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His boyfriend during the filming of “The Real World: New Orleans,” an Army officer named Paul Dill, appeared on the show using only his first name, and his face was hidden to conceal his identity. Roberts was, at the outset, not particularly motivated by activism. Rather than playing a jester, villain or de-eroticized Ken doll, he was chill, joyful in his identity, and he seemed to glow with an unapologetic sex appeal.
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Roberts, born and raised in small-town Rockmart, Ga., was something different from his TV predecessors. Zamora’s impact was complicated by deep sadness.
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people since its 1992 debut - most notably Pedro Zamora, a young activist from the third season, who died of AIDS-related illness a day after the finale - but Mr. But he was a rather dark, Machiavellian figure. “Will & Grace,” another sitcom, broke some ground by chronicling the relationship between a gay man and his straight friend, but discerning viewers couldn’t help but notice that it had about as much bite as “I Love Lucy.” In 2000, “Survivor,” then in its first season, delivered an openly gay (and, often, openly nude) antihero in Richard Hatch, who schemed his way to million-dollar victory. From the Archives: “Billed as a reality-based soap opera, MTV's ‘Real World’ is real largely by accident,” our critic wrote in 1992.A Gay Icon: Danny Roberts, who is returning to TV in “The Real World Homecoming: New Orleans,” was a star of the show’s ninth season during a fraught time for L.G.B.T.Q.
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Over 12 seasons, it has included a Pride parade, a lengthy list of LGBTQ guest stars and recurring characters - including sex worker Marshmallow (David Herman) and limo driver Nat Kinkle (Jillian Bell) - and plenty of queer coding. Since it began airing on Fox in 2011, the offbeat series has been one of the most LGBTQ-friendly shows on mainstream television.
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While Bob and his optimistic, wine-guzzling wife, Linda, try to figure out how to run things without an entrance, their quirky kids work behind the scenes to solve a mystery that could decide the fate of the family business. In “Bob’s Burgers: The Movie,” it’s high season for the mom-and-pop burger joint, but, as usual, something disastrous stands in the way of commercial success: a giant sinkhole that opens up right in front of the restaurant. Just after the final season of the beloved animated series “Bob’s Burgers” comes to a close on May 22, fans will be able to see the Belchers in their feature film debut. When it’s all said and done, Noé’s abbreviated new offering feels like something between Fellini’s “8 ½” and a sexploitation horror film from the 1970s. That sets the stage for a derivative film packed with allusions to works by directors like Jean-Luc Godard, Rainer Werner Fassbinder and Federico Fellini, which climaxes as the fictional shoot descends into chaos and psychedelic visuals. When the film opens, Dalle is sharing a mostly lighthearted conversation with her leading lady, Charlotte Gainsbourg, who also plays herself, about their exploitive experiences working with male directors. The mockumentary features French femme fatale Béatrice Dalle, playing herself, as a first-time director shooting a film about medieval witch hunts.
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The film began as an assignment to make a 15-minute commercial for Yves Saint Laurent and ended up as a 50-minute meditation on directing, feminism and genre.
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Director Gaspar Noé (“Irreversible”) makes dizzying, sexy, avant-garde films, and the Cannes Queer Palm nominee “Lux Æterna” is no different.