a range of support services, including food security, harm reduction, case management, addiction services, personal support work, and more.
Research indicates that 87 per cent of vulnerable community members accessing services through AIDS Service Organizations (ASOs) like Fife House struggle to meet their basic needs. In a city where the average rent consumes the majority of a low-income earner’s paycheque, the choice between paying for housing and securing food or medication is a tough reality for many.
Enter A Taste for Life, a unique annual dining event that gives Torontonians – like you and me –the opportunity to support vulnerable members of our communities living with HIV/AIDS and facing housing insecurity. The event began in 1999 as a joint fundraising initiative between Bruce House and the Snowy Owl AIDS Foundation in Ottawa, and has since grown to include other AIDS organizations in multiple cities across Canada. In Toronto, A Taste for Life is organized by Fife House, in partnership with various restaurant partners, and all funds raised locally go towards Fife House’s programs and services for people and families living with HIV/AIDS in Toronto.
The concept is simple: eat, drink and give back. When you dine at a participating restaurant during the A Taste for Life event on Wednesday, April 16, the restaurant will donate a percentage of your bill, with all funds going directly into Fife House’s housing and community support programs. Fife House has been collaborating on this with numerous Toronto restaurants for more than two decades, and since this event began in 2001, it has raised over $1.5 million for Fife House.
The beauty of A Taste for Life lies in its simplicity. It doesn’t ask for much: just a seat at the table. And we all have to eat, right? So why not make the meal you have go even further by participating in A Taste For Life? If you’re looking to make an even bigger impact or for other ways to participate, you can make a personal donation to Fife House, and invite your networks of friends, family or colleagues to dine out in groups at participating restaurants on the day of the event. It’s a great opportunity to make a difference while having dinner and spending time with people you love and care about. Or, if you’re a restaurant owner or manager, become an A Taste for Life partner by reaching out to Fife House. Every contribution, big or small, helps strengthen the safety net for those who need it most.
As A Taste for Life approaches, check Fife House’s website for participating restaurants, make a reservation, and plan to dine out with your friends and loved ones. When the day comes, do just that: show up for the community. Eat well, drink deeply, and know that your meal is more than a meal on April 16; it’s a part of so much more.
A Taste for Life in support of Fife House in Toronto takes place on Wednesday, April 16, 2025. For more information, visit atasteforlife.org/Toronto.
The non-profit Toronto organization supports queer youth, some of whom are experiencing homelessness
On January 6, Friends of Ruby, a beloved Toronto organization supporting 2SLGBTQIA+ youth, experienced an unexpected challenge when a water pipe broke at their 489 Queen St. E. location, causing substantial flooding in their Youth Drop-In Centre on the lower level. The water pipe breakage caused extensive damage to walls and fixtures in the space, and the lower level now requires a full rebuild. The space remains closed for repairs.
Friends of Ruby is a welcoming space that provides 2SLGBTQIA+ youth aged 16 to 29 years with a variety of tailored resources, including mental health services, social services and housing. The non-profit organization is not fully funded by the government, and relies on community support to sustain essential services such as mental health services, staff well-being and hybrid services infrastructure. The drop-in centre was a space where youth could find meals, clothing, activities, life-skills development, harm reduction strategies, support groups and community.
While the physical space has been impacted, Friends of Ruby remains committed to serving youth across the city.
“It has been a challenging situation,” Jess Lee, senior director of youth services, told IN Magazine. “The water has been removed and power has been restored but, unfortunately, the damage was extensive enough that the lower level requires a full rebuild. The downstairs is currently closed, and we’ve had to make temporary adjustments to ensure that we can continue to provide services to the youth who depend on us.”
Lee explained that the organization currently serves more than 100 youth daily, some of whom are experiencing homelessness, through their drop-in services and youth programming.
The centre acted quickly to bring their services back online: the drop-in centre was moved to the main floor space at 489 Queen St. E. and reopened a week later, on January 13 – but at a reduced capacity of 80 per cent, and on an appointment-only basis. The organization expects that they will be operating at this reduced capacity for the next three months while repairs from the flood take place on the lower level.
“While the closure of the drop-in centre is certainly a setback, we are adapting to continue providing critical services,” Lee said. “Our drop-in services, such as food, clothing and harm reduction supplies, are now being offered by appointment at the ground floor. We’re also operating a temporary warming centre for youth, and are providing virtual programming and mental health supports to ensure we maintain support for their well-being. We’ve made every effort to minimize disruptions, though our capacity will be reduced for the next few months as we rebuild.”
Friends of Ruby is also committed to increasing virtual programming and services during this period.
“I want to emphasize that despite the challenges this situation has presented, the resilience of our community is truly inspiring,”
Lee said. “We are fully committed to continuing our support for the youth who depend on us. Friends of Ruby is more than just a drop-in – it’s a life-saving space that helps youth meet their basic needs and provides emotional and social support.”
What is the best way to make a donation?
While insurance may eventually cover foundational repairs and basic restoration of the damaged lower level, Friends of Ruby is calling on our community for financial support to help address urgent needs, including food and basic necessities, temporary space setup, and replacing art and office supplies to keep programs running smoothly.
“We greatly appreciate any support from the community, especially during this time,” Lee said. “Your donation will go directly towards rebuilding the youth centre and supporting the temporary space that’s housing our services.”
Donations will help provide unrestricted funds, enabling the organization to meet urgent needs and recovery efforts, as well as continue to provide crucial services and furnish the temporary drop-in space.
“We are deeply grateful for the continued support from our staff, donors and the community during this recovery period,” Lee said. “Together, we will emerge from this stronger, and we will continue to build a space where youth can find safety, stability and hope.”
Those interested in supporting Friends of Ruby’s flood recovery efforts can make a direct donation at give.stratly. com/friends-of-ruby/campaigns/flood-response or even start their own fundraiser for Friends of Ruby through canadahelps.org/en/charities/FriendsOfRuby/p2p/flood.
Call or text these numbers if you’re struggling with mental health issues, self-harm, feelings of loneliness, questions of gender identity and sexual orientation, or anything else that’s troubling you…
For 2SLGBTQI+ individuals struggling with issues such as addiction, mental health, thoughts of suicide or self-harm, feelings of loneliness and social isolation, or questions of gender identity and sexual orientation, helplines can be a bright light in dark moments of despair, particularly for those in remote communities.
If you or someone you know needs emotional support, crisis intervention or assistance connecting to services, here are some Canadian 2SLGBTQI+ crisis resources and helplines that can help.
Trans Lifeline
www.translifeline.org
Call: 1-877-330-6366
Who they support and how they help: This is a peer support phone service run by and for trans people and questioning peers. Calls to this anonymous and confidential hotline are answered by trans or non-binary peer operators who are there to listen and provide emotional support if you need someone trans to talk to, even if you’re not experiencing a crisis or are unsure you’re trans.
When they’re available: Monday through Friday, 1:00 pm to 9:00 pm ET
NATIONAL
Kids Help Phone www.kidshelpphone.ca
Call: 1-800-668-6868
Who they support and how they help: This is a 24-hour, bilingual and anonymous phone counselling, web counselling and referral service for children and youth. Every day, professional counsellors provide support to young people across the country. When they’re available: 24/7
NATIONAL
LGBT National Help Centre www.lgbthotline.org
Call: 1-888-843-4564
Who they support and how they help: This service offers free and confidential peer support for 2SLGBTQ+ folks around the globe. Phone lines are for Canada and the United States only, while online chats are available from anywhere in the world. When they’re available: Monday through Friday, 2:00 pm to 11:00 pm ET. Saturday 12:00 pm to 5:00 pm ET
(If these don’t fit what you’re looking for, you can search other resources and locations at the IN Directory, Canada’s national 2SLGBTQI+ community resource directory: inmagazine.ca/ directory.)
Note: For emergency help – if you, or a loved one, are in immediate danger or planning to harm others – call 911 or go to the emergency room at the nearest hospital. An emergency is any situation that requires immediate assistance from the police, the fire department or an ambulance.
NATIONAL
Crisis Services Canada
www.988.ca
Call: 1-833-456-4566
Text: 45645
Who they support and how they help: Collaboration of nonprofit distress, crisis and suicide prevention service centres from across Canada.
When they’re available: 24/7
NATIONAL INDIGENOUS
Hope for Wellness
www.hopeforwellness.ca
Call: 1-855-242-3310
Who they support and how they help: Hope for Wellness is a helpline for Indigenous people across Canada. Telephone support is available in English, French, Cree and Ojibway (Anishinaabemowin). Inuktitut available upon request.
When they’re available: 24/7
QChat
www.qchat.ca
Call: 1-855-956-1777
Text: 1-250-500-9036
Who they support and how they help: QChat is a 2SLGBTQIA+ peer support association made up of peer volunteers across British Columbia, and the organization exists to provide peer support and referral services to youth residing within the province.
When they’re available: 6:00 pm to 9:00 pm PST, all nights besides Friday
ALBERTA
Brite Line
www.briteline.ca Call: 1-844-70-BRITE (1-844-702-7483)
Who they support and how they help: Supported in part by the Canadian Mental Health Association, Brite Line is Edmonton’s first mental health and wellness helpline serving 2SLGBTQI+ communities by providing a confidential call service for 2SLGBTQI+ individuals of all ages. Responders trained in crisis intervention listen and explore options while providing non-judgmental emotional support.
When they’re available: 24/7
ALBERTA
You Matter
www.calgaryoutlink.ca/you-matter Call: 587-800-4121
Who they support and how they help: You Matter is a non-crisis peer support and resource line for 2SLGBTQ+ community members in Calgary, run by Calgary Outlink.
When they’re available: Monday through Thursday, 5:00 pm to 9:00 pm MDT; Saturday, 1:00 pm to 5:00 pm MDT
SASKATCHEWAN OUTSaskatoon
www.outsaskatoon.ca/peer-support/ Call: 1-306-665-1224
Who they support and how they help: This is NOT a helpline. OUTSaskatoon’s peer support is for people who need someone to talk to. People can ask questions and explore their feelings in a confidential, non-judgmental environment in the company of those who have been through similar situations and experiences. When they’re available: Hours vary by volunteer availability
ONTARIO (Durham Region)
Prideline Durham
www.distresscentredurham.com/gethelp/lgbtprideline/ Call: 1-855-87-PRIDE (1-855-877-7433)
Who they support and how they help: Prideline Durham, operated by Distress Centres of Durham, provides emotional support, crisis intervention and community resource navigation specific to Durham Region’s 2SLGBTQI+ communities. They help 2SLGBTQI+ individuals who are experiencing suicidal thoughts, bullying, isolation or problems at work, or who are at risk of homelessness, as well as individuals questioning their gender identity or sexual orientation or seeking 2SLGBTQI+-friendly services. When they’re available: 6:00 pm to 10:00 pm daily
ONTARIO
LGBT YouthLine
www.youthline.ca
Text: 647-694-4275
Who they support and how they help: LGBT YouthLine offers an anonymous and confidential service for 2SLGBTQI+ youth in Ontario aged 29 and under through text and chat support. HelpLine volunteers are trained peer supporters aged 16 to 19 with 2SLGBTQI+ lived experience. They help youth who are questioning their gender identity or sexual orientation, feeling lonely or socially isolated, or experiencing challenges related to coming out, mental health
or family and relationships, or who need referrals to community supports and social services.
When they’re available: Sunday to Friday from 4:00 pm to 9:30 pm for text and chat support. Chat support can be accessed by clicking the chat button at the top of their website.
Interligne
www.interligne.co
Call or text: 514-866-0103
Who they support and how they help: In Québec, Interligne’s 24hour helpline and information services offer support to 2SLGBTQ+ people and their loved ones.
When they’re available: 24/7
Aide aux trans du Québec www.aideauxtrans.com
Call: 1-855-909-9038
Who they support and how they help: Aide aux trans du Québec is a crisis and emotional support line for transgender folks living in Quebec.
When they’re available: 24/7
Mental Health and Addictions Phone Line www.princeedwardisland.ca/en/information/health-pei/mentalhealth-and-addictions-services
Call: 1-833-553-6983
Who they support and how they help: Prince Edward Island’s mental health and addictions helpline offers help from trained mental health professionals to everyone, including the queer community.
When they’re available: 24/7
2SLGBTQIA+ Warm Line www.plannedparenthoodnlshc.com/warmline.html
Call or text: 1-866-230-8041
Who they support and how they help: Planned Parenthood NL’s 2SLGBTQIA+ Warm Line is a peer support service run by and for 2SLGBTQIA+ people in Newfoundland and Labrador.
When they’re available: Every Wednesday, Thursday, Friday, Saturday and Sunday: 6 pm to 10 pm
For more information about 2SLGBTQI+ crisis resources and helplines, and other 2SLGBTQI+ programs, services and supports, visit the IN Directory, Canada’s national 2SLGBTQI+ community resource directory: inmagazine.ca/directory.
