Malcolm-Jamal Warner’s portrayal of Theo Huxtable on The Cosby Show redefined Black boyhood on television. Through Warner’s work, generations of Black boys, from all backgrounds, found permission to be complex and unapologetically themselves.

Noah’s Arc: The Movie revisits the groundbreaking Black gay series two decades later to deliver a searing meditation on aging and loss centering the seldom-told experiences of middle-aged Black gay men.

Wicked's Elphaba, played by Cynthia Erivo, shined new light on the story of prejudice and self-acceptance. In this piece, Dr. Deion Hawkins discusses how this casting choice illuminates the Black queer experience.

When Grammy-winning producer Kaytranada faced online backlash over his dating preferences, it spotlighted the complex pressures Black men face regarding who they date. Writer, Joshua Alston examines how public policing of private lives not only flattens individual identity but also risks harming the very communities seeking greater representation.

As Black dandyism takes center stage, writer Eric Paulk explores the tradition's roots while calling for real change to address the mental health, education, and economic struggles plaguing Black men today.

in the Power universe, multiple Black queer characters are not caricatures or void of complexity. Instead, they are the core drivers of the plot and prompt character development for others. Their queerness is as apparent as their Blackness.

As anyone who’s ever had a fulfilling hookup app experience can attest, even the most contrived and artificial scenarios can yield moments of genuine connection and intimacy. Jerrod Carmichael has plenty of those moments in “Jerrod Carmichael Reality Show,” his new Max project chronicling the comedian’s biennial whirlwind.

In this episode of The Reckoning, we talk to Senior Editor, Dr. Deion Hawkins about the historic Best Actor Academy Award nomination for Colman Domingo, who portrayed Bayard Rustin in the 2023's biopic, ‘Rustn’.

As our nation continues to be blasted with arctic chills and snow, things in Hollywood are heating up. Some industries enter the year gradually, but movies and television make a grand entrance at the top of the year as the award season blazes on.

On this podcast episode Johnnie Kornegay chats with Singer, Songwriter, Producer and Arranger Donnie about his album The American Mythology, and his personal journey to liberation.

This conversation was taped on June 20, 2016.

Ever been to a theatrical production or seen a film and asked yourself, or the person next to you, how someone built up the courage to perform a nude scene? Better yet, have you ever marveled at how realistic the sex scene was or the perfection of the characters' intimacy?

Nathan Lee Graham is crystal clear about his personal and professional identity. 

"My pronouns are he, him—diva. And I'm a very proud Black gay man," he says. 

On November 18, writer and director Elegance Bratton's "The Inspection," starring Jeremy Pope, Raúl Castillo, and Aaron Dominguez, with Gabrielle Union and Bokeem Woodbine, will hit theaters across the country in limited release. Bratton ("Pier Kids," "Buck"), who is openly gay and a former U.S. Marine, has written and directed an epic American drama that is unapologetically Black and queer. These two ingredients would have almost ensured a mainstream film to be dead on arrival before the 2017 Best Picture Oscar win for "Moonlight."

Inspired by actual events, "The Inspection" tells the story of Ellis French (Pope), a young Black gay man rejected by his mother, Inez French (Union), because of his sexual orientation. After being kicked out of the family home, French is thrust into homelessness in New York City. With few options for his future, he joins the Marines to win his mother's love. In the era of "Don't Ask, Don't Tell," the former discriminatory policy prohibiting out LGBTQ service members, French faces the grueling requirements of boot camp, blatant homophobia, and an unrelenting determination to succeed.

Six years in the making, Bratton tells The Reckoning, "The Inspection" began as part of the narrative of a planned autobiography that he ultimately decided to shelve. He credits his husband and producing partner, Chester Algernal-Gordon, for encouraging him to bring his life story to the big screen.

"You need to tell a story that brings audiences to a place they could never go unless you take them there. It has to be really personal," Bratton recalls Algernal-Gordon saying to him at the time. "He insisted that The Inspection would be the one that would change our lives."

The cannon of Black horror films is limited. The cannon of horror films featuring Black queer characters, even more so. It's a sobering reality that Black fans of the genre have endured for decades until the mainstream explosion of Academy-Award-winning writer/director Jordan Peele's cinematic success. In the spirit of Peele, Atlanta-based actor, writer, and filmmaker Isaiah Rice is on a mission to change the face of horror again.

