I Googled my last appearance on the Colbert Report because I was worried that I brought the same shirt with me to NYC. Luckily my boyfriend packed my other teevee shirt. Stephen is going to be talking with me about—can you guess?—Prop 8. And, yes, I am going on Colbert in my official capacity as spokesperson for all gay people everywhere.

That's 94.9 FM if you want to listen. And if you want to fill my head with your spin before the show, the comment thread awaits.

That's 94.9 FM beginning at 10 a.m. if you want to listen. And as always, if you want to suggest a topic for discussion the comