There’s a sense of dread when you watch an ensemble film about a landmark birthday. The tension you assume is that the grim reaper is the last guest and the party is a way to tell everyone you love that death is imminent. Yet, Blue Lights subverts and twists this tension into something else. People who bring baggage to the party in one way, leave with new, but healthier baggage at the end.

OUT is a beautifully sandwiched film that brings the viewer through the coming-of-age story and the uneasy, relationship-driven plot. From beginning to end, the viewer is gifted with strategic pictures, impactful dialogue, and truth from the acting. While the subjects and explicit nature of the film may not be for everyone, it holds true to the story of what growing up queer can be like today: to jump into gay culture, make new queer friends, and grow distant in former relationships.

“The public has a right to art, art is for everybody.” -Keith Haring

Art and history seamlessly coincide in the Keith Haring exhibit at the MOPOP. Haring (1958-1990) is most renowned for his colorful art and unique shapes, which he often used as a vessel to bring light to social issues that were taboo or not widely spoken of during his time.

Loneliness and heartbreak go hand in hand. We try to stave off heartbreak by solving the problem of loneliness. Not being alone never solves loneliness, of course, but we fail to realize that at the time and often leads to more heartache.

That is where we meet Lourenço (Marco Pigossi) at the beginning of the film High Tide. His mood is sedate and atmospheric with the specter of Lourenço's ex-boyfriend hanging over his head. It's the end of summer and the beaches are clear, enter Maurice (James Bland) the balm on Lourenço's fresh wound.

SQFF’s Fright Night! was a great reminder that queer horror is an incredibly varied genre. Each short stood out not only as a horror piece, but also as queer art. Sapphic stories stood hand-in-hand with narratives about gay men; there were queers who cruised and queers who wanted a homestead.

Super Typhoon Haiyan, or Yolanda as it is known in the Philippines, made landfall in November of 2013, yet as seen in Asog, the effects and devastation that Yolanda caused are ongoing. There are many stunning aerial shots composed by director Seán Devlin and cinematographer Anna MacDonald. They show forests of coconut trees flattened, cargo ships in the middle of neighborhoods, roads that have become impassable, and homes that are unlivable.

Do you ever think about what you will dream before you ultimately fall asleep?

In Seattle poet Seth Jani’s poetry collection Night Fable, Jani guides the reader on a journey through a world of ethereal dreams, both playful and melancholy. Through these poetic dreams, the reader sifts through their own self-reflection while gaining new discoveries about the world. Jani serves as a herald and guardian through the extensive and vast dream world.

The film asks us to remember the early days of isolation in the COVID-19 pandemic, to recall times when we felt particularly isolated from our communities. One particularly poignant section of the film asks us to consider, in those early days, what it felt like to try and hold someone from afar, to try to build connection when physically coming together and sharing space was impossible.

Before attending the interactive experience, Leave Only Footprints, I was unsure about what to expect: A haunted house? A murder mystery? But this spooky, fun, campy, mystery experience by The Emilys (Emily Pike and Emily Sershon), along with a dynamic cast of 40+ performers and multiple writers, did not disappoint.

Since the dawn of humanity, music has been a vital condition for what it means to be human. From animal skin drums crafted by the neolithic people to every instrument which has followed since, we as a species have sought to give voice to the parts of us words cannot express. We danced to communicate emotion and what little understanding we had of the world. We sang wordlessly long before language bound us to its form. We made music: The thump of the drum like a heartbeat, the trill of the flute like hope, and the deep drawl of the cello like despair.

. POTUS… is an in-your-face farce, a dramatic comedy filled with crude jokes and slapstick bits. Fillinger probably wrote this play during the shutdown either as a reflection of American society’s relationship to women or as a gift of permission to laugh in the face of extreme anxiety. And because many of us are gripped by the haunting return of all those feelings as we anxiously careen towards this November’s election where (and you can’t make this stuff up!) the very guy who caused all the aforementioned horror and chaos is on the ballot and wants to be president… again!

Art comes in many different mediums, bodies, and passions. Art is Everywhere offered people new ways to allow them to experience creation and its many forms on their own terms without it turning into an overwhelming and strenuous process. Instead of making one rise to the challenge, art meets a person where they are, not where they will be. Whether you are an artist, an art critic, or art appreciator, Pacific Place’s Art is Everywhere offered an enthralling experience centered around inclusivity and community. Art may be everywhere whether you look for it or not. A key component I learned while spending my time at Pacific Place is that because art is always everywhere, art is and should be accessible for everyone.

There are people who exist within human society who wear the mask of respectability, but are in actuality monsters.  Most of these people will never face their reckoning, but those who live their lives and work as public figures will eventually have a light shown on their behavior. In 2017, the social media movement #MeToo sought to oust the monsters from the shadows in every industry, but especially the monsters of the arts. 

The dance floor was brimming with people grooving to the beat, but making sure to give each other enough space to move around easily. As Tokita shifted smoothly between lilting, airy disco and harder, grittier techno, people in the crowd took turns coming up on stage to swing a red lamp that hung above the DJ table in what appeared to be a longstanding tradition. People’s faces were lit up in the red glow of the stage lights. A glittering disco ball swung overhead. Beyond these details, there was minimal decoration. The emphasis was on the music. 

If you’ve never been to a burlesque show before, welcome! If you have, I guarantee you’ve never seen anything like What The Funk?! Fest. One of the wonderful aspects to this art form is that there’s always something new to behold, a new story to be told, and moves like you’ve never dreamed of. 

In an oppressive society that polices bodies, judges abilities, and is generally icky to anyone outside the cis-heteronormative mainstream, living out loud as your authentic self with bodily agency is an act of the purest resistance. 

In this parody of the movie, Titanish turns the tragic tale into a comedy for the ages. Rose and Jack, played by the charismatic Julia Kuzmich and Kooper Campbell, venture aboard the totally unsinkable RMS Titanic along with a series of comedically iconic passengers and crewmates. The show is jam-packed with perfectly delivered jokes, many that are easy to miss, somehow making them even funnier. With irony and innuendos around every corner, every moment is a treat to experience.

The Seattle Center hosted Seattle’s annual tattoo expo showcasing over 200 artists across the world, some local to the Puget Sound, our Eastern Washington neighbors, and our neighbors on the other coast. Attendees viewed portfolio after portfolio within the long rows of talented tattoo studios. The varieties of styles and inspirations were put on full display from the artists. Expansive geometric patterns stretched across bodies. Shadowed creatures from the occult appear to creep out of body parts. Flowers were stuck in the most perfect moment of bloom.

One of the most remarkable aspects of the festival was the sense of community. People of all ethnicities, gender identities, and ages—from kids to adults—came together in a welcoming and inclusive atmosphere. It was a true reflection of the diverse and vibrant community that calls the Duwamish River home.

In the heart of Seattle’s International District, the stage is set and ready to captivate the audience with Yun Theatre’s summer production, June is the First Fall. This 90-minute play hosts themes of personal and cultural identity, defying tradition, the complexity of family relationships, and so many other themes that everyone is bound to find a connection with in the show. At this intimate venue operated by Theater Off Jackson, audiences will be absorbed into a heartfelt, empathetic story that is sure to leave you entertained and immersed.

Did you know there is an art gallery at the top floor of the King Street Station in Pioneer Square? If not, add it to your stop during the First Thursday art walk. ARTS at King Street Station is a free art gallery open Wednesday through Saturday, 11am to 5pm, and closes at 8pm for the monthly art walk.