In the wake of this year’s Emmy Awards, ‘Adolescence’ (2025) was one of the big hitters. The limited anthology series brought home a well deserved 8 Primetime Emmy’s, including Owen Cooper’s record breaking win as the youngest winner of the Supporting Actor award at 15 years old.
Not only was Owen Cooper’s portrayal of a young, disturbed, misogynistic youth worthy of all the praise, but Stephen Graham and Erin Doherty’s portrayals of Eddie and Briony were mind blowing.
Their performances were arguably the best I have witnessed all year. So simultaneously discomforting and comforting that it forces the viewer to reflect on the many shortcomings and complexities of humanity.
In this 4-part series, the characters force you to confront the stages of grief as you follow a young boy who has been radicalized by the recent surge of misogynistic, violent, and dangerous sentiments circulating online. Jamie falls into the all-too-common trap designed by figures like Andrew Tate (as mentioned in the show) that monopolizes on the turmoil and insecurity of young men, projecting these feelings outward onto women.
In this first episode we almost believe Jamie is innocent. The entire chapter, like every chapter, is a single uninterrupted shot that immerses the viewers in the unraveling of the mystery in real time. We see Jamie pleading his innocence, and he does so so convincingly. He has you on his side, until we share his father’s (Eddie) shock and denial as he watches live footage of his son committing murder.
The following episodes traverse through the later stages of grief felt by each character. The family’s (primarily Eddie and Jamie) anger, the pleading for a different reality in which Jamie is innocent, depression as the family is attempting not to be ripped apart by the tragedy, and finally acceptance. Jamie accepting his fate and deciding to plead guilty, and his father, mother and sister getting closure on Jamie’s fate.
Throughout the series, Eddie and Briony stand out as masterfully authentic characters. Eddie is captivating and complex. His experience is so painfully common in today’s world, filled with anger and misery after his very human shortcomings as the father of a murderer. Stepehen Graham’s (Eddie) writing and acting, paired with the sensational camera work and single-take episodes make this a painfully immersive nightmare.
Erin Doherty (Briony), despite her single-episode of screen time, is terrified, yet professional. Scared, yet in control. The majority of her episode takes place in a single room, and it proves an old saying true: restraints breed creativity. Her range extends well beyond the walls of the juvenile detention center, creating a deeply unnerving back and forth between her and Jamie.
The series accomplishes everything a show should, and more. With so many tools at their disposal, the cast and crew use one to the absolute fullest. Bryan Cranston said it best, when he discussed how an actor plays off of the audience. In comedic acting, the actor can’t know they are being funny. In not laughing, they leave it to the audience to laugh. In dramatic acting they cannot cry, for when they try not to cry that’s when we as the audience take it upon ourselves to shed tears, to feel their emotions to the fullest extent.
In that final episode, when Eddie is fighting his emotions so desperately yet he is losing his control of them, we feel an unbearable emotional weight. We see his strength giving in real time, and it hurts us. Then that final scene when he walks into Jamie’s untouched room, he breaks and we break, too. Sobbing as he tucks Jamie’s teddy into his bed, you can see him accept his son’s actions and his own role in them, and an entire show’s worth of tension unravels.
This show is a cautionary tale to the facade of safety a child’s room provides now. The youth are vulnerable. Whereas one’s room used to be the one space cut off from the world, it is now the exact opposite. The whole world is more easily accessible when you’re physically closed off from it. And there are people who abuse that newfound vulnerability to instill harmful values. Values that demonize women, that misplace one’s worth and sense of self.
If ‘Adolescence’ teaches us anything, it’s that safety is a more complex term than it once was. We as people owe it to everyone around us to acknowledge this change and adapt as best we can. Maybe this way we can prevent as many Jamie’s from happening, and save as many Katie’s from a fate that sadly looms over the head of every woman.
I know I’m a little late to the party (3 years late to be exact), but wow was I blown away by ‘Talk to Me’ (2022).
The Philippou brothers’ film debut was nothing short of sensational. From their horror/comedy Youtube channel RackaRacka to collaborating with A24 on the big screen, the twins have come a long way. Despite the metaphorical distance they’ve traveled, they have stuck true to their roots and what made them so popular in the first place.