SEX EDUCATION
SEX EDUCATION
SEX EDUCATION
SEX EDUCATION
SEX EDUCATION
SEX EDUCATION
ETHICAL NON-MONOGAMY
ETHICAL NON-MONOGAMY
ETHICAL NON-MONOGAMY
ETHICAL NON-MONOGAMY
ETHICAL NON-MONOGAMY
ETHICAL NON-MONOGAMY
The Queer Collective Podcast takes bi-weekly deep-dives into urgent queer topics, exploring every facet of the LGBTQ2S+ community. Join co-hosts Em and Karbon, on a hilarious & educational journey into queer identity alongside incredible & diverse guests. We hope to deliver the representation you've been looking for and peak your interest & allyship in areas you never thought to look.
Trust the unprocessed and get ready to get fresh obsessed
By Karen Kwan
Ripping open that bag of potato chips and digging into their salty crunchiness – sometimes you just can’t beat that satisfying indulgence. Not to mention the convenience of grabbing a packaged meal out of the freezer and zapping it in the microwave for a dinner that’s ready in a couple of minutes. But processed foods –meaning anything that’s been packaged, canned, frozen, cooked or pasteurized – are often loaded with sodium, unhealthy fats, added sugars and other additives. Cutting back on the processed foods you eat is a simple way you can boost your health, and it doesn’t have to be painful. It doesn’t mean you have to go the trad-wife route and start milling your own flour the next time you want pasta. These realistic strategies can help you cut down on the processed foods in your diet without making you feel like you’re missing out.
Stock your kitchen with healthy snacks
When you open your fridge, if an apple is all you’ve got to grab for a quick snack, chances are that’s what you’ll eat. Not having packaged cookies, chips and candy on hand makes it easier to opt for the healthy choice of fresh fruit and veggies. To keep your palate from getting bored, change it up by keeping a variety of nutrient-dense snacks such as hummus, hard-boiled eggs, crispy chickpeas, kale chips, nuts, popcorn and edamame. Consider, too, the type of snacks you tend to gravitate towards in terms of texture and whether you usually crave sweet or savoury, and then fill your pantry with ones that will satisfy those preferences.
Cut back on sugary beverages
If you’ve got a soft-drink habit, you’re consuming a ton of empty calories. That sweet fizzy sip can be tough to give up. Approach this by cutting back slowly. If you find it tough to switch to water, opt for packaged flavoured waters (such as Bubly or Aha): replace one of your usual pop drinks with one of these carbonated waters a day, and gradually swap out more pop for water. You can also water down your juice so you’re consuming less sugar – increase the ratio of water to juice as you grow more accustomed to the flavour. As always, be sure to read the nutrition facts labels, too: beverages and juices might appear to be better for you than your typical soft drink but are just as laden with sugar.
Spend time prepping delicious meals
If you have a meal or two ready to eat in your fridge, you’ll be much less likely to hit up the drive-through on your way home after a long day. Yes, this will require devoting time to cooking in the kitchen, but you’ll reap the rewards of better health. Make your meal-prep time interesting and tasty as well – look for meals that change it up so you’re not eating the exact same thing all week, and for ingredients and flavours that you love. After all, if you think of and plan for meal prepping as plain steamed vegetables day after day, there’s no doubt you’re going to ditch the meals you think of as flavourless and hit up your favourite fast-food joint. Also, set aside time to clean and chop vegetables so you have them not only ready to snack on but also to use for making your meal. Having some of your mise en place done will make cooking dinner a breeze…making it much more likely you’ll consume more produce over the week.
Zero in on making simple healthy food swaps
Don’t overlook the small healthy changes you can make when it comes to what you eat day to day. Instead of microwaving popcorn, pop your own on the stovetop. Love chips and dip? Instead, try some multigrain crackers dipped in hummus or a tapenade. If you usually keep a packaged granola bar on hand, replace this with some trail mix you’ve prepared yourself using nuts, seeds and unsweetened dried fruit, or prepare some protein balls using natural ingredients. Instead of your go-to flavoured yogurt, make a few snack cups of overnight oats or chia pudding you can top with fresh fruit. Switch to whole grains from refined grains: if you find you don’t like the flavour, you can train your tastebuds to adjust over time by mixing brown rice with white rice; and if you’re making a sandwich, make it with one slice of whole grain bread and one slice of white bread.
Share meals with other people
Studies show that we eat more fruits and veggies and less fried food and soft drinks when we eat meals with other people. Plan for regular meals with friends and family, and everyone will benefit, not just from adopting healthy eating habits but also from the social and mental health benefits of spending time with others.
ViiV Healthcare collaborated with three Canadians living with HIV to remind people how scientific innovations are helping people lead long, healthy lives
Believe it or not, nearly half of all Canadians mistakenly believe that individuals living with HIV have shorter lifespans, even if they are receiving treatment. That shocking statistic is from a recent global HIV perceptions survey, that showed 49 per cent of people across the country wrongly believe that HIV equals a death sentence. In truth, thanks to scientific advancements, people living with HIV can lead long and healthy lives.
The results of that recent survey, and others like it, show the same thing over and over again: public attitudes and knowledge about HIV have not advanced in step with treatment and prevention. It’s one of the reasons why ViiV Healthcare recently partnered with three Canadians living with HIV and interviewed them about their own experiences living with HIV, as well as their future goals, dreams and aspirations. Those interviews, seen in ViiV’s recently released “Faces of HIVˮ video, address misinformation about HIV mortality head-on by showing that people living with HIV are in fact leading long, healthy, fulfilling lives.
“Faces Of HIV” features Gabriel Jarquin, an avid marathon runner and HIV/AIDS advocate; Susan Shumba, the coordinator for POWER (Positive Women’s Empowerment and Leadership); and Adrian Betts, who began working with the HIV-positive community 33 years ago during the onset of the pandemic. The three participants all share their own experiences and feelings at the time of their HIV diagnosis, when they didn’t know what was going to happen.
“I just didn’t know what was going to happen, so it was a moment of panic, bit of fear,” says Gabriel. Adrian recalls, “I assumed I was going to die. I was told I was going to die.” That’s echoed by Susan: “Deep down I was feeling like maybe I no longer have a future.”
And how do they feel about their futures now?
“I feel like I have so much energy and so much life to live,” says Gabriel, while Susan echoes the sentiments, saying, “I feel like my future is bright.”
The team behind “Faces Of HIV” also took professional portraits of Gabriel, Susan and Adrian and then worked with an AI artist to age those portraits based on the participants’ hopes for the future. In the video, the aged portraits are revealed to the participants, which, of course, provokes a lot of emotion surrounding the context of living and aging with HIV.
“I love it. That’s exactly the sort of future I want for myself,” says Adrian, who is excited to turn 60 in two and a half years.
“Makes me feel good – a lot of optimism, a lot of hope,” says Gabriel. “The reason I share my story is to just inspire others and to not let something like an HIV diagnosis slow them down. Getting older is a gift.”
“It doesn’t look like something that we should be ashamed of but something we should be proud of,” says Susan.
“Faces Of HIV” comes at a time that is especially important as rates of HIV are increasing throughout Canada. Recently released data from the Public Health Agency of Canada (PHAC) shows that new HIV cases rose by 35 per cent in 2023, versus 24.9 per cent in 2022. This represents the largest yearly increase of new transmissions in over a decade, with 2,434 new cases, according to PHAC.
To watch the “Faces of HIV” video, visit www.youtube.com/watch?v=TCCszQ-miYk.
To learn more about ViiV Healthcare Canada, visit www.viivhealthcare.ca.
The much-loved Peloton instructor explains how to make fitness a key part of your lifestyle
By Karen Kwan
Peloton instructor Adrian Williams grew up playing football and running track, and he has always been active and fit. Eventually he started working in the fitness field, starting with some personal training clients and later at a boutique fitness studio on the West Coast; in 2019, he joined Peloton, where he’s now a Tread, Strength and Row instructor. His personal workouts nowadays focus on strength and conditioning. “Those are the two things I gravitate towards the most; the 5x5 program has always been part of my life and I continue to do it.” (The 5x5 program has a few iterations, but they all involve doing five sets of five reps of compound exercises.)
Still, as healthy as Williams is, it doesn’t mean that keeping a fitness routine comes easily to him all the time, both physically and mentally. Here’s how the fitness pro approaches workouts for himself, and what he recommends to anyone trying to stay motivated when it comes to keeping active.
Establish healthy habits by setting small goals
If you’re trying to kick-start your health and fitness journey and find it hard to stay motivated, Williams suggests aiming for small goals to start. “I think we all have this way of setting goals that are way too big sometimes – and it’s not always necessarily a bad thing – but I think setting goals that are attainable helps us to build confidence,” he says. Start slower and find something (a specific type of workout, for example) you can actually be happy about. “That’s the thing you’ll hold on to – you’ll leave that workout and you’ll hold on to that joy and that feeling of confidence,” says Williams. He says that from there, once you feel comfortable with the movement patterns and three or four days of activity, you can add a day to reach the sweet spot of four to five days of activity to really benefit your overall health.
Take an emotional lap
If you’ve ever taken a class on the Peloton platform with Williams, chances are you’ve heard him talk about taking an emotional
lap. “It’s something I got from one of my coaches growing up,” he says. “It was our way of resetting when we were feeling the stress of the load from the workout. Mentally, sometimes you get to a point where you are completely exhausted or you feel like something is really just too hard. Take a minute to gather your thoughts, take a second to breathe and refocus on the intention of why you’re there, and then bring that back to the workout,” he explains. When we’re there to work out, in the grand scheme of things, we are there for our own health and benefit, so there’s no need to stress that much about it, he adds. Make rest days as key to your routine as your hard workouts.
Williams confesses that, before he joined Peloton, he was working out six to seven days a week. “I was in a community and working in a space where I’d teach and see friends and they’d be like ‘Take the class!’ and I would say okay, even though it’d be a day I wasn’t supposed to be doing movement,” he says. Nowadays, he’s become much more comfortable with saying no and making rest a priority. “You get to really have the best workouts when you’re rested and when you’ve fuelled your body with the proper nutrition – you can give more than 100 per cent,” he says.
While the three pillars Williams focuses on are workout, rest and recovery, he admits he doesn’t always do a good job on all of them, especially during busy times such as the holiday season. “But I try to give myself some grace depending on where I am. I know that at the root, I have great habits and that’s the most important part,” he says. He advises focusing on good habits and, if you stray and get off track, don’t let yourself feel guilty about it. “I don’t think it’s healthy to feel bad about maybe missing a workout or eating something sweet.” Williams says he often hears people saying they feel bad about their food choices and need to work out really hard the next day to “make up” for their choices. “It shouldn’t be like that; you have to have flexibility in how you live.”
Six reasons why we turn to our hairstylists to chop for change
By Adriana Ermter
Have you ever picked up a glossy magazine and relished the candid paparazzi pics that depict how “Stars – They’re Just Like Us!” really are just like us? Sure, you probably laugh or shake your head that this equates “news,” but there’s something validating about seeing pictures of Jade Jolie pushing a shopping cart without a trace of glam or Neil Patrick Harris eating a turkey leg at the dinner table with his family. And the perennial favourite: when the glitterati realize a big-life moment with an even bigger haircut.
Who didn’t see Harry Styles’ post-Taylor-Russell-breakup faux hawk all over People , Vogue , GQ, Elle, TikTok and beyond in 2024? Currently, Ellen DeGeneres’ au naturel ’do – which replaced her signature blonde pixie after she and Portia de Rossi hopped the pond – is dominating headlines. Entertaining, maybe, but the real reason these stories sell is because we can relate. We’ve been there, chopped that to mark a high or low point, too. “Most of us have done this; we’ve cut our hair to give us a sense of control in a moment when things might feel out of control,” affirms Michelle
Bilodeau, a registered psychotherapist (qualifying) and the founder of Canel Therapy in Toronto. “It allows us to feel empowered because we’re taking back a specific part of ourselves.”
In control or out, big hair transformations signal the beginning or end of a personal journey. Powerful, symbolic reflections of our head and heart space, they act as an emotional GPS indicating where we’ve been and where we want to go. “It’s the only thing you have on you all the time,” says Daniel Naumovski, Goldwell National Artist and co-founder of TAZ Hair Inc. salons. “You could be wearing a $10,000 Gucci outfit, but if you have a bad hairstyle you’re going to look in the mirror and feel like shit, right? How you present yourself is how you feel about yourself. Even in times of uncertainty, when you feel good about your hair, it impacts the way you see yourself and your future.” Which explains why our hairstylist is on speed dial during times of celebration and in moments of need. Here are the six most common reasons we make the cut for change.
