Powers Boothe (1948-2017)

Powers Boothe with his daughter Parisse (both acted in DEADWOOD) at a 2006 Emmy partyThe Emmy winning character actor Powers Boothe, best known for screen villains on TV (Deadwood, Nashville) and in movies (Sin City, Tombstone) died yesterday morning in his sleep from natural causes. After Shakespearean work on stage after college, his screen career began with "bad Shakespeare" as part of the Richard III play within the Oscar nominated comedy The Goodbye Girl (1977) in which he mostly lays like a corpse on a table while Dreyfus overacts the hunchback around him. The on camera career stretched for nearly another 40 years ending with the recurring baddie role as one of HYDRA's top leaders  "Gideon Malick" on  the third season of Marvel's AGENTS OF S.H.I.E.L.D. (2015/2016).  

The native Texan was 68 years old and is survived by his wife of 48 years (they married in college before his acting career began) and their two children. After the jump a quick survey of key roles... 

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HBO’s LGBT History: Television Period Dramas

Manuel is working his way through all the LGBT-themed HBO productions.

Last week we looked at the oh-so-boring if earnest doc The Case Against 8. This week we’re taking stock of three of HBO’s period dramas to see how the network has tackled LGBT characters in robes, frocks, and spurs.

When putting on shows (or films) set in the past, you always have to walk a fine line between keeping it “period” — you want to stay authentic — while also making a case for its existence today — you want it to resonate today. Mad Men is to me, the standard in this regard, ably walking that fine line; never shying away from the rampant sexism of the time, for example, but also never arching its eyebrow to audiences and smirking to itself saying “Can you believe this?” This is particularly tricky when it comes to LGBT issues and even more so when the shows are not about issues of sexuality. Do you push contemporary understandings of gays, lesbians and trans people and risk being called out for anachronisms, or do you simply feed into a narrative of heterosexism that states that gay desire was somehow always hidden and tragic and risk instead being called out for regressive ideas?

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