This has truly been the decade for skit comedians to break into the horror genre. Much like Jordan Peele and Zach Cregger, the Philippou brothers bring a special element to horror that us horror fans didn’t know we were missing.
In a genre where anyone could die at any moment, horror fans like myself struggle to connect to the characters because of what we know to come. It seems like most horror directors are aware of this, and have since put much less effort into building, developing, and maintaining connections between characters and audience. Everything from lazy dialogue to ‘shock’ deaths, that cheapen the stakes and release horror’s most crucial weapon: tension.
The Philippou brothers refused to fall into this same trap. Skit comedy is so reliant on authenticity and character interaction, and they spend the majority of this film revealing character depth through meaningful character interactions and dialogue. Only once we are shown that they are real people to matter to EACH OTHER, can we feel that they truly matter to us. This is what makes this film so perfect.
The characters feel so authentic, mounting the stakes to almost unreachable heights in the rising action of the film. They also fully utilized their budget, adding a visual layer to this already emotional nightmare. It’s been days, and I still can’t purge the images of Riley’s possession and Riley’s nearly eternal torture scenes from my mind. These moments were truly sickening in the best way imaginable.
The film also serves as a clear allegory for drug abuse. Take ‘Beautiful Boy’, add some demons, and throw them all in a circle together and we have ‘Talk to Me’. Mia’s eagerness for escape, the group sharing in terrifying ecstasy, mounting to the too-young Riley breaking the rules to fit in, only to result in what would have been his infinite end. Simply put, it’s gut wrenching.
Haunting visuals, masterclass acting from unfamiliar faces, genuine back and forth between characters, tangible character arcs, and a bitter, lingering ending. What more could you want from a horror film. This film is yet another example of how horror is back in a way it never has been before, and I cannot wait to see what more we have in store.
Zach Cregger’s much anticipated horror film has been a hot topic since its very first trailer, following hot on the trail of his horror debut, Barbarian (2022). Although Barbarian has its faults, with its tonal shift and release of tension in the second act, its cinematography, dialogue, fresh concept, and non-linear storytelling made it stand alone as a fantastic film.
For horror fanatics that craved those aspects of Barbarian, Weapons simply takes that which we loved and doubles in execution. The film has a fantastic first act, opening with Georgia Harrison’s “Beware of Darkness” as we witness 17 children unnaturally sprinting from their homes early in the morning . This needle drop moment sets the unsettling tone for the film, and keeps you tense and uncertain until the end.
The first act continues a month after the children’s disappearnces, following a distressed, paranoid, and deeply flawed teacher reeling from the event. So few questions are answered, allowing the mystery and anxiety to mount exponentially.
We then switch to a different character’s perspective, recounting the day before from their point of view. This reveals the chapter, different-character POV storytelling technique Cregger so masterfully utilizes to slowly peel back the layers of mystery, constantly shifting the paradigm, interpersonal character relationships, and your opinions of the characters. Not only was every POV engaging and masterfully acted, but each perspective is vital to unraveling the core mystery.
Then, much like Barbarian, our antagonist is revealed (in my opinion) a bit too soon. This shifts the tone from an uncertain horror, to a supernatural, catch-the-bad-guy thriller. I feel as if this is the only shortcoming of an otherwise unforgettable film. The first half was so scary and terrifying, to the point I had to cover my face for the better half of it. The lack of knowledge was what made me feel such primal fear (especially the car scene). But despite my preference, Cregger still manages to make the tonal shift serve both the narrative and the audience in a way that keeps the film engaging and exciting.
While the second half elicits more atmospheric anxiety (once we know what the very compelling antagonist is capable of), the first half relies on primal fears rooted in the dark, uncanny human visuals and movements, good old jumpscares and our simple lack of knowledge as the audience. Two different fears in the same movie. The ones from the first half keeping you on edge for the entire second half. It felt like a combo deal that I was SAT for.