An openly gay man and lifelong horror fan, Rice is turning the 1980s-inspired grindhouse horror aesthetic on its head in his latest short film, "He's Watching You." The film follows Sidney(Rice) and Ryan(Schyler Tillett), a young millennial 20-something Black queer couple visiting a cabin in the woods for a romantic getaway to rekindle their broken relationship. Sidney is a recovering drug addict fighting to stay clean after rehab. Ryan is a recent law school graduate with hopes that the cabin trip will bring them closer together now that Sidney has reached a level of sobriety. While their backgrounds differ, one key thing remains true– their love for one another. However, as romance unfurls at the beginning of the night, it ends in horror with a fight for survival.

"While the core leads are two Black queer men in a relationship, the focus of the story is not centered around their sexuality," Rice says. "This is an issue that most films focus on when it comes to having queer characters. The general queer storylines seem to focus on the trauma of coming out of the closet, hiding your sexuality from society, or at times being oversexualized. "He's Watching You" is a grindhouse horror film, but it has nothing to do with the character's sexualities. They happen to be a queer couple in the wrong place at the wrong time," he says.

A dance and political science alum of Bates College, Rice tells The Reckoning the seed for "He's Watching You" was first planted after expressing his frustration to a film professor about the lack of representation of Black queer couples in horror.

On November 12, 2017, at 6:49 pm, I received a text that read: “Antron has transitioned.”

The official cause of death was cancer, but HIV was the cause. I’ve never written that publicly before, although it’s true. Antron-Reshaud Olukayode was a poet, artist, and community activist, but more importantly, he was my friend.

2017 was an important year for me as a creative. In retrospect, it’s hard to wrap my head around just how much work I was able to curate. I produced podcasts and multiple live events, shot countless photoshoots, produced a music video, co-curated an art display at the National Center for Civil and Human Rights, and even won an award.

Do fat people exist in the future?

That's likely a question that many have never thought to ask. It has been argued that people of size are some of the most openly discriminated against and marginalized. So, for some, thinking about fatness and fat people existing in the future may be hard to imagine.

But not for writer Alex Smith, a 46-year-old, Philadelphia-based artist, with roots in the Punk music scene. Smith is not afraid of anarchy. In some ways, he thrives on it, and people are taking notice. His newest work, "Black Vans," takes his ambitions to uncharted territory and places Black, queer, fatness center stage.

"If we're gonna do this, we're gonna do this," Smith tells The Reckoning. "It was a no-brainer that the main character was going to be a fat, Black bear, period," when discussing his comic book series and its lead character, "Bo," who is of Afro-Latin descent.

Three Black gay men—a Pulitzer and Tony Award-winning playwright, a Tony award—nominated actor, and a possible future Grammy award-winning singer/songwriter— are having the time of their lives professionally and creatively. And to some extent, they credit the coronavirus pandemic.

Rob Milton, 33, is one of them.

While pundits and social scientists have debated whether the pandemic has led to a “Great Revelation” of some sort, Milton, and others, credit the pandemic with giving him the motivation needed to have the career he always wanted.

“I have pretty much surrounded myself with people who are creative, and post-pandemic, a beautiful thing has happened,” Milton told The Reckoning. “In some respects, the pandemic leveled the playing field. It caused a lot of the people I know to stop and think about how important it is to do the thing or things you are called to do.”

For just about everyone, year one of the Coronavirus pandemic bought both losses and gains. Self-described “outrageous storyteller” Ashton Pina was no exception: Starting the lockdown as an up-and-coming communications professional in a committed relationship, the queer storyteller ultimately ended the first chapter of the Covid crisis as an unemployed, single man.

From those losses, however, came one tremendous gain—the framework for a cinematic exploration of love and transition that, until recently, had only lived in his very creative head.

The fruit of his journey materializes in “Nana’s Boys,” a feature-length film – his first – set to make its local debut at Out on Film in Atlanta this month. In it, Pina explores themes of beginnings and endings, artifice and reality, hope and despair, all against the backdrop of a seasoned relationship between two Black gay men.

In his debut novel, “Desire Lines,” author Cary Alan Johnson births a story about Black queer friendship, desire, and addiction during the onset of the HIV epidemic in New York City in the 1980s. Desire Lines marks Johnson’s first foray into long-form fiction after spending much of the last decade breathing life into characters aimed at centering the experiences of Black queer men in an HIV narrative where they have historically been forgotten.

“Of all the really great books, movies, and shows produced about gay men’s experience with AIDS in the 1980s, none have focused on Black gay men,” said Johnson. “Of all the great work about cocaine and crack addiction, none focused on the experience of Black gay men. The 1980s was a period of hysteria and pain, but it was also a moment of intense introspection and spiritual alignment. You either sank or you swam. Many of us swam and continue to swim, and I want to tell this story.”

In Desire Lines, readers follow an unnamed Black gay narrator as he grows up in Brooklyn captivated by a vision of life on the other side of the river, where the sparkle and glitter of Manhattan beckon. Coming into adulthood, he finds himself living in a five-floor walk-up in Hell's Kitchen just as the AIDS epidemic is hitting the city. We follow him and his group of friends as they experience the first wave of illness and death and then accompany him on a two-year journey to Zaire, Central Africa, where he must confront corruption and homophobia in new and unexpected ways.

Los Angeles-based gay filmmaker Michael Donte hasn’t been called to preach, but he has been called through his art and his latest short film “The Spirit God Gave Us,” to create a world that reimagines what is possible for Black queer people outside of the confines of the Black church.

A multi-hyphenate talent, in addition to directing, Donte also pens the screenplay and is a producer of Spirit. Full disclosure: Counter Narrative Project, which powers The Reckoning, is also an executive producer. The 20-minute short film, which stars Nic Ashe (“Queen Sugar,” “Choir Boy'”) and Elijah Boothe (“Luke Cage,” “Coin Heist”), had its world premiere in May at the Inside Out LGBTQ Film Festival in Toronto. “The Spirit God Gave Us” is an intersectional story of faith and queer love through the lens of Malcolm (Ashe), and Shamont (Boothe), two young Black men who volunteer as ushers for their Baptist church and are faced with reconciling societal and religious expectations with an intense longing for connection and intimacy.

While the history of homophobia in the Black church is well documented, Donte tells The Reckoning that he decided to take a different approach in his screenplay for Spirit.

“Writing the script was a kind of therapy for me,” Donte said. “Challenging the narratives that we often see in media—that was the hardest part about writing the script. I wanted to acknowledge the conflict without making it the centerpiece. And I think we did that,” he said.

In 2023, hip-hop turns 50, and in 2022 it’s time to give Common his flowers. It was 20 years ago that the Chicago native and conscious MC bravely denounced his previous homophobia on “Between Me, You & Liberation,” a track from his 2002 album “Electric Circus.”

A week after his appearance on the popular pop culture podcast, For Colored Nerds, author Aaron Foley hadn’t listened to the episode.

“I trust that it is good,” he told The Reckoning. “I am not a big fan of hearing my voice recorded, so I haven’t listened to it and probably won’t.”

Just being on the show was a career highlight for Foley, who works full-time as a senior editor for PBS NewsHour’s Communities Initiative. To be there talking about his debut novel, Boys Come First made it all sweeter.

“It’s all been unreal, to be honest,” he said. “I’m still trying to wrap my head around it all.”

As a journalist, Foley seeks to tell authentic, informative, and educational stories about real people and real life. Boys Come First is no different. As a Black, gay, millennial from Detroit, he wanted to tell a truthful story about his beloved city and Black gay men. It is something, he said, he does not always get to do in journalism.

We’re days away from closing out Pride Month, but we’re not letting this unwelcome fact slow down our celebration or our steady march toward the dance floor. The Reckoning has created the ultimate DIVAS! #Pride 2022 playlist to keep the party going beyond June 30th.

Sandwiched in an alleyway on the northeast side of Washington D.C., Black queer, gay, and lesbian artists like Wayson Jones cultivated fertile ground in a coffeehouse. What they did in the cramped space is the stuff of legends, yet the coffeehouse is long gone—much like the city of old. A documentary recently released online captures what the coffeehouse meant—and continues to mean—to Washington, D.C. as well as to Black and queer histories.

"Fierceness Served! The ENIKAlley Coffeehouse" has been making its rounds at select screenings. The ENIKAlley Coffeehouse was a performance and rehearsal space for a cohort of artists, a gathering spot; plus a meeting place for political organizations. This was almost hallowed ground for Black artists to share and workshop their craft. Jones, Essex Hemphill, Cheryl Clarke, Audre Lorde, Blackberry, Casselberry-Dupree, and Pomo Afro Homos all stepped foot into the former carriage house-turned-coffeehouse between 8th, 9th, I, and K Streets, NE. The space at 816 Eye Street, NE was brick, the size of a large walk-in closet, but had great acoustics.

"The intimacy lent itself to that feeling of being part of the family," Jones said.

The film "Fierceness Served! The ENIKAlley Coffeehouse," celebrates this time.