1. Boredom
When you’re tired of the same ’ole, same ’ole, life feels stagnant. Could be you’ve run out of meatless Monday options for dinner or played Chappell Roan’s “Good Luck, Babe!” one too many times. Monotony is random and suffocating. The flip side, though, is that boredom inspires us to inject novelty into our life – and there’s no more accessible way to break a ho-hum cycle than a haircut. “It’s the perfect time to play,” says Bilodeau. “How often do we, as adults, allow ourselves to play? Playing with your hair is fun and it’s not like a tattoo, which people also get when they’re bored, so it’s not permanent.” According to Big Joy, a science project based out of the University of California, Berkeley’s Greater Good Science Center, these small acts of joy not only help alleviate boredom, they can increase your overall happiness.
2. Milestones
From a job loss or personal struggle to a promotion at work or birthday, milestones motivate hair change to stimulate feelings of confidence and empowerment. Even if you’re faking it until you make it, they’re a bold statement of your inner strength. “Our culture is very focused on self-care,” Naumovski observes. “So going to the hair salon when you’re feeling good, and when you’re not, is all about that.” Case in point: a 2024 review available through the National Library of Medicine notes that when individuals want to feel empowered, they often make visible changes to their appearance to reflect their inner transformation. “It gives you a little bit of a feel-good hit,” adds Bilodeau. “If the haircut is something you really like, it’s a nice reminder of the steps that you took to get there.”
3. Breakups
Probably the most common reason we opt for a new ’do is the end of a relationship. The pain can trigger a desire to shed the old and embrace the new. “Literally,” enthuses Naumovski. “When a client is going through a breakup or a divorce, I always hear comments like, ‘My husband loved my hair long,’ or ‘My partner wanted me to look a certain way.’ Once the Band-Aid has been ripped off the relationship, they feel like they can do what they want without worrying about what someone else might think.” According to a 2023 Unilever All Things Hair survey conducted by 3Gem Research & Insights, the breakup haircut is a powerful psychological tool that symbolizes a tangible and visible manifestation of change. So while literally cutting away the past symbolizes a new chapter, it’s also a ritual that can help you cope, as it provides a sense of closure and a new identity separate from your former partner.
4. Illness
Ooph, this is a hard one. Serious conditions like cancer, which often lead to hair loss, are a real reason we cut our hair. Getting a close crop prior to treatments like chemotherapy act as selfpreservation, as having shorter hair can minimize the distress of losing it. “When I was in my late 20s, I heard that my first-ever girlfriend from high school had been diagnosed with cancer,” shares Naumovski. “I reached out to her, and one of the first things she said was that she was more afraid of losing her hair than dying. She’d always had beautiful long, thick hair and it was part of her identity. So that’s a profound statement. When you hear it, it puts into perspective how important our hair is and
how it affects us.” Cutting, regrowing and restyling your look throughout a health issue can also be symbolic of your recovery and resilience. Research published in a 2024 article in the British Journal of Dermatology found that hair regrowth significantly contributes to improved self-esteem in cancer survivors.
“How you present yourself is how you feel about yourself. Even in times of uncertainty, when you feel good about your hair, it impacts the way you see yourself and your future.”
5. Parenthood
Becoming a parent often leads to a reassessment of priorities, including your appearance. Many opt for a practical hairstyle to save time and ease stress, says Bilodeau. “I was one of them. I wanted things to be simpler after my child was born.” Women aren’t the only ones who choose a wash-and-go coif, either. “We all wear different versions of ourselves at different stages in our lives,” Bilodeau adds. “So when your need connects with a new haircut that feels authentic, it’s a way of expressing yourself that feels like the best version of who you are.” Low-maintenance hair certainly has its benefits. A 2024 study from the National Institutes of Health found that changes in appearance, including your hairstyle, can help new parents better negotiate their new roles and responsibilities.
6. Authenticity
If you’ve spent years following trends, wearing your hair to please your mother or conforming to societal expectations, choosing a look you like is big-time. You’re making a statement that signals individuality and self-expression. “It allows you to let go of stuff that’s holding you back, because it reminds you that there was a ‘before time,’ when you were just you,” explains Bilodeau. “So it’s like, ‘Before I cut my hair, I let the expectations of other people weigh me down. Now that I’ve cut my hair, I feel freer. I’m able to feel more like myself and I allow myself to be more empowered.’ It can give you a time-frame shift to look at things differently and to just be yourself.” Altering your hair means that you’re ready to rediscover parts of yourself that might have been suppressed or neglected. And making that change is always a good thing.
Getting Glam at Gram’s is a colourful and celebratory picture book for children that embraces all gender expressions through a fun family fashion show
Sara Weed and Erin Hawryluk, two childhood friends from Petrolia, Ontario, have teamed up to create a delightful children’s book that celebrates diversity, self-expression and the joy of family. Getting Glam at Gram’s follows Alex, a non-binary child, as they embark on a glamorous adventure at their grandmother’s house. With access to a wardrobe bursting with vintage styles and with a family that embraces individuality, Alex and their cousins explore the boundless possibilities of fashion and self-expression.
This heartwarming tale is more than just a children’s book; it’s a celebration of love, acceptance and the power of imagination.
The book is a truly “family” affair: Sara wrote the story while Erin provided the illustrations, and Sara’s wife, Emly Denham Weed, provided input, as did all their kids. In this exclusive interview, Sara and Erin share their inspiration and creative process, and their hopes for the book’s impact on young readers.
You two have such a unique history, growing up across the street from one another and now seeing your own daughters become friends. How has this lifelong connection influenced your creative partnership?
Sara: Collaborating together is wonderful. We recognize that our connection is special. Our mothers are friends, we are friends, our daughters were born on the same date and are obviously best buddies. Our shared roots have allowed us to really understand one another, which helps the creative process unfold effortlessly.
Erin: Whenever we get together, we’re always creatively workshopping ideas. While our kids are off playing, our ideas naturally flow into conversation and the living room transforms into a writers’ room with lots of laughter. Sometimes our kids wander into the discussion or eagerly jump in with their own ideas. It’s been really fun to imagine and dream up characters and stories together.
What inspired you to write/illustrate Getting Glam at Gram’s? Was there a particular event or experience that sparked the idea?
Erin: We really wanted to create a relatable story with positive queer representation. One day, we were having a conversation about the similarities between how we played as children and how our kids play, and were inspired by this shared experience. Dressing up and playing pretend is something we all did, and I think so many people can relate to that.
Sara: And Gram, with her extensive wardrobe and accessories, is loosely based on my own mother, who generously allowed my sister and me, and now her grandkids, free rein to explore her clothes for dress-up and play. As Erin and I crafted the concept, we were intentional with character, setting and language details so that it aligned with our goal of positive queer representation.
The book features a non-binary main character, Alex. Why was it important to you to include this representation?
Sara: When my kids were younger, it was not easy to find books that represented our two-mom family in an authentic way or [with] characters that challenged the gender binary. We wanted to focus on filling this gap. I think fashion and style is a fun creative outlet for self-expression. We wanted the messages of the book to carry that we can express our own unique identities and love ourselves fully. By including Alex, we hoped to offer representation for those who, like me, might not always fit into traditional gender roles, and to create a story that sparks conversation around selflove, individuality and acceptance. At the beginning of the book, characters are introduced by name and pronouns are listed. Just like how calling someone by their correct name is respectful, so is using their correct pronouns. We were intentional about providing this inclusive language to ensure that each family member’s identity is seen and included.
The illustrations are so vibrant and full of life! Erin, can you tell us a bit about your artistic process and how you brought these characters to life?
Erin: Thank you! It was such a fun story to illustrate. My process starts by storyboarding small sketches and ideas. From there, I move on to finding a layout for the pages, thinking about a colour palette including textures, patterns and lighting. I like to make
character turnarounds and expression sheets to help develop their unique personalities. In the end, the hope is to create designs that kids will find interesting and relatable [and] that connect with the story.
What do you hope young readers – and grown-ups! – will take away from this book?
Sara: With play at the heart of this book, we want readers to be lifted by its joyful energy and supported by the message of self-love and expression. Play allows children to explore different versions of themselves, be unapologetically themselves, and simply be silly and creative without fear of judgment. Even if something doesn’t go as planned, we can work through problems with the help of loving family members and keep moving forward. Play is contagious – in the book, the whole family gets in on the fun. We hope to inspire kids to put together their own fun outfits and host their own fashion show!
Getting Glam at Gram’s (from Arsenal Pulp Press), for ages three to eight, is written by Sara Weed and illustrated by Erin Hawryluk. It is available in bookstores across the country. For more information, visit arsenalpulp.com.
In his debut novel Open, Heaven, Hewitt reminds readers of the complex emotions associated with a first love and how transformative the experience can be…
By Stephan Petar
Do you remember your first love? It probably wasn’t a sweeping romance with heartfelt moments like how it is portrayed in most media – though, if it was, congratulations! For many, first loves are probably the most complicated because they create complex feelings we have never navigated before and in many cases they’re one-sided, especially for queer people if that initial love interest is heterosexual.
Poet, memoirist and novelist Seán Hewitt explores the “desires, yearning and terror of first love” in his debut novel Open, Heaven, set in a remote northern English village. The main character, 16-year-old James, wonders what is beyond his small village and aches for autonomy, tenderness and sex. When Luke moves to a farm close by, James is drawn to him and the pair form a bond. James’ desire unravels over the course of the year, showcasing how electrifying, cruel and transformative first love can be and what it does to other forms of love.
“It seemed a lot of queer literature had relationships or first loves that seemed slightly unrealistic,” Hewitt told IN Magazine. “I hadn’t read many books about unrequited love because, fundamentally, unrequited love is a bit of an unsatisfying subject for a novel.” Yet the comments he’s received from readers and Heartstopper actor Sebastian Croft, who will narrate the audio version, suggest that the story is universal. “Many have said this exact same thing happened to them, and these are straight and queer people. That seems to be quite a formative experience for them.”
We spoke to Hewitt about writing his debut novel, first loves and love in general, his connection to nature and what he hopes readers will take away from his book.
What inspired Open, Heaven? I was speaking to friends about our experiences growing up.… It
seemed that the common thing between me and a lot of friends was that we all fell in love first with someone who didn’t [love us back] or who was straight.
I was wondering what that does to people: to have that first experience be one that is not reciprocated, that is entirely bound in the world of the imagination and the fictions that we invent. I had the idea of putting us inside the head of a character trying to guess whether his friend might love him back or not. The book is about what love does to our interior worlds.… Then it became about all different forms of love – the love between family, friends, lovers – and how those things all come into contention.
In an Instagram post, you said, ‘It’s a love story, in its own way.’ I feel James is trying to negotiate which love stories are most important to him.
In some ways you can have a friendship that’s like a love story. Both characters find themselves in a sort of romance, but they interpret it in a very different way. My challenge was to write a love story that was unrequited and failed in that respect but wasn’t dismissed as a waste of time. There are so many things that we learn from friendships and from falling in love that don’t require it to be reciprocated.
I talked about your book with Mae Martin and Sabrina Jalees, who have the podcast Benefits with Friends, and they told me people have this fairy tale notion of love and friend relationships, which can be a bit unfair… I think in some ways literature is responsible for that. When I grew up, I read the Brontës, and the troubled, passionate, slightly uncertain love that is in many of those books became a model for me being able to test how I felt about people. If I didn’t love them like I loved Heathcliff [from Wuthering Heights], then it wasn’t any good to me. We build up these fictional ideals of
what love should feel like, and sometimes those ideals stand in the way of us actually experiencing it. In some ways the book is responsible for an image of love, and I wanted to pull down that image without desecrating the idea that love might be an ideal.
I want to discuss your interpretation of the title. To me it’s about vulnerability, which is what James displays. He is this closed person who opens himself to Luke, and whenever he is around Luke he feels as though he is in heaven. What does the title mean to you?
Your interpretation is as good as mine. I see this book as about a character who’s trying to knock his way into this perfect world that he has imagined. I see the title almost as a command, like knocking on the gates of heaven and trying to get inside. James spends so much of the novel obsessing about how he can get to this perfect place he’s imagined, that so much of his life falls by the wayside. He begins to ignore his family and even misreads the person he’s in love with. What he’s most obsessed with is being in love and trying to get to this paradise that he thinks might be waiting for him.
He has to learn through the book how to open himself up, and I think he does learn to do that. He grows as a person, but he also has to confront the idea that he is an idealist and a fantasist.… Love makes a fantasist of all of us.
…Especially after you break up or it fails, and you start creating multiverses on how it could have turned out…
And that’s why I wanted to have this frame narrative as well where he’s looking back. The book doubles as a mystery about memory for James. He’s trying to go back and see things in a different light and to understand what it is he experienced and why it’s still having repercussions throughout his life.