I also cannot stress enough how impactful two performances were in particular. Every single focal character played their part phenomenally, giving each chapter its own standalone weight. That being said, there were two that stood out to me. The first being the honorable Justin Long! Of course he has such a brief role in this film, but Justin Long is making himself a modern horror legend. Although, in all honesty, he does not add much narratively to this film, you know a movie is about to be fire when he makes an appearance.
The second performance that I feel was rave worthy was the great Austin Abrams. First The Walking Dead, then Euphoria, now this. He is showing his hunger and talent as a truly authentic actor. It’s also quite funny to see him playing yet another tweaker running for his life and screaming, just like in Wolves (2024). All jokes aside, the humor and honesty he adds with every delivery and every shambling movement is electric. He makes you feel as if he truly was an addict that was simply recorded in his daily life, unaware of the camera. Every moment he is on screen, he performs with purpose that leaves you laughing in one moment then holding your breath in the next.
And that finale! So out of the norm, bordering goofy but somehow fitting the tone of the film perfectly. The horribly violent yet bizarre death of our main antagonist leaves you satisfied and somehow giggling, showing the direct influence of Cregger’s sketch comedy years on the film. It’s as if the whole film is such a crafted, subtle tone gradient. So subtle that you don’t know it has changed until a shambling, bald, elderly woman is being chased to the death by 17 sprinting children.
Cregger creates such a memorable piece of horror fiction, one that I cannot get out of my mind. Not only does he do that, but he does it so aesthetically that I was blown away by the cinematographic creativity. The tracking shots, the dolly zooms, moving door cams, ring camera footage, unique angles, whip pans, and some truly anxiety inducing framing. The sleeping in the car scene and the confrontation in the liquor store are both prime examples, examples that make you never want to touch a camera again because there is no longer any room for improvement.
Without the technical execution of shots like these, there’s no telling where the movie would have gone on my list. Camera work, acting performances, narrative, pacing, and conclusion all considered, this movie was delightful. A great movie and a truly memorable one at that. One that makes you scream, gasp, and jump as much as it makes you smile, laugh, and admire. One that is easily worth a clean 4 out of 5 stars!
Digital painting of a frame from the movie “Sinners” (Vaughan Stout / Digital Art).
(Spoilers Ahead! Tread Carefully!)
I can’t even begin to describe the anomally that is this film.
Any movie fanatic knows the dull ache of walking into their local theater epxecting community, and finding nothing but empty seats. Since COVID, it has been nothing short of a rarity to battle for parking long before the first preview graces the screen. But the second I stepped into the showing room for the late night screening of “Sinners”, a sea of excited faces battling for space looked back at me. Community.
This film was not only an incredibly entertaining take on the somewhat oversaturated market of vampiric horror. Of course we all loved Twilight, but the series (while I adore it) marked the Hollywood, commercial takeover of vampire fiction. It took the star power of a timeless folktale, and relied on that as its sole background, taking away any fear or curiosity associated with the undead creatures of the night. All it took was one Ryan Coogler to remind us why vampires were ever scary in the first place.
Coogler takes us on a ride through Mississipi history in the 30’s. In the state and era of some of the most vile post-slavery treachery in the United States, we follow our powerful black protagonists following dreams of unity and glamour.
Starting with young Sammie, a talented an aspiring blues musician (who’s even more gifted than we could have ever imagined). Miles Caton absolutely bodied his first ever film role as our lead protagonist. Born with soul and a gift so rich he can conjure echoes of his ancestory with his gifted guitar in one hand and his metal slide on the other. He leaps to the opportunity to flee his religious pressures and start a Juke Joint with his newly arrived cousins.
Enter Smoke and Stack, twin brother veterans turned mafia. The twins, having arrived from fleeing mob discourse (caused by yours truly) in Chicago, are played to perfection by the talented Michael B. Jordan. Through the use of seemless editing and CGI, Jordan’s characters take up their own individual space in each scene together as if they were two different entities entirely. Jordan’s roles were done so masterfully that my girlfriend turned to me near the 45 minute mark, stating that Smoke and Stack “look so similar” that she “couldn’t believe they were different actors.” She wasn’t the only viewer taken aback by Jordan’s flawless portrayal of the side-by-sde badasses, as social media was rampant with appraisal for the performance as well as questions regarding a nonexistent “Michael A. Jordan.”
