As a white queer person of a certain degree of economic privilege, I think that my ability to pass as straight is a privilege that other folk I know don't have. It's important to keep in mind who really is in the most trouble and to direct our attention to assisting those people.
I would say that I'm a feminist theorist before I'm a queer theorist or a gay and lesbian theorist.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
Both 'The Wire' and 'Queer as Folk' had a big scope. They were panoramas, telling ambitious stories about two cities, Baltimore and Manchester, for the first time.
Any increase in surveillance of marginalized communities for the sake of security theater have expanded the cycle of criminalization that queer people - especially queer people of color - are forced to navigate.
As a young queer kid growing up, I explored my identity through the Chicago and Washington, D.C., club scene.
When I was working at Trio, I was pitched 'Queer Eye for the Straight Guy' and I knew, whoever gets this, this is a game changer. When I started at Bravo in 2005, it was a hit, and Season 1 of 'Project Runway' was in postproduction.
'Queer as Folk' is gay gay gay gay gay.