I felt like I was right next to James throughout the novel thanks to your detailed descriptions. You’re like a landscape painter, but your paint is the written word. What is your method for creating these vivid scenes?
I go out and take photographs and videos and note down interesting things. I probably walk for two or three hours a day…and I come back with this archive of images. One thing I tried to do when I was writing the book was to write the season that I was in. So I began writing it in autumn and wrote autumn first.… I tried to keep the seasonality I was experiencing.
Even though it’s a fictional place, I have a real place as a map for myself, and I visited that place quite often. The world of the novel began to feel quite real to me because I would see a lane or a canal and think, ‘I know what James and Luke would be doing here.’ As a writer, you have to feel that you’re walking beside them to make their world feel real, and for me the description of the landscape helps me to situate myself within the novel.
You’ve worked in quite a few literary formats. Why was the novel the next natural thing for you, and what challenges did you face?
The biggest challenge turned out to be the biggest reward. In my poetry and memoir, the base material was reality…a transfiguration of reality. With the novel, the hardest part was trusting that I
could make something up. When you make something up, it has to feel real.
The other was narrative. I had to construct a story, and that is its own kind of structuring device. If you have one scene in a book or one sort of character, you then have to invent the other character who pulls that into balance or who adds a degree of complexity to that scene or character. So you begin thinking in a different way than you do when you write a poem. I absolutely loved writing this book once I’d got out of my own way.… I felt such a sense of freedom with it.
What do you want readers to take away from Open, Heaven? I want readers to look back on their life and give themselves grace as a younger person. This is a book not just for queer people but for anyone who has ever fallen in love. I want people to feel a resurrection of what it feels like to be in love and what a powerful thing that is and how it can change the entire way we see the world and the people around us.
Open, Heaven by Seán Hewitt will be available to purchase on April 15, 2025.
The author discusses how reflecting elements of his own identity and lived experiences made writing his new page-turner, The Tiger and the Cosmonaut, so difficult…
By Stephan Petar
Set in a fictional remote town in British Columbia, Eddy Boudel Tan’s The Tiger and the Cosmonaut sees Casper Han return to his family home after the disappearance, and eventual safe return, of his father. Casper and his siblings question their father’s actions and how it relates to the night Casper’s twin, Sam, went missing two decades ago. As the family launches an investigation into Sam’s disappearance, their past and present converge, leading to discoveries about themselves and the world around them with the realization that they need to make their voices heard to reclaim what’s been taken from them.
Boudel Tan’s latest work is a haunting and suspenseful pageturner that tackles themes of identity, resilience and connection. The author is no stranger to approaching these topics with an element of mystery in his writing, and it’s thanks to Stephen King. “I grew up reading a lot of King. He is so talented at using horror to enlighten truths about humanity and life,” he tells IN Magazine “At the end of the day, all of his stories are about people who are struggling against forces that are in and out of their control, and about how people and communities respond when they’re faced with something terrifying.”
Identity is a core part of Boudel Tan’s writing, but tackling the topic in this novel was different. “It is perhaps the one novel, or even story, I’ve written that most closely reflects the different elements of my own identity and lived experience,” he explains, sharing that the book was one of the most difficult things he has ever written. “Casper and I are very different people, but much of what he has gone through is reflective of my experience.”
A big part of his identity journey was digging deeper into his family history as an adult. “Growing up, I knew my parents struggled coming to Canada…but I never truly interrogated it. I never thought to understand it until I became older and started asking questions about my history,” he says. Learning more about his parents’ immigration story to Canada led to the realization that his grandparents had fled to Brunei as refugees from China – a similar journey taken by the Han family.
As Boudel Tan continued exploring his family’s experiences, he began to learn more about Canada’s treatment of Chinese immigrants. “That’s when I started learning all about the [Chinese] head tax, the Chinese workers on the railway and the oppression that [Chinese immigrants to Canada] suffered over the past hundred-plus years.… They were having their homes burned, their businesses attacked and racial slurs thrown at them. They weren’t able to live like every other Canadian.”
Parts of this broader Canadian history were incorporated into the narrative, something Boudel Tan felt was important from a preservation standpoint. “It’s so easy to forget and it’s stunning to think how recent it really was, over the course of two to three generations,” he says. These histories not only showcase stories of injustice, but illustrate the sacrifices made for future generations and honour the courage of immigrants.
Boudel Tan also shared how a big part of the novel was him processing the duty he felt towards his parents, to do and say what they couldn’t as newcomers. “My parents just weren’t in
a position to stand up for themselves, stand up for their rights.” This feeling is something Casper and his siblings experience as they grasp how their parents, and other immigrants in their town, have been minimized and pushed aside by their communities, fuelling a need for the younger generation to break the cycle and take a stand.
COVID-19 also influenced Boudel Tan’s writing, thanks to a realization that occurred in the darkest days of the pandemic, when he and his friends recognized their parents were aging and would eventually pass. “That was really the driving force of this novel: the reckoning with the fact that my parents were getting older and weren’t going to be around forever. That made it a truly challenging story to write because it was a constant reminder of that fact.”
Difficulties aside, Boudel Tan found the book incredibly fun to write as he got to explore family dynamics and invent the small town of Wilhelm. “I enjoy creating places that feel like they could be real. Places that are informed by the cultural and geographical context but are essentially a segment of my imagination.”
When asked where the novel’s title came from, he said it just came to him and felt right. While the references may seem random and completely separate, they represent the costumes worn by the twins on the night of Sam’s disappearance as well as highlighting Chinese culture and the essence of both boys. “The tiger is a Chinese astrological sign. It is Casper and Sam’s sign. The cosmonaut is perhaps a modern-day element of space and the universe,” Boudel Tan explains. “It also felt like a fitting visual representation of the two distinct boys. Sam, who is born of this world, who loves this world and is grounded. Casper, whose head is always in the clouds, is always dreaming about space, of leaving this earth.”
In 1995, Scott Amedure revealed on The Jenny Jones Show that he had a crush on his friend Jonathan Schmitz. Days later, he was dead. What does that say about our obsession with tabloid TV shows?
By Christopher Turner
On March 6, 1995, Scott Amedure went on The Jenny Jones Show to confess his “secret crush” on a straight man named Jonathan Schmitz, who was also on the tabloid talk show. Just a few days after that, Amedure was dead, and Schmitz had been charged with first-degree murder in his death. Schmitz utilized the so-called “gay panic defense,” claiming that he had killed Amedure over embarrassment about the revelation of a same-sex crush on one of the most popular talk shows of the 1990s.
That episode of the show was shelved, although it was eventually broadcast on October 17, 1996, as part of Court TV’s coverage of an ensuing civil trial against The Jenny Jones Show. But in the criminal and civil trials that followed Amedure’s murder, Jones and her show became Exhibit A in an indictment of the perceived excesses and manipulations of talk shows and tabloid TV.
Schmitz was eventually convicted of second-degree murder and sentenced to 25 to 50 years in prison; he was ultimately released in 2017 after serving 22 years for his conviction. But questions remain to this day about the so-called “Jenny Jones Murder” and the show’s culpability. After all, prior to that day both men had led quiet, everyday lives in the American Midwest. So, how responsible were the producers for the events that took place once the two men left the studio – and, if The Jenny Jones Show hadn’t invited the men on the show, would Amedure still be alive today?
Here is a look back at the events surrounding the murder of Scott Amedure.
Remembering Scott Amedure the person
Scott Bernard Amedure was born on January 26, 1963, in Pittsburgh, Pennsylvania, the youngest of six children to Frank Amedure and Patricia Graves. Shortly after Amedure was born, the family moved to Michigan, and Frank and Patricia divorced shortly thereafter.
At age 17, Amedure dropped out of high school to join the army, where he served with the rank of Specialist in the Air Force for four years before he returned to Michigan. An out and proud gay man, Amedure worked in the telecommunications industry for several years before finally switching over to bartending and working as a bartender at Club Flamingo, a gay club in Pontiac, Michigan.
Amedure was reportedly well-liked in his preferred bartending profession, and he enjoyed the social life that came with it. There
was one other thing that Amedure enjoyed as well. According to Amedure’s neighbor Gayle Clinton, he “was a talk-show junkie.”
In the spring of 1995, Amedure, 32, was booked to be a guest on the first-run syndicated talk show The Jenny Jones Show, in an episode titled “Revealing Same Sex Secret Crush.” The show was following a rising trend of talk show episodes about secret crushes. Taped on March 6, 1995, in Chicago, Illinois, the episode was intended to air in May 1995 as part of the show’s fourth season. The taped episode featured six unsuspecting guests, who were all invited to come on the show to meet a self-proclaimed “secret admirer.” The guests, however, were not directly informed that they and their secret admirers were the same sex. On the episode, each secret admirer publicly revealed their crush to a guest, with presenter Jenny Jones interviewing the pair afterwards.
On the episode, Amedure admitted to being a secret admirer of Jonathan Schmitz, then 24, an acquaintance who lived near him in Lake Orion, Michigan. Schmitz didn’t know who would be revealed as his secret admirer until he stepped on stage, and stated that he was participating in the show out of curiosity. He later claimed that the show’s producers had implied his admirer was a woman, although the producers would counteract that claim, saying that they did tell Schmitz that the admirer could be male or female. During the segment, Jones encouraged Amedure to share his fantasies about Schmitz, after which Schmitz was brought onstage. According to The Washington Post, “the two men exchanged an awkward embrace before the host dropped her bombshell.” In response to Amedure’s disclosure, Schmitz laughed, then stated that he was “definitely heterosexual.”
He, Amedure and a mutual female friend then spent the post-taping hours together without incident.
Three days later
According to footage of the murder trial, a friend of Amedure’s stated that Amedure and Schmitz went out drinking together the night after The Jenny Jones taping and that an alleged sexual encounter occurred. According to the testimony at the murder trial, three days after the episode was recorded, Amedure left a “suggestive” note at Schmitz’s house. After finding the note, Schmitz withdrew money from a bank, purchased a 12-gauge shotgun and went to Amedure’s mobile home in suburban Detroit. He asked Amedure if he was the one who had left the note. According to court documents, Amedure responded with a smile. Schmitz then returned to his car, got his gun and went back to Amedure’s trailer.
He then shot Amedure twice in the chest, killing him. After killing Amedure, Schmitz drove to a nearby gas station and telephoned 911 and admitted his crime. When asked why he had done it, he said he’d been embarrassed on national TV.
Schmitz was subsequently arrested and charged with first-degree murder.
On March 15, 1995, six days after the murder, Jones recorded and issued a statement on an episode of The Jenny Jones Show where she extended her sympathy to the Amedure family and emphasized “that this tragedy is about the actions of [Schmitz].” Her recorded statement kicked off heavy criticism that would follow the show for the foreseeable future.
Schmitz’s father, Allyn, blamed the show for his son’s actions. He stated: “The talk shows, they’re absolutely rotten. Had [Jones] not done this, this would never have happened.” Schmitz’s grandfather, Walter, told a news reporter that he believed Jones had acted as the “triggerman” in Amedure’s murder.
Frank Amedure Jr. – Scott Amedure’s brother – commented: “I feel this [murder] would not have occurred if Jenny Jones hadn’t exposed homosexuality, a sensitive issue in our society.”
At trial, defence attorneys argued that Schmitz, who had been diagnosed with manic depression (bipolar disorder) and Graves’ disease, killed Amedure because of his mental illness and humiliation, by way of the “gay panic defense.” The case, as expected, was widely covered by the news media and resulted in a national discussion over violence towards gay people. Schmitz’s use of the gay panic defense in his criminal trial drew sharp criticism from many gay rights advocates at the time.
During the trial, Jones claimed that she’d had virtually no involvement in writing or planning the episode, although she believed the episode’s topic was “light-hearted.”
On November 13, 1996, Schmitz was found guilty of seconddegree murder and sentenced to 25 to 50 years in prison. He initially served two years of his sentence before the Michigan Court of Appeals overturned his conviction. He was then retried and convicted again of the same charge in 1999, with the original sentence reinstated.
In August 1995, the Amedure family also filed a civil suit against the show and its partners, including Warner Bros., and was awarded US$25 million. But that verdict and award were overturned on appeal. Amedure’s family filed an appeal over this reversal, although the Michigan Supreme Court and the Supreme Court of the United States declined to hear the case.
Schmitz was granted parole and was released from prison on August 22, 2017, after serving 22 years of his sentence.
“He spent 22 years [behind bars], so that sounds like he’s completed virtually his entire sentence,” Geoffrey Fieger, an attorney who represented the Amedure family, told People when Schmitz was set free in 2017. “I’m not absolving Schmitz of his crime. I’m
just saying that The Jenny Jones Show and the people that were behind the show were equally responsible.”
Amedure’s brother Frank wasn’t convinced that his brother’s killer had learned his lesson.