The suave, charismatic Stack takes off with Sammie to acquire extra talent for the Juke Joint. We meet business partners, artists and cooks Bo and Lisa Chow, the alcoholic musician Delta Slim, the and soon-to-be doorman Cornbread. As the group gains momentum and spirit, it eventually threaten to run cold as they run into Stack’s white-passing ex-lover portrayed with the utmost grace by Hailee Steinfeld, Mary (and a very cold conforntation ensues, but she’ll be back). On the other end of the adventure, Smoke’s separate path takes a somber note. The business-minded, smile-not-to-be-seen Smoke visits not only his child’s grave, but also the baby’s mother and his ex-lover, Annie. The hoodoo practitioner and herbalist is recruited to the ragtag group as well, and they better thank themselves that she was.
The thrill of community sweeps up the group of misfits as they prepare for a grand opening, hoping to provide a place for soul, brother and sisterhood, and repreive in the deep South. Though this is no easy feat to begin with in a town overrun by Klansmen and hatred, we see the ice of uncertainty begin to melt as black locals enter the doors in troves, yearning for safety, solidarity, a drink and a dance. The tension between characters builds as the night surges with life and possibility. And then that one scene. If you’ve seen the film, you know which scene I’m referring to.
As Sammie is called to the stage, he introduces himself with a smirk that foreshadows the performance to come. As he strums his guitar, using the slider to get the grit and heart of blues to echo through the eagerly anticipating crowd, he begins to belt Sammie’s original song (and a true original song for the film) “I Lied to You.” With each echoing lyric, and background instrumentals produced by Ludwig Göransson, viewers and characters alike are woven seemlessly with the musical ancestry of the past, present and future. As a beautiful Letterboxd review by Joe A. stated, its a “Magnum Opus type scene. Spirit Awakening type scene. Inspirational, foundational, monumental.” To see the power of music, especially blues its spiritual binding, embodied in a nonstop visual interpretation from the eyes of the talented Ryan Coogler, your jaw will hang agape. And as Sammie’s final stretched note is cut crossfaded by a haunting, soul-tingling electric guitar solo from Göransson, we are reminded again that he produced “Redbone” (say thank you Ludwig Göransson).
Enter antagonist. Remmick, the centuries-old Irish vampire played by Jack O’Connell, masquerades as a clueless wanderer searching for community, drawn to the timeless power of the true human spirit exemplified by Sammie. The chilling calmness in which Remmick approaches the sanctity of the all-black sace that is the Juke Joint, nerves run taut. Something in the back of the viewers’ necks tingle as the soulless, eerie rendition of “Pick Poor Robin Clean” alerts the senses. This is merely the beginning of the end, as identities are revealed, characters are lured. People die. Well, “die.”
I don’t want to give away any more than I have already given, as spoilers are cruel and unusual punishment, but I simply need to talk about this film. And if there was one message to leave with readers, it is that I know films will get written off not only in the horror genre, but especially in the vampire genre. Do yourself a favor and attempt to overlook past grievances, because this film is gorgeous not only from a cinematography and CGI standpoint, but also from its symbols and performances. A complex villian, a phenomenal and prodigious cast, spiritual enlightenment, music in its purest form, conflicted and dynamic protagonists, cultural empowerment and reflection, worldbuilding, significant character attachment and development. I, from the bottom of my heart, believe this was a masterpiece to each and every sense, and you will not be the same person leaving the theater as you were walking in.
This film stands comfortably at a 9/10, but upon my second viewing I expect a full 10/10.
It’s only been a month, and I can’t keep putting this off. What if she finds out I can’t cook? She won’t see me any differently, would she?
Thoughts swirl in my head as I twist the doorknob to her already unlocked apartment. I take a deep breath as I step in. She meets me at the door. Her brunette curls roll off her shoulders as she wraps a gentle hand behind my neck and pulls me in for a kiss. Fireworks. There’s never not fireworks.
“I can’t cook,” I blurt, flustered again by her confidence. She doubles over, laughing, a hand tightly squeezing my arm.
Was that that funny, I think to myself.
“Oh god, neither can I!”
If one could see us as she boils rice while I attempt to chop baby carrots and sear the ground beef, you would think you were looking at two poor, hopeless college partners. But if one could see my eyes as I smile at her every success and mistake, you would think you saw stars.
A single leaf drifts sporadically in the wind as it falls from the sanctuary of its tree. The leaf, an orange so vibrant it appeared as if the sun kissed its surface. Amidst the chaos, it provides temporary peace. In that very moment, I would give anything to be that leaf, aimlessly wandering the wind, being guided by the twin sisters of life: Fate and Chance.
The leaf sways towards me and brushes my ear gently. Ironic. To have such an angelic, soft touch while I wreak havoc and pain. The natural gesture almost plants a seed of doubt in what I previously thought to be my steadfast will. Am I in the right? Will the ends ever justify the means? Behind the vale of bravery and confidence lurks the answer, but to acknowledge that simple truth would be fatal.
A droplet of red splashes against the corner of my eye. If it’s my own or another’s, I’ll never know. A second splash paints the surrounding brush an even deeper shade. A circle of crimson surrounds me. Scarlet life and death surround me. They begin to blend, as they always do. Life and Death. Destined to fight forever, but to never acknowledge their similarities. Without each other, they would mean nothing. Death without life is impossible, and life without death is insignificant. Both infinitely meaningful, yet meaningless alone, constantly fighting for the upper hand in an endless struggle.
There are times, like this very instant, where one gains the upper hand. Where life triumphs death. The light removes every shadow. Brightness prevails. But as always, success is fleeting. I lurch. White hot pain flares, then immediately fizzles. Adrenaline. My gaze drifts down to my abdomen. Crimson. Scarlet. Orchid Pink. My vision fades. The light begins to dim. The colors around me lose their color as I do the same.
“It’s such a scary time, and you know, I’m from South Georgia. I didn’t know any gay people… I definitely didn’t know any trans people growing up. Just the curiosity of not having someone to ask that would be appropriate, you know, not having a safe space to ask was something that… immediately felt wrong” – Ida Barrett.
Why It’s Newsworthy: Facing 241 anti-LGBTQ+ bills targeting student and educator rights in the U.S., safe spaces for acceptance and verifiable information regarding the queer community are important. Barrett is directly involved in creating and fostering those safe spaces in Athens, via APQC’s LGBTQ+ Youth Group and her own personal advice website.
Who is Ida?
Ida Barrett is the Director of Community Outreach for the Athens Pride and Queer Collective. Barrett, a pansexual woman, is quite outspoken about her and APQC’s goals. Through both APQC’s LGBTQ+ Youth Group and her anonymous advice website, she goes above and beyond to support the queer community of Athens.
Barrett aims to provide safe spaces, information and guidance to fellow members of the LGBTQ+ community.
Growing up, she felt as if she couldn’t discuss sexual orientation or identity. “I felt like if I asked these types of questions, I was going to get into trouble or something was wrong with me,” said Barrett.
LGBTQ+ Youth in America
The figure depicts survey responses from the Human Rights Campaign’s LGBTQ+ Youth Report of 2023 and The Trevor Project, both of which are based in the United States. The Human Rights Campaign surveyed 13,000 LGBTQ+ youths between the ages of 13 and 18, while the Trevor Project surveyed 18,000 LGBTQ+ youths between the ages of 13 and 24.
Unfortunately, Barrett’s experiences are not uncommon. The 2024 Trevor Project reported that only around 40% of LGBTQ+ youth deemed home an affirming space, and only around 52% deemed school an affirming space.
Additionally, the American Civil Liberties Union has tracked 241 anti-LGBTQ+ bills in various stages that target student and educator rights (as of March 14th, 2025), 45 of which aim to restrict or censor school curricula.
Barrett strives to combat the lack of security felt by queer youth, as well as current attempts to restrict LGBTQ+ education via the LGBTQ+ Youth Group.
According to the Trevor Project, 12% of LGBTQ+ youths attempted suicide last year. However, LGBTQ+ youths who reported living in accepting communities attempted suicide at half the rate of those living in unaccepting communities.
“Any child being able to avoid those feelings is incredible. And being able to get real information that’s unbiased, that’s factual, that’s backed by science is huge,” says Barrett. She is thankful that those who attend “have parents and support systems who are happy to allow… them to explore their identity and to understand the identity of others.”
What Opposition / Why Opposition?
Many of the 241 anti-LGBTQ+ bills directed towards educator and student rights state a general intention to “protect” the youth. For example, S.B. 120 and S.B. 248, 2 of the 5 anti-LGBTQ+ student-educator bills currently advancing in Georgia, aim to prohibit diversity, equity, and inclusion initiatives and heavily restrict access to LGBTQ+ information or topics. S.B. 248 aims to redefine and restrict LGBTQ+ information and materials, citing that they are considered “sexually explicit” or “harmful to minors.”
Barrett believes that “one of the big criticisms about youth, and not even trans youth or queer youth, but just youth in general being exposed to any kind of pride event… is that they’re too young and it’s explicit.”
“There’s such this false narrative that anything that has to do with the LGBTQ+ community is inherently sexual.” – Ida Barrett
Confidence in Identity
The figure above uses the Human Rights Campaign’s LGBTQ+ Youth Report of 2023. The Human Rights Campaign surveyed 13,000 LGBTQ+ youth in the United States between the ages of 13 and 18. (Graphic / Vaughan Stout)
According to the Human Rights Campaign’s 2023 Youth Report, more than 4 out of 5 LGBTQ+ youths knew they were something other than straight before 13-years-old. The reported average age of this discovery was 11.1-years-old.
“Kids are smarter than we give them credit for. And… some right now do know very well what’s going on,” said Barrett. “It has been exciting to see the kids who have been responding already and wanting to take action, and wanting to advocate for themselves, or advocate for… whoever it may be in their life.”
Why Ida?
Barrett believes that “it’s a really angering feeling to see kids so young know that they’re in danger and be so genuinely afraid.”
Through her direct efforts to inform and support the queer youth of Athens, Barrett helps to nurture the accepting community she has grown to love.
“Our hope is that anyone who attends our youth group… that they feel welcomed, included, and see such a large support from not only other queer people, but from allies, and from parents, and from friends.” – Barrett
Ask Ida
For those with questions about their navigating sexuality, you can always ask her at her anonymous advice website. Barrett started the advice website in 2019, with humble beginnings answering everyday questions. The questions quickly grew more personal, delving into topics like job uncertainty, life advice and eventually sexuality.
Although there is a backlog of requests since 2022 due to her busy schedule, Barrett always aims to “be thoughtful and come at it from all angles…but still give it the thought it deserves.”
Barrett says people have always gravitated towards her for advice, which is what led to her starting the website.
There was one particular event that has stuck with her. A few years ago, she ran into some strangers and they started to hit it off. “As the night went on, one of the girls disclosed to me that she was in love with her roommate and didn’t know what to do.”
“She didn’t know how she felt, hadn’t felt anything like that for another girl before… and she was crying to me at the bar,” said Barrett. After around an hour of talking, she left and never saw her again.
“3 years later, I realized that I had been buying coffee from her almost every other day for the past year,” said Barrett. “She is now in a relationship with that former roommate, and they are as happy as can be.”
“That has been one of the coolest things…to see. This random stranger at a bar disclose this to me and now her life is lovely,” said Barrett.
Though this particular run in has imprinted on Barrett, she claims these occurrences are both quite common and bring her so much joy. Her expertise, her passion and her direct involvement in the Athens community are just a few of the many reasons to do one thing:
Athens will remain a safe haven for LGBTQ members facing continuous pressures under political and social uncertainty. The Athens Safe Haven Resolution passed on Dec. 3, 2024, which battles anti-LGBTQ+ legislation and promotes ant-discrimination policies. While two out of ten Athens-Clarke commissioners opposed, the resolution declares Athens a Safe Haven for the LGBTQ community and promises that the city will defend its queer populace legally and socially.
The Athens-Clarke County City Hall, as photographed next to a local directory. (Photo / Vaughan Stout)
The Athens-Clarke County Mayor and Commission proposed the bill, citing a nationwide “rise in legislation and social attitudes that threaten the rights, safety, and dignity LGBTQIA+individuals.” Dozens of community members voiced their support of the resolution, and echoes of that support still ring today.
Community members like Ida Barrett, board member of the Athens Pride and Queer Collective, believe in the resolution’s mission to protect the queer community. “This wonderful place is on their side,” said Barrett.
She believes that community is important and that being quiet won’t make things better. To her, it takes a strong voice, combined effort and queer joy to protect LGBTQ+ rights.
“Joy is resistance.” – Barrett
Why It’s Newsworthy:
The Athens Safe Haven Resolution aims to protect sexual orientation and gender identity With state and federal legislators actively targeting LGBTQ+ rights, community perceptions of LGBTQ+ advocacy are important.
Community Reception / APQC
The Athens Pride and Queer Collective logo as seen on their website, created by Athenian illustrator Beaux Xavier (they/them), 2022. (Illustration / Beaux Xavier)
Barrett, the director of community outreach at the Athens Pride and Queer Collective, feels the Athens Safe Haven Resolution is a major step forward for the community. The APQC is a local-involvement-centered non-profit that focuses on engaging with and supporting the queer community in Athens. Barrett is delighted by the outpouring of support for the resolution.
“It was really, really incredible to see the support from the community at those meetings where individuals showed up in support of it and spoke in support of it, and we didn’t have to ask them to do that. So that was really, really incredible to just see that outpouring of love from the Athens Community,” said Barrett.
Barrett is a member of the LGBTQ+ community herself, and she feels as if the resolution will allow those that are either attending Athens for college (the University of Georgia) or that are unfamiliar with Athens as a whole will have more reason to stay. She believes LGBTQ+ individuals can “find community” or “find solace with that knowledge that this is somewhere that they can build a life” and a “bigger community”.
What is the Athens Safe Haven Resolution?
The resolution is a formal promise from the city to actively oppose anti-LGBTQ+ legislation introduced in the Georgia Assembly and Senate, as well as urge Georgia legislators to promote anti-discrimination policies. The resolution restates and reaffirms the city’s efforts to ensure Athens is a welcoming, officially labeled “safe haven” for LGBTQ+ by combating ongoing harmful legislation on the local, state and federal levels as well as strengthening and introducing pro-LGBTQ+ programs.
It also aims to renew the goals of the renamed People and Belonging Department, reaffirm efforts to prioritize diversity and inclusion, uphold Athens’ Non-Discrimination Ordinance, support LGBTQ+ events and programs, and encourage public safety officials and law enforcement to undergo proper sensitivity training. The final call to action in the resolution required a copy of the resolution be sent to Georgia Senators, State Representatives, and Gov. Brian Kemp himself.
Community Reception / Siren Antoinette
Drag performer and member of the Athens Showgirl Cabaret, Siren, performs her lip sync and dance routine at Hendershot’s for the Fabulous Friday’s event on September 27. Siren, a proud trans woman and drag performer, has been performing drag for 2 years, and feels very safe performing at most of the venues she visits.
Siren Antoinette takes the stage in Athens most weekends to perform with a local drag troupe called the Athens Showgirl Cabaret. Antoinette, who lives in Duluth, recently came out as transgender two years ago, and has had a long journey with queerness.
Being transgender, Antoinette is upset and disappointed with the presidential administration’s efforts to deprioritize the LGBTQ+ community.
But when Antionette comes to Athens, she is taken aback. Not only by the welcoming queer environment when she performs, but also by the Athens Safe Haven Resolution.
“It’s awesome…that they’re looking out for us,” said Antionette.
Current Opposition
Two days after the presidential inauguration, President Donald Trump has already rolled back DEI initiatives that protect workplace diversity. Additionally, The President issued many executive orders, some of which aim to ban transgender identification in the U.S. as well as ban transgender athletes from participating in women’s sports.
Recently, transgenderism (and the LGBTQ+ community as a whole) has become quite prevalent in the news cycle. Although it is a topic that generates discourse, the transgender community is a legally vulnerable minority of individuals.
While making up around 0.6% of the U.S. population (and around 1% of U.S. population being nonbinary), non-gender-conforming individuals have been socially and violently targeted for their perceived otherness.
For the 2024 election cycle, politicians spent around $200 million of anti-transgender and pro-Project 2025 ads. These sentiments and their adjacent legislative actions aim to restrict or ban gender-affirming healthcare and gender nonconformity.
Athens / Georgia LGBTQ+ History
A UGA Pride Alliance pin provided at the UGA Spring Engagement Fair on Jan. 28, 2025. The UGA Pride Alliance is the University of Georgia’s first LGBTQ+ student organization, which has aimed to educate and support queer students since 1971.
Athens, as well as the University of Georgia, has a history of protecting and advocating for the rights of the queer community. The University of Georgia’s Special Collections Library contains an extensive history of LGBTQ+ allegiance in Athens. LGBTQ+ organizations emerged as early as 1971 with the Committee of Gay Education, which led to the formation of the UGA Pride Alliance.
Years after the formation of the Committee of Gay Education, the Georgia Supreme Court Ruling in 1998 overturned Georgia’s anti-sodomy law. The law was often targeted towards the homosexual community to outlaw same-sex intercourse.
Anti-LGBTQ+ in 2025 / Why the Resolution is Important Now
The figure depicts the number of anti-LGBTQ+ bills in various stages of progress being tracked through the United States, with data provided by the American Civil Liberties Union. (Graphic / Vaughan Stout))
The American Civil Liberties Union, the nation’s leader in civil liberty protection and advocacy, has tracked 456 anti-LGBTQ+ bills in various stages of progress as of Feb. 26, 2025 (and nearly 600 as of Apr. 23, 2025). That is nearly as many as the record high 533 anti-LGBTQ+ bills tracked last year, a staggering 450% increase since 2020.
49 of the bills tracked in 2024 were passed into law. Georgia only contributed a mere 2.5% of the total bills being tracked last year, all of which were defeated before being written into law.
Though most of the bills didn’t pass into law in 2024, as of Apr. 29, 2025 11 anti-LGBTQ+ bills are advancing to the next stage, and 2 have been passed into law. With this surge in anti-LGBTQ+ legislation in the U.S., it is important to reflect on not only the legal attacks on the queer community, but the physical attacks as well.
The figure depicts the monthly number of recorded sexual orientation motivated hate crimes committed from 2015 to 2023 in the United States, using data reported from the FBI. (Graphic / Vaughan Stout)
FBI crime data reveals that anti-LGBTQ+ hate crimes have increased steadily since 2015, with an exponential increase since June of 2020. Nationwide, there were 213 LGBT-directed hate crimes reported in June 2023 alone, which is nearly as much as every month in 2016 combined.
Athens has fostered a diverse LGBTQ+ community. The city, many of its programs, many of its businesses and much of its community provide, protect, and support the queer community. With a variety of queer programs, legislation, organizations and accessibility to gender-affirming care, Athens maintains a diverse environment.
Through the Athens Safe Haven Resolution, the city can serve as an example of the importance of queer support and acceptance.
LGBTQ+ stickers on the storefront of 3 Ravens Tattoo & Piercings, a popular local tattoo and body modification shop in downtown Athens. The shop supports LGBTQ+ individuals, and they demonstrated their support with their float in the 2024 Athens Pride Parade. (Photo / Vaughan Stout)
“Our most powerful tool for any individual is your voice. It’s advocating for yourself. It’s advocating for your family. It’s advocating for your friends. It’s advocating for your larger community. And I think that’s the only way you can find the other voices that are screaming,” said Barrett.
In the wake of this year’s Emmy Awards, ‘Adolescence’ (2025) was one of the big hitters. The limited anthology series brought home a well deserved 8 Primetime Emmy’s, including Owen Cooper’s record breaking win as the youngest winner of the Supporting Actor award at 15 years old. 
If ‘Adolescence’ teaches us anything, it’s that safety is a more complex term than it once was. We as people owe it to everyone around us to acknowledge this change and adapt as best we can. Maybe this way we can prevent as many Jamie’s from happening, and save as many Katie’s from a fate that sadly looms over the head of every woman.