“I wanted assurance that the decision was not based on just good behaviour in prison,” he told The Detroit Free Press. “I’d like to know that he learned something, that he’s a changed man, is no longer homophobic and has gotten psychological care.”
In the years since Schmitz was released from jail, he’s remained out of the spotlight.
aftermath
The episode and its aftermath resulted in a media frenzy across North America. The public’s reaction was mixed, with debate over whether The Jenny Jones Show held responsibility for Schmitz’s subsequent actions. Jones and the show’s producers defended the episode, claiming that the topic of same-sex crushes was light-hearted and that Schmitz’s actions following the episode’s taping were unforeseeable. After all, The Jenny Jones Show had previously aired several episodes that covered the topic, including an October 1994 episode titled “Secret Gay Crushes.”
Jones herself said that she enjoyed the topic of secret crushes, telling the Los Angeles Times in 1988 that “secret-crush shows are always fun.… I loved the ‘same-sex’ angle and I’m always looking for ways to include gay people in our shows.”
So just how responsible was The Jenny Jones Show for Amedure’s murder? Writing for The Buffalo News, attorney Alan Dershowitz said he believed that Jones and her producers were more than just negligent in their behaviour.
“Jenny Jones should not take any solace from the legal conclusion that her show’s conduct does not excuse Schmitz’s conduct,” he wrote. “The First Amendment protects the show from any legal consequences, but it does not immunize them from the criticism, which they justly deserve, for their irresponsible actions.”
As for Jones, whose show ran from 1991 to 2003, she has rarely spoken about the incident throughout the years. However, she did have one thing to say in 1999, saying that only one person was ultimately to blame. “It was not the ‘Jenny Jones murder,’” she said then. “It was the Jonathan Schmitz murder.”
Although Beyoncé’s Renaissance was released in 2023, the side effects of the album are still very much affecting the zeitgeist. This musical project, which was motivated by the shimmering sights and sounds of Black, queer dance music (and B’s dearly departed Gay Uncle Johnny), has been able to do what no other album in her discography has done. It has pushed us all to pay attention to the LGBTQ+ liberation and innovation embedded in our clubland history. The album, its world tour and its subsequent film each stress the importance of B’s collaborative choices in some way or another. How she moves, who she moves with and which movements she aligns herself with have shaped her persona and her purpose.
One of the many queer figures who have helped her define herself through art is choreographer Jonte' Moaning. His multidisciplinary approach to dance and performance – fuelled by his prior work with Janet Jackson, Thalia and Mya – aided Beyoncé during three pivotal career shifts. The pair’s first big collab was with B’Day, an album that can be likened to Janet Jackson’s Control album (both artists were breaking free from old management teams and artistic limitations placed on them by both the music industry and their respective families). After doing B’Day, Moaning went on to choreograph for one of B’s most successful world tours to date, 2006’s The Beyoncé Experience and then reunited with Ms. Knowles for the Renaissance tour in 2023.
Aside from working with B continuously for nearly two decades, Moaning has also helped shape the careers of Korean girl groups such as Blackpink, Wonder Girls and Miss A with his moves. Yet despite being known for his partnerships with other artists, Moaning has always made it a point to stand out on his own. Through the years, he’s released music that cherry-picks from Prince’s repertoire, the sounds of the international Ballroom scene and setlists from past legendary queer parties in New York City such as Mr. Black.
In this wide-ranging interview, Moaning spoke with IN about the complexity of his artistry, the synergies he’s created via collaboration and the part he played in some iconic moments in popular culture.
In an interview you did early on in your career, you quoted Nina Simone and said, ‘How can you be an artist if you don’t reflect the times?’ How do you reflect the times? I was basically raised by southern Black people. I have great parents who believe in me. My grandparents experienced Martin Luther King and the rise of civil rights. So I was basically raised by people who told me that it’s okay to be whatever or whoever you want or need to be. They reminded me that they survived during those tough times. They already fought for me, so I can’t let them down.
“Most of the times when you’re gay, you want to be introverted and so you keep trying to push yourself away from being a part of the crowd. I did the opposite.”
During your high school days, you said you stopped being bullied because you got everyone on your side by focusing on being the best dancer. How did that work out for you?
I had to infiltrate. Most of the times when you’re gay, you want to be introverted and so you keep trying to push yourself away from being a part of the crowd. I did the opposite. I used to perform at all of the basketball halftimes – doing the coolest songs that came out in the ’90s from artists like Aaliyah and Missy Elliott – but I was still myself. The basketball team had respect for me because I made sure they knew that I was talented and I was supporting them with my show.
Fast-forward years later, and you’re on stage dancing with Janet Jackson and Justin Timberlake at the Super Bowl during what so many comedians called ‘Tittygate.’ What did that experience give you?
First of all, I did not know that titty was coming out. I was right in between Janet and Justin and it came out. We didn’t rehearse that. What bothers me is that we spent three months rehearsing so many moves and all people talk about is her titty. So much talent was there, but the titty was taking over the whole conversation!
What was the most challenging choreo to understand for Janet’s performance?
‘Rhythm Nation.’ You can’t mess up when it comes to something so iconic – the moves were militant and hard to get down. Months of rehearsals went around of that one freaking song. Janet would make each dancer dance – one by one – in front of a room of the best choreographers in the world. People were standing up front and in the back of you, clocking every side of your body to make sure you didn’t mess up.
You released your first dance track, ‘Make Up,’ on Myspace, and went on to release tracks like ‘Bitch You Betta’ and ‘Ya Rude.’ The latter tracks have been played in so many queer clubs for years. How have LGBTQ+ clubs and dance spaces inspired your art?
Those nightclubs were like my night school. They taught me so much. ‘Makeup’ was written by Prince for Vanity 6 back in 1982 – the year I was born. I heard it at a club and was so inspired that I wanted to create a visual for it. Myspace and YouTube were my outlets at that time. ‘Makeup’ started the whole upward spiral for me. I went to parties in New York City that [promoters and club icons] Suzanne Barton and Kenny Kenny would throw. I also went to Mr. Black, of course. There was a night called Plaid that Boy George and Grace Jones would show up to. This was after September 11 and before social media. We could actually talk to each other. It was cool.
In your videos to ‘Bitch You Betta’ and ‘High Kick’ Pow, there are nods to Grace Jones. Was she someone you wanted to emulate?
I was trying to pay homage to Grace. But I can only be Grace in essence since there is only one Grace Jones. I do think it’s important to respect the artists that came before you. To incorporate their work in your work – without being a copycat – is part of that respect.
Tell me about the first time you met Beyoncé. It was in 1998 during Destiny’s Child’s The Writing’s on the Wall
album. We met in the Amsterdam airport. I was about to go to Scotland for the Edinburgh Dance Festival and they were going to London to promote the album. I was in line behind [Beyoncé] and complimented her Nikes. We took a picture – and almost 10 years later, we ended up working together. I had always been a fan of Destiny’s Child and Beyoncé. Her vocals are just so amazing to me.
What do you think she saw in you when you finally worked together?
She wanted the pizzazz that I had. She was also learning from the people that I had been dancing with for many years – talents like Danielle Polanco. Danielle made Beyoncé watch all my YouTube videos and said, ‘This is who you need to work with next.’ Working together is easy-breezy because we respect each other’s talents. We are now both able to tell each other the truth.
What was witnessing her transformation like?
She was ready to break free and she needed someone to help her do it. I just remember me and Ms. Tina [Tina Knowles, Beyoncé’s mother, and costumer at the time] in the back room talking back to each other (laughs). I was trying to show Beyoncé how to move and show her all the things that I’ve learned being a performer and club kid in New York City. I told her, ‘Beyoncé, you’ve got to lick your lips after dancing for [the video to the song] “Kitty Kat.”’ Beyoncé’s mom was like ‘Don’t get her to lick her lips like that!’ I remember saying, ‘Ms. Tina, we got eight “Freakum Dresses” that need to be made, and guess what? You have not made one. Let me do what I do. Go do what you do.’
How do you think Beyoncé ended up becoming more liberated after collaborating with you?
Oh yes, all of it. In her work, in her life. I feel like she was such a church girl and a country girl. With so many stars, everything is so scripted. I’m not afraid to tell anyone, ‘I’m not afraid to tell anyone, ‘You see how much of a mess I am…? And I’m still proud!’ She certainly learned – I mean, look at Renaissance. She understood that she couldn’t be me, but she could be me in essence. You know what I mean? She adjusted and interpreted the vocabulary that was given to her with me. When I choreographed the Tina Turner tribute for her Grammy appearance, I was showing her how to slink into the chair we had on stage. She said, ‘Jonte', you know I can’t sit like that. My hips are too big!’ I said, ‘Well, figure out how to make your big hips look good!’ I am not a yes man. I think that’s why she wants me around, because I say no all the time. I love to say no all the time. And she accepts it. Honestly, we just let loose. I always told her, ‘You have the power to be fucking fabulous and so do I.’
How did it feel to see your dance moves on the Renaissance tour stage?
It felt amazing to see…and to be on that stage with her. There were so many full-circle moments for me on that tour – especially after we performed, when we would hit the clubs in all the cities I’ve never been to. I had people in those clubs who have been watching me online for years. Club kids kept coming up to me and telling me how much they adored me – it felt so nice to get that love. I was in New Orleans and this guy said, ‘Jonte', do you know the reason why I didn’t commit suicide was because of you?’ I told him, ‘Baby. I’m so happy that you were there to receive that message.’
You also spent a lot of time in Japan – what brought you there?
An old Japanese guy who was not even a dancer. He was an investor and had tons of studios in Hiroshima. This was right after September 11, so when he asked me to fly over and teach, I was afraid to travel. When he told me how much I was getting paid, I said, ‘I’ll be there.’
During the pandemic, you reconnected with your family that you hadn’t seen in 20 years. What was that like?
Oh God, you’re so deep. When I left Portland, Oregon [his birthplace], in 2001, my nieces and nephews were one and two. When I came back, they were in their 20s with kids. When I finally came back to see them, they still had love for me. I wish I could have been there to see them grow up, but I had to sacrifice my family for my career.
Why do you think your choreography is in a lane of its own?
It’s a mixture of ballet, Brazilian martial arts, traditional and modern African dance, and so many invented moves.… All these different elements bring a vibe.
“Club kids kept coming up to me and telling me how much they adored me –it felt so nice to get that love. I was in New Orleans and this guy said, ‘Jonte', do you know the reason why I didn’t commit suicide was because of you?’
I told him, ‘Baby. I’m so happy that you were there to receive that message.’”
Is it important for us to protect Blackness and queerness from being attacked, watered down or overly commercialized?
It is, because I remember how it was. I live in Harlem and I used to walk out of my house and be called a fucking faggot or have people chasing me and trying to beat me up. Now when I walk out of my house, someone says, ‘You’re fierce.’ Sometimes I miss the days when I had to fight more.
How can fighting for your art transform an artist?
It makes you work harder. It makes you push harder. When I got called a faggot, I went on stage – sometimes [with] people like [transgender model and artist] Amanda Lepore – and I let out all the anger. I bring all of what I went through that day right to the performance. My testimony comes from all that I had to absorb.
What’s the longest amount of time you ever rehearsed for a project, and why?
I’m still rehearsing for a project and I am always asking why. That’s my life. My life is a project and I am always questioning things.
Who are you most excited to work with next?
Me. It’s time. Why are so many of us artists always stuck behind the girls? It’s time for us to be the girl. I’m flattered by those who put me beside them. It’s very honest to me. It lets me know that my work has not been in vain. Some of my inspiration, especially Bob Fosse. I try to incorporate his movement in my movement.
What did you learn, if anything, from being part of the Alvin Ailey education system?
That I can’t be put in a box. When I first went there, I had cornrows – which had taken four years to grow – and they told me to shave my head. They started to make the dancers look the same and have the same uniform basically – especially the male dancers. This is not for me. I’m a free spirit. They didn’t understand that. I pretended I was going to Alvin Ailey – just to tell my parents that I was going to school – but I was starting to audition for MTV, Madonna, Aaliyah, all of them. The first gig I booked was
Pink’s first tour. I didn’t do it, because I called my mom and told her and she said, ‘I don’t know who Pink is, but your ass going to be blue, come home.’ So I had to finish high school. I did and worked with this Mexican artist named Thalia. Then Mya and then Janet [Jackson].
What did you learn from being on the road with those three? That I could be queer and be on stage in front of a whole bunch of straight people and be accepted.
What are you excited about bringing to life in the next year? I’m working on movement coaching. I’m building it all on my website, jontemoaning.com. I’ll continue working on choreography, workshops, lessons and collaborations with people and brands.
What do you notice the most when you look at the next generation of queer choreographers?
The fact that they’re fearless. They have examples to look at on TikTok or social media and it helps them dream when they see the dancers before them. It’s like they’re an extension of who we were but they have so many more outlets to express themselves than we did. That gives me hope.
ELIO IANNACCI is an award-winning writer, poet and a long-time arts reporter for The Globe and Mail. He has contributed to 80 publications worldwide, including Vogue Italia, The Hollywood Reporter, Maclean’s, The Toronto Star, and Sotheby’s Insight magazine. His Master’s thesis, Queer-Diva Collaboration in 20th Century Popular Music, was nominated for a Governor General’s Gold Medal.
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Daniel Bateman, a stage actor who appeared on Broadway in Wicked, shines in the lead role of Michael in the groundbreaking LGBTQ+ romance film Sex Love Venice. Written and directed by acclaimed filmmaker Steve Balderson, the film delves into the intricate tapestry of love and self-discovery, offering a refreshingly poignant narrative within the LGBTQ+ cinematic landscape. As Michael, Bateman portrays a man disillusioned by the transient connections of hookup culture. He yearns for a love that feels truly meaningful. His search leads him to the enchanting canals of Venice, where he encounters a magnetic and soulful local who challenges his deeply ingrained notions of intimacy. Marco,
played by the hunky out actor Alexander Ananasso, believes in the transformative power of cultivating desire and leads Michael on a raw and vulnerable journey that invites audiences to reflect on their own definitions of love and connection.
With its evocative storytelling, breathtaking Venetian backdrop and powerful lead performances by Bateman and Ananasso, Sex Love Venice is a cinematic experience that transcends boundaries and celebrates the courage it takes to embrace love in its most profound and transformative forms. Daniel Bateman explains more from his home in Los Angeles.
How did you prepare to embody the role of Michael?
I could relate with Michael. Like him, I have always been deeply in touch with my emotions. I have searched for meaning and purpose in my life and have felt the frustration of not knowing exactly how to navigate today’s hookup culture.
Sex Love Venice emphasizes patience and intention in cultivating desire.
So many things are instant today. We can order food and access nearly anything we want at the touch of a button. Sex Love Venice shows how patience can be important in getting to know someone. We don’t have to learn everything instantly. It takes time to genuinely gather discovery. The reward can be a desire that we might not have known we were capable of.
Throughout the story, we witness Michael grow from someone who hides behind his insecurities to a man who is unabashedly vocal about them.
I wanted audiences to feel Michael gradually build up his sense of confidence and watch as he realizes that his insecurities and vulnerability are his strength.
Your on-screen dynamic with Alexander Ananasso as Marco is pivotal. How did you and Alexander build the connection required to bring this relationship to life?
I didn’t meet Alexander in person until we were both in Venice for the shoot. There is a lot of intimacy within this film, and it was so important to develop elements of that. We got along so very well and bonded through humour. A genuine respect and care for one another grew on set. When it would be really cold or windy, he’d give me an extra jacket. I’d wipe his nose! We remain great friends today. We will always be connected from this journey. That’s the great thing about film; it is there forever.
What was it like filming in Venice?
This film brought me to Europe for the very first time! When I arrived, it was misty and rainy with fog. As I slowly approached Venice on the water taxi, it was like stepping back in time into a magical world from a history book. There really is nowhere
quite like it. There’s an energy and essence to Venice that almost doesn’t feel real. Everywhere you look is picturesque. I definitely absorbed all of it and allowed myself to get lost in the enchantment.
The film draws from director Steve Balderson’s own memoir, Year of the Whore
Early on, I had conversations with Steve to discuss his personal experiences and his vision for the role. Steve is a great director who lets his actors play with the scenes to interpret the characters as they see fit. So, while I drew from certain aspects from Steve’s journey, I was able to make Michael my own.
What do you hope audiences take away from Michael’s journey and from the film’s broader message about transcending judgment and finding love in unexpected places?
I hope they leave with the comfort of knowing that even though there is so much happening in the world right now, behind the chaos there is beauty in connection. It’s important to feel more, to desire more, and to get out there and be yourself because we are all absolutely worthy of true love.
How do you see this film contributing to the landscape of
There’s a place for all kinds of storytelling, but I feel most films
celebrates the realness of both intense sexuality and tender romance.
Venice is streaming
By Paul Hutnick
Originally from Costa Rica and raised across the Ontario border in Niagara Falls, NY, Fernando grew up with dreams of making a difference. He first aspired to become the US president, and when he realized that this dream wasn’t possible due to his birthplace, he decided to pursue a different path of influence: acting. After graduating high school, Fernando made his way to Los Angeles, where he quickly landed a role on Disney Channel’s Disney 365 That, he says, was a “dream come true” that shaped his career and life.
Now, Fernando takes centre stage in Exteriors, an LGBTQ film by director Mark Schwab that weaves together three interconnected stories of modern gay relationships. The film premieres this month on GayBingeTV. Fernando explains more from his Los Angeles home.
You’re best known from your time on Disney Channel’s Disney 365. Is it true that it almost didn’t happen?
Yes! The morning of my big audition, the power went out in my building and the gate of my garage wouldn’t open! I was panicking: sweating bullets, crying. This was the biggest audition of my life, and I couldn’t get out of my building! Thankfully, the casting director was so patient and understanding. I finally got to the audition, an hour late. I left thinking I would never hear from them, but I got a callback that I completely flubbed because I was a ball of nerves. I left the callback thinking, ‘Not a chance in hell,’ but three days later I got the call telling me I booked it!
Did Disney 365 help shape your journey as an actor?
The lessons I learned from that time have shaped everything I do in and out of acting.
What does a typical day in your life look like now?
I don’t think there’s such a thing as a typical day for an artist. For that reason, I strive to stick to my self-care regimens religiously. First thing every morning, I stretch for 30 minutes to an hour and then hit the gym. Whatever happens from that point on in the day is that day’s adventure.
What initially attracted you to the role of Kenny in Exteriors, and in what ways do you relate to him personally?
Kenny and I are similar in that we care about our friendships and relationships more than anything else.
You previously portrayed Kenny in Brotherly Lies. How did it feel to revisit this character in a new context with Exteriors?
Amazing! It’s rare to be given the chance to step back into a role, and I felt lucky to do so. Especially with Mark [Schwab, the film’s director] and his crew.
Exteriors delves into the idea of whether coincidences are random or part of a greater plan. What are your personal thoughts on that?
There have been countless times where I’m thinking of someone
so I reach out or bump into them and they say, ‘I was just thinking of you.’ How is it that we both were thinking of each other? That, to me, proves we’re all interconnected in ways we don’t yet understand. I believe there’s something bigger at play.
“I hope audiences leave the experience more open to whatever ‘randomness’ life throws at us. We can all learn something meaningful from seemingly insignificant moments.”
What do you hope audiences – both LGBTQ+ and beyond – take away from Exteriors?
I hope audiences leave the experience more open to whatever ‘randomness’ life throws at us. We can all learn something meaningful from seemingly insignificant moments. You never know what that moment might mean eight years from now.
Would you suggest that viewers watch Brotherly Lies before diving into Exteriors?
I definitely think it’s an added bonus, but both films stand on their own.
In your opinion, how has the representation of LGBTQ+ characters and stories in film evolved over time?
How much time do you have? Long answer short: it’s come a long way but still has a long way to go.
How does working on a gay film compare to other projects you’ve been involved in?
Brotherly Lies was my first time working on a queer project and I found it to be pure magic. It’s what little me never knew I wanted to do. It gave me a chance to speak from my actual lived experiences, and forced me to be honest with myself in the storytelling in ways I had never been challenged to do before.
What advice would you give to aspiring actors, particularly LGBTQ+ individuals, who want to break into the film industry?
This is a hard one, as after 11 years doing this professionally, I’m trying to figure it out myself. However, there are things that still remain true. Train. Learn. Study the craft, but also equip yourself with knowledge of how to navigate being your own business.
What’s next on the horizon for you?
My new film Cutaways will be coming out soon, which I’m really excited for. I got to have blue hair, which is something I always wanted to try! Aside from that, I am working towards a law degree and will be doing a pre-law fellowship in Europe this summer. I’ve never been, and it’s wildly expensive, so I’ve started a crowdfunding campaign on my social media @spacemoneky.
Exteriors is streaming now on GayBingeTV. Visit ditrfilms.com.
By Elio Iannacci
In today’s musical and political landscape, noise and bravado often dominate. Words like peace and grace have become elusive but are still so desired. Sebastian Gaskin – a queer multiinstrumentalist, singer-songwriter and producer from Tataskweyak Cree Nation – embodies both grace and peace in a way that’s as unexpected as it is magnetic. His serene and intimate rapport in interviews – which never feel forced or performative – mirrors the new songs on his first album, Love Child. This recently dropped disc explores love and loss in a way that doesn’t rage or overtly dramatize. Instead, Love Child’s songs are peaceful and graceful, and yet still powerful. Curating sounds from downtempo electro, Hip-Hop-Soul, and ’90s-era Diva Pop, Love Child was born from the fusion of multiple genres.
Gaskin’s debut album dropped under the banner of Ishkōdé Records, an Indigenous-owned label, in collaboration with Universal Music Canada. It landed just weeks before Gaskin hit the iconic South by Southwest stage – setting the stage for what could be a breakthrough moment at Austin’s indie-music Olympiad. And a few days before that, Gaskin sat down with IN Magazine to chat about the many muses, meanings and emotions behind Love Child
The lyrics for two of your recently released songs – ‘Ghost’ and ‘Song For Granny’ – explore the power of memory. If your grandmother and mother had a playlist, what are some of the artists you think would be on it?
Shania Twain was big back in the ’90s, so definitely her with ‘Man! I Feel Like a Woman!’ and I also remember hearing a lot of Lee Ann Womack. I grew up surrounded by the kind of strong women who would go on to inform my songwriting later in life. I believe little moments like hearing a country song on the radio as a child can affect the way you end up writing a lyric.
Another song off Love Child is called ‘Medicine.’ It is a tribute to your late father, Jody Thomas Gaskin. Tell me about what went into creating this track.
He was an incredible musician. He toured with Buffy SainteMarie and bands like Eagle & Hawk, so I’ve just really wanted to preserve his memory. He was a very complicated man. I include traditional singing in the chorus of this song because he was one of the first Indigenous artists to do that – combine traditional elements with pop music. I felt a bit of a deeper connection with him after I wrote the song.
One of your new album’s standout tracks is a song called ‘Shadows.’ How does performing lyrics like ‘I’ll just carry on with the show, don’t you know I’m a falling domino’ resonate with you as a queer Indigenous performer who’s living in such a precarious political moment?
As much as that song came from a place of grief and sort of sadness for losing somebody very close to me, the lyrics are like a manual for me. They literally tell me I have to push forward no matter how much it hurts. You can’t just lie down and die because you’re sad. That might sound insensitive, but you have to work towards something, otherwise you’ll never heal.
I’ll give you a perfect example of something that happened last year. I was celebrating and grieving the life of a friend that I lost
a year ago. His name was Josh. He died suddenly and he was very young. The day he died, I had to go do the photo shoot for this album. So, I had to pull myself out of bed and get my ass to this, [to] be a part of this project I’ve worked on for so long. As soon as we finished doing the photography, I had booked a flight to be with his family. I had to compartmentalize in order to get this album done to make sure that I was on time for rehearsals when I got back.
Does music comfort you in ways the outside world cannot? Music is like a pillow for me. I learned to dream on it. I discovered songwriting very early on in life. It helped me process my feelings. I had a conversation with my uncle this weekend about compartmentalization. He kind of blew my mind. He just turned 60. I was telling him about how I’ve gotten really good at compartmentalizing in my life and he kind of challenged me when he said I should ‘know the limits of those compartments.’
What was the first song you ever wrote?
It’s called ‘Touch and Brilliance.’ I was 12. I’d just gone through my first serious breakup and I thought the world was ending. I wrote about being so hurt but also knowing that I was with this beautiful person who didn’t mean to hurt me. I was a very deep 12-year-old.
One of your newer songs, called ‘Safe,’ brings up the idea of whether or not safe spaces are fictional or real. They can be created. I’ve definitely experienced places of real safety with my therapist, for example. The topic of safe spaces at shows or concerts is a difficult one because I want to protect the people who go to my shows, but how can you stop them from running into someone they don’t want to see? You can’t exclude people from a public place, so it’s such a tough conversation. Then, sometimes I think…maybe safe is subjective, you know? Maybe it’s more of a feeling or something so arbitrary that it can’t be put into words. I know I feel safe when I can fully be myself, all forms of myself. I enjoy partaking in substances and alcohol, but being able to do that around people I trust is key. Also: being able to say stupid shit without judgment is a big one for me. We all do it with our friends but we have to feel safe enough to be able to be ourselves.
You returned to your nation last year and a journalist called it a hero’s welcome. Is that an accurate description of what you felt?
It definitely felt like that because when I first got there – this was in July last year – I thought I was just going back there to sort of speak to the youth and perform a few songs and see people I hadn’t seen in years. When I left, I saw that they had put a big billboard up on the res that said, ‘Home of Sebastian Gaskin, Juno Nominee.’ It was really moving to feel that love and that acceptance from the community that I grew up in.
What changes did you see on the res?
I feel like it’s gotten a little worse there for the younger generation. There are fewer activities for them to do. I don’t think they even opened up the ice rink this year for hockey and skating, whereas when I was growing up there, it was always open on time every year. There’s a lot more vandalism there now, unfortunately. These
kids are still having fun and smiling and playing throughout all of this negativity. There’s been a large influx of crack cocaine that has infiltrated the community and a rise in violence and home invasions, so that was really sad to see.
What gave me hope was the number of artistic types in the newer generations. They are interested in making music and saying something with sound. My younger cousin, Sage, he produces beats and I got him a new keyboard for Christmas because I wanted to continue to fan that flame. My friend Dieter, who is a drummer, guitar player and songwriter – we were in a cover band together back in high school – he’s helping a lot and teaching these kids about music. It’s really important as Indigenous people that we continue thinking about that next generation.
One of the most politically charged songs on the album is ‘Brown Man’ – which I believe was inspired by the murder
of George Floyd. One of the verses contains the lyrics: ‘Turn off the TV, I don’t want to see it’ – something so many people can relate to right now. How do you protect your art and the gifts you have – and continue to develop them – while still connecting to what is happening in reality?
‘Brown Man’ is really the only spot in the album where you’ll get a politicized viewpoint, because the rest of the songs are love songs and songs about grief. With everything that’s going on, it gets hard to keep it inside you and carry around all of that heaviness. How can you not write about it? You have to disconnect at some point. You can look at the darkness, but don’t stare at it, because then it sort of strains you if you stare too long. Now, I try to stay off of X. I can’t stay on it for more than 10 seconds because it’s just pure hatefulness and it can be such a disgusting place. I think surrounding yourself with people who love you and support you is getting harder but it’s what you have to do. That might sound super cliché, but it’s true.
Aside from memories for your songs, what else do you collect? I’m a big collector of shoes. I have an obsession with Nike Air Max 90s. I have 17 pairs at home. I’m trying to get special colourways. I like my jewellery. That helps me get into a good head space. I love silver the most – it looks so good on my skin.
Fashionwise – whether it’s a style icon or brand or trend – who or what are you most connected to at the moment?
A name that always comes up as a reference for me is André Leon Talley. He was brilliant – the sort of larger-than-life sofa parkas he’d wear really speak to me. I wore an outfit for the cover art for ‘Song for Granny’ – which was a Dorian Who piece – which really reminded me of André Leon Talley. Fashion that is genderless and formless feels so right for me.
If your debut album had to have a mission statement, what would it be?
That I am anti-genre. The idea of the music genre is fading away as time goes on. You’ll see artists like Shaboozey who are melding many sounds and cultures together. I hope this record serves as a jumping-off point for other artists to say, ‘Hey, maybe I could push these boundaries.’ I also hope that kids from my res – and other reserves in Canada—can listen to this album and say, ‘I can do that.’
Hearing Chappell Roan initiating conversations about labels providing proper health care to artists and shining a light on trans rights at the Grammys makes me think that pop artists today are far more outspoken than the generation before them.
Do you think that is fair to say?
The way she called out the journalist and asked him to put his
money where his mouth is really showed what level of resilience there is out there. Charli XCX backing her up and Benson Boone also pledging 25 grand makes me think that this next generation knows how to take action. For a good reason. It’s important that these conversations are had because they’ve been set aside for so long. I don’t know exactly what Chappell Roan’s experience has been, but the fact that she was able to speak up at a huge event such as the Grammys – that says a lot about her and her courage.
Buffy Sainte-Marie has been in the news lately because the Canadian government has stripped her of her Order of Canada after news came out about how she fabricated her Indigenous identity. Many are asking for the Junos to also take her honours away from her. What do you think about the situation? It’s a difficult one for me because one of my first tours was with Buffy Sainte-Marie. I got to know her – she was always a lovely person and a beautiful soul. I am sure she didn’t mean as much harm as she caused, but she did cause harm. It doesn’t change the fact that many people were hurt by what turned out to be. As far as stripping her of her awards goes, yeah, I don’t know. When’s it going to stop? Do we strip her of everything? I don’t really know the answers.
I want to talk about art that’s inspired Love Child. Did any films or soundtracks seep into the evolution of the album?
I’ve watched the movie Interstellar about 400 times. It’s just such an epic film. The grandiosity of the story and the way it is playing with time makes it such a beautiful thing to watch. It’s the greatest film of all time. It inspired a lot of these songs because the record is so cinematic. I see a lot of these songs as scenes out of a movie.
What’s happening in the world should be a reminder of why it’s so important for 2SLGBTQI+ people and their allies to know their queer history
By Paul Gallant
I’ve always been haunted by a story I read more than 15 years ago, about how young Cambodians doubted their elders’ experiences of the Khmer Rouge regime’s violence from 1975 to 1979. A survey suggested that four out of five members of the young generation knew little or nothing about their country’s “killing fields,” in which, during that four-year period, 1.7 million Cambodians died from starvation, disease, torture or execution. And yet, at the time of the story I read and of the survey, that violence had happened just 30 years earlier.
The news media documented the horror in Cambodia as it was happening, which wasn’t the case with 2SLGBTQI+ history. Sure,
we know about the Greeks, going back to the 8th century BC, and the erotic carvings on India’s Khajuraho temples, which date back to the 11th century CE, and about Stonewall in 1969 and much of what’s happened since then. But for big chunks of humanity’s time on Earth, queerness was suppressed and therefore shrouded in secrecy. What we are able to know for sure is spotty.
Making it even tougher is the fact that so much of 2SLGBTQI+ life is ephemeral: performances (particularly drag), private parties, discreetly welcoming social venues, unmarked places where we surreptitiously meet one another, the spots where fleeting sexual encounters happen. Until the late 20th century, mainstream media
and governments only cared about us enough to oppress and demonize us. A lot of what we know about ourselves before the 1950s comes from arrest reports.
In this era, where outrage-fuelled trolling drowns out the facts, telling our stories and sharing our history matters more than ever. Our future depends on it, because our future is shaped by what people in power (including ourselves) believe about us. You can argue that the internet is overflowing with 2SLGBTQI+ stories from the past, but that body of knowledge is only surfaced for those who go looking for it, who actively engage with search and AI to find out more. In order for information about 2SLGBTQI+ history to do its job, it must be delivered into the minds of the incurious.
Organizations in various corners of the world have dedicated themselves to preserving this history. Some are better than others at getting their collections in front of the public. Sometimes that’s by bringing what they have directly to the public, while in other cases it’s academic researchers and other writers and creators who are mining these collections and bringing what they find to a wider public.
“Until the late 20th century, mainstream media and governments only cared about us enough to oppress and demonize us. A lot of what we know about ourselves before the 1950s comes from arrest reports.”
Canada’s national 2SLGBTQI+ archives, Toronto-based The ArQuives, is the largest independent 2SLGBTQI+ archives in the world, with a history going back to 1973. Though much of their collection is accessible only to serious researchers, they’ve increased their online presence over the last few years. In 2023, they had 12,000 people access their online collections and reached more than 300,000 people through social media, according to their annual report.
Their digital exhibitions include a spotlight on the We Demand March of August 1971, the first recorded political action taken by 2SLGBTQI+ activists in Canada, held on the second anniversary of the passing of Bill C-150, which decriminalized homosexual acts in Canada between men over the age of consent. Knowing about the march reminds us that even when governments change policies, injustices don’t instantly go away. The ArQuives’ online Genderqueer in Canada exhibition shows that, though the term “genderqueer” is modern, the idea of refusing conventional notions of gender and sexuality is a very old one.
Along with digital collections, San Francisco’s GLBT Historical Society, founded in 1985, has a museum in the Gay Village of the Castro, which features permanent and temporary exhibitions that anyone can stroll into for the price of admission. Last year the
organization spent US$11.6 million to buy a new building, also in the Castro, that will eventually become the museum’s permanent home. (It will probably be a few years before the museum moves into the new space.)
“History matters,” says Rafael Mandelman, the openly gay man who is president of the San Francisco Board of Supervisors. “Ensuring we have a world-class museum in the Castro, a neighbourhood that has been at the forefront of the LGBTQ+ rights movement, ensures that the stories of our struggles and victories remain accessible and inspiring.”
Berlin’s Schwules Museum was also founded in 1985, and also showcases engaging special exhibitions that attract patrons who are curious about how the 2SLGBTQI+ past informs our present. Its exhibitions, usually four at a time, probably have more sass than those at other institutions. This spring’s “With Legs Wide Open – A Whore’s Ride Through History” centres the experiences of sex workers. Originally founded as a home for the history of gay men, this museum has over the years broadened its focus to queer ideas of sexual or gender identities that are meant to challenge heterosexual dominance and binary gender norms, as well as all forms of discrimination and exclusion.
Not all these institutions have such long histories themselves. Queer Britain, the UK’s first and only LGBTQ+ museum, opened the doors of its physical space in 2022, four years after the idea was announced. By May 2024, more than 80,000 visitors had passed through those doors, though the organization is still looking for its “forever home.”
Yes, real estate is a key factor in the success of an institution dedicated to preserving history. Documents, books, newspapers, magazines and artifacts like pins, banners and, at Queer Britain, the actual door of the jail cell of Oscar Wilde when he was in prison for gross indecency from 1895 to 1897 – effectively for being gay – well, they all take up space. The advantage of physical things is that they’re harder to tamper with than digital things, and so are more resistant to manipulation and misinformation. But, then again, it takes effort to preserve them.
Of course, real estate is not absolutely necessary to tweak people’s imaginations and thirst for knowledge. Colombia’s Museo Q does not have a permanent headquarters, but has launched projects that have been digital, built around community gatherings, published on paper and hosted by other organizations, all of which have centred marginalized queer voices and surfaced collective memories. Most of what’s been gathered by South Africa’s Gay and Lesbian Memory in Action (GALA), which has collections going back to the 1940s, can’t be accessed by the public, but it makes resources available at a reading library on its premises, as well as through events and social media.
Still, so much of this queer history is only going to fall into the hands of the curious and queer. Only the most enticing and central storefronts will lure the apathetic and the antipathetic. That’s why it’s important for 2SLGBTQI+ people and their allies to absorb this history themselves; friendly, knowledgeable, helpful human beings are the best publicists we have.
Eurovision is coming to Basel – returning to its birthplace in Switzerland for the first time in over three decades – and the city is ready to impress with its charm and style
By Stephan Petar
Thirty-seven countries are set to descend on Switzerland to compete at Eurovision 2025, with the hope of winning the coveted glass microphone trophy and the honour of hosting the competition next year.
Non-binary artist Nemo broke “The Code” with their winning song in 2024, bringing the competition back to the birthplace of Eurovision. (Interesting tidbit: Canadian chanteuse Céline Dion, representing Switzerland, performed “Ne Partez Pas Sans Moi” and won in 1988, by a single point.) Participating 67 times, Switzerland has claimed three victories, with Lys Assia winning the first-ever song contest. Lugano and Lausanne have both hosted, and now
For the Eurovision superfan
Starting May 10, the song contest will host a week of activations throughout the city so that visitors get the complete Eurovision experience. Eurovision Village (at Messe Basel, the city’s exhibition centre) will host daily programming with performances, food, activities and viewing parties, while Barfüsserplatz will showcase music from local and regional acts including those from France and Germany. Visitors will be able to stroll along Eurovision Boulevard, starting at Basel SBB railway station, and dance to past entries at EuroClub.
For a 2SLGBTQI+ experience
Home to RuPaul’s Drag Race Global All Stars competitor Tessa Testicle, Basel has a small but mighty queer scene, with Gay Basel being the go-to source for local events. One event to keep in mind happens on Tuesday nights, when local establishment KaBar transforms into ZischBar. Described by Gay Basel as “the most important weekly gay meeting place in the city,” the evening welcomes the community to drink or chill out, with portions of sales being donated to local 2SLGBTQI+ associations.
Basel, which sits on the country’s borders with France and Germany, is set to welcome the world.
This is the perfect time – and place – to go.. Located in Switzerland’s German-speaking region, Basel’s history dates back to the Celtic times. It has the country’s third largest population, a Mediterranean climate and about 300 days of sun a year. And the city and its surrounding regions have activities for all interests and budgets. Whether you prefer to spend time immersing yourself in Eurovision events, browsing museums, marvelling at its historic and modern architecture or savouring traditional Swiss dishes, the city will no doubt impress.
For the budget traveller
Switzerland is one of the most expensive countries in Europe, but it can be enjoyed without breaking the bank. Navigate the narrow alleyways of Old Town to discover picturesque structures and the hundreds of decorative fountains (which, yes, have drinkable water). Take photos of the striking red-coloured Rathaus (city hall) with the frescos adorning its exterior and interior courtyards, or the double-towered Basler Münster (cathedral) with its tiled roof. Plant lovers can explore one of the oldest botanical gardens in the world at the University of Basel, walking through a tropical rainforest or gardens that were used to make and study medicine.
Lastly, don’t overlook Switzerland as a swimming destination. The Rhine River is a spot for locals to swim and commute as the currents carry them through Old Town. Just remember to swim in the green zones, never go alone, be a confident and strong swimmer, and invest in the Basel-invented Wickelfisch (fish-shaped dry bags) to keep your belongings dry. There are also bathing houses along the River like Rheinbad-Breite (admission starting at six Swiss francs), which is perfect for relaxing and soaking in the sun.
For the person who takes #FoodPorn
No trip is complete without sharing some fondue – and, according to locals and tourists alike, Schafeck has some of the best in the city. Other tasty must-haves include Rösti, a crispy potato pancake with bacon or cheese, and Raclette, which is melted cheese on potatoes or bread.
With France and Germany within walking distance, it’s easy to create a one-day “self-guided international food crawl,” having breakfast, lunch and dinner in different countries. For those who want to explore Basel’s food scene, there are plenty of Instagrammable venues with tasty food options to discover. Unternehmen Mitte and Gelateria Pandito are cozy spots for coffee and pastries, with the latter serving delicious homemade ice cream. For indecisive eaters, “food-temple” Klara features cuisines from different countries and cultures and is sure to satisfy all cravings. In the evening, pop into Kuni & Gunde, a stylish corner restaurant with a minimalist light wood interior serving seasonal dishes. As one happy customer put it, you’ll get a dinner that “not only satisfies the stomach, but also the soul.”
For the art ponderers
Basel surrounds visitors with art inside and out. As the country’s “Capital of Architecture,” it has ultra-sleek modern structures like the Novartis Pavillon and Basel Exhibition Centre, as well as historic buildings dating back centuries with hand-painted and/or ornately designed facades.
Its museums are stunning in design and hold impressive works by renowned artists. Fondation Beyeler, in nearby Riehen, has a large collection of classical modernism and contemporary art. Its current exhibition, Northern Lights, features landscape paintings by Scandinavian and Canadian artists such as the Group of Seven and Emily Carr.
Kunstmuseum Basel houses the oldest public art collection in the world, with pieces by Vincent Van Gogh, Pablo Picasso, Andy Warhol and more. Its current exhibit, Verso – Tales from the Other Side, exposes the backs of paintings, which are typically concealed and only visible to curators and conservators.
For the daytripper
Forget trains, planes and automobiles – travelling to France and Germany is easy, in fact walkable. Locate the Dreiländereck monument, which marks the convergence of the three borders, and simply walk across. Live that A Walk to Remember fantasy by being in two places at once, or brag to friends about visiting three different countries in under an hour.
If exploring Switzerland is on your list, then train travel is the best option. Nearby Zurich is not only the country’s economic and financial centre – it also has plenty of history, swimming spots and nearby hiking trails. Lucerne’s clear waters and mountainscapes are worth the visit alone, along with its wooden Chapel Bridge. Bern, the capital city of Switzerland, boasts a UNESCO World Heritage Site old town; and you cannot miss Geneva or Lausanne in the French-speaking region (an overnight stay, at the least, is recommended).
Eurovision 2025 Fast Facts!
Key dates: Semi-Final #1 on May 13, Semi-Final #2 on May 15, Grand Final on May 17
Currency: Swiss franc (CHF)
Plugs: Type C (2-pin) and Type J (3-pin) plugs
Time zone: Central European Time
Shopping: A majority of shops are closed on Sundays. Exceptions include those near transit hubs and (usually) tourist attractions.
Drinking water: Tap and fountain water is drinkable throughout the country.
WiFi: Free WiFi requires registration, which typically requires a one-time code via text.
SIM: An eSIM like Airalo is great for data (also consult our guide to eSIMs at inmagazine.ca/2024/12/ esim-smarts/), but a traveller SIM from a local mobile provider is best for minutes/text messaging.
Discounts: Book a hotel, hostel or Airbnb in Basel and receive the “BaselCard,” which offers free public transport and discounts at attractions.
The timeless, unsung trails of Castilla y León deliver living history via heritage cities, golden plains, hearty cuisine and lush vineyards
By Doug Wallace
Though Spain is well-known for its ham, I fall hard for a completely different pork specialty – cochinillo, Castilian suckling pig ––and at lunch no less. Clearly, the people of Castilla y León know how to live.
We’re tucking into a three-course (at least) feast at fifth-generation, family-run restaurant Méson de Cándido in the small city of Segovia, an hour northwest of Madrid. A hush comes over the lunch crowd as said pig is wheeled out on a platter to the middle of the room. The tradition of carving it with the edge of a plate to demonstrate its tenderness is carried out by Alberto Cándido, whose son Cándido López now oversees this gastronomic landmark. Alberto performs a short recitation and carves the meat before smashing the earthenware plate on the floor to much applause. As the pork melts in my mouth, I wonder how many broken plates have been swept up since the 1930s, when the restaurant opened.
Our lunch turns out to be the first of many pleasant traditions and surprises in the autonomous community of Castilla y León, Spain’s largest region. Though overlooked by many visitors to the country, it has plenty to brag about, including an untouristy ambience. In contrast to the perhaps more extroverted and celebratory cultures of southern and eastern Spain, this sparsely populated region has a more tranquil vibe – being mostly farmland with a dash of wine-country opulence thrown in. History here runs extremely deep, back to Roman times.
Castilla y León was central to the intellectual and cultural flourishing of Spain during the Middle Ages and Renaissance, and it is the cradle of the Spanish language, the linguistic heartland where modern Spanish
was born and refined. As such, historic landmarks are extremely old, including the many castles that give the region its name. Medieval fortresses are everywhere, but we also discover architecture from a variety of eras, including a high concentration of Romanesque and Gothic architecture, reflected in the churches and monasteries. It’s like a living museum in places, the dozen UNESCO World Heritage Sites encapsulating the very essence of Spain’s historical and cultural evolution. The charm and the food and the fun are the icing on the cake.
Alongside its delicious food, the draw of Segovia is the Roman aqueduct that looms large in the middle of town. It was built in the middle of the first century – and, coming from Canada, I find something that’s this old and still standing to be almost unfathomable. One of the most wellpreserved aqueduct bridges in Europe, built of unmortared granite, it is truly an engineering marvel. At first, as we walk alongside it from our hotel, it is only about chest height, but it then steadily gets higher and higher as our walk takes us downhill to the Plazas de Medina del Campo.
The 16th-century Segovia Cathedral is no slouch either when it comes to architectural mastery. With its three tall vaults, it’s one of Spain’s finest late-Gothic structures. Ditto the fairy tale-like, 12th-century Alcázar of Segovia, which apparently (and rather obviously) made an impression on a young Walt Disney. This castle served as both a palace and a fortress, replete with moat and drawbridge. Interior rooms and halls are decked out in the finery of their time, murals and carvings included to mirror historical accuracy. Regular preservation and conservation repairs keep the limestone turrets and towers in shape, so the castle doesn’t look a day over 800.
About a 90-minute drive north, the city of Valladolid, the capital of Spain in the 16th century, still exudes a stately air as a former royal seat and administrative hub. This is the town where Christopher Columbus died, so you know there are more than a few stories to hear.
But first, lunch. It appears there’s a national tapas competition going on, and we manage to get in on some of the action. We join the crowd at Los Zagales, an iconic eatery off the Plaza Major, a past winner of the competition and a current contender. When the dishes start arriving, they are primarily food disguised as something else: a stuffed sardine tartare looks like a cigar, with sesame powder serving as ashes; a squid sandwich is wrapped in a clear bag that we can also eat; a red lollipop is really a quail terrine. Such delicious craziness deserves the accolades.
When we finally push back from the table, we can barely squeeze into the car. Luckily, our next stop is only 45 minutes down the road – the Castilla Termal Monasterio de Valbuena, a former 12-century monastery that is now a five-star hotel and spa. Once again, painstaking restoration has breathed new life into a historical gem. Located on the Golden Mile of the Ribera del Duero wine region (which produces some of Spain’s finest reds), the hotel is also home base to The Ages of Man Foundation, a cultural project dedicated to preserving the religious heritage of Castilla y León. The spa here is sprawling and splendid, complete with muscle-relieving hydrotherapy pools and cascading jets. A private spa and water circuit for couples or small groups is quiet and seductive, replicating the look of the centuries-older parts
of the complex. We easily while away a few hours taking the waters all by ourselves.
Our last stop on this northern adventure is the university town of Salamanca, Spain’s answer to Oxford. The University of Salamanca (Universidad de Salamanca) is one of the oldest in Europe, founded in 1218. Students and tourists mill about the maze of narrow streets, and visitors can also explore various parts of the university’s museum. This includes an ornate library filled with a carefully preserved collection of priceless volumes reflecting centuries of academic development, and a classroom from the 16th century, left as is with an original wooden lectern, benches and desks. We get an almost palpable sense of how austere and serious scholarly pursuits were during that era.
Handily for visitors, the university is just a few metres from Salamanca’s Old and New cathedrals, adjacent to each other (gulp: the “new” cathedral is about 500 years old; it was started in 1513 and opened in 1733). We take the higher route, climbing dozens of stairs to wander among the towers’ pinnacles and gargoyles, the city stretched out below. The sandstone buildings practically glitter in the sunlight.
Our tour guide points out a hidden university pub that he says we should pop into later. On our way to Salamanca’s Plaza Mayor – a Baroque masterpiece that is regarded as one of the most beautiful plazas in Spain – he shows us a video of his son, who is a bullfighter. The gesture is one of pride, and another example of how cultural traditions in Castilla y León carry on as they always have.
WALLACE
The Fosters Features The Youngest Same-Sex TV Kiss Ever (March 2, 2015)
On Monday, March 2, 2015, ABC Family’s The Fosters made TV history when characters Jude and Connor, both 13, locked lips after some awkward flirting and playful wrestling. The boys’ big moment wasn’t the first same-sex kiss between teenagers on television, but it was the youngest.
The Fosters , created by Peter Paige (of Queer as Folk fame) and Bradley Bredeweg (and with Jennifer Lopez as one of its executive producers), premiered on June 3, 2013, and ran for five seasons before concluding on June 6, 2018. The show followed the lives of an interracial lesbian couple – Stef Foster (Teri Polo), a police officer, and Lena Adams (Sherri Saum), a school vice-principal – as they raise one biological son and four adopted teenagers in San Diego, California.
The history-making gay kiss happened during “Now Hear This,” which was episode 18 in Season 2. Jude and Connor’s friendship had been building over the first two seasons of The Fosters, and in a previous episode the boys had held hands at the movies and even kissed, although not on screen. (The actors who played Jude and Connor, Hayden Byerly and Gavin MacIntosh, were 14 and 15 respectively at the time.)
MacIntosh told Just Jared that the storyline is important because many young people can relate to it. “Just being 13 is difficult enough, going through physical and emotional changes,” he said. “Then if you add in not being sure about if you like boys or girls, and society telling you that you should be a certain way – I can see why so many kids are struggling.” Some fans online dubbed the couple “Jonnor” and were
thrilled with the progressive and powerful message, while others took to social media to bash the show, calling it a “sin” and “cultural suicide.”
“When people question the scene, my response has been: ‘Everyone has a first kiss and you remember it. How old were you?’ Ninety per cent of people who have an answer come back and say, ‘I was 12, 13 and 14 years old,’ and I say, ‘Exactly. It was time to see this, time to put this up for the world,’” Bredeweg said in defending the scene at the time. “Then people understand; they’re able to wrap their heads around it.”
“I would say it’s very easy to balk at or sensationalize the headline, but it’s hard to deny the truth or the integrity of the whole story,” Paige added. “We are here to tell the true stories of what it is to grow up, and these are true stories of what it is to grow up as a young, potentially gay person. It’s the truth and that’s all.
“It was very important to portray a character that is going through a struggle that so many people go through,” he went on. “I want people to watch the show and see the struggle that Jude goes through, and feel more comfortable about themselves; to feel like it doesn’t matter whether you are gay or straight or bisexual or transgender or whatever you are, that you are happy with who you are, and that you are accepting of yourself. My hope is that people watch the scene and they are happy to see something on television that represents them.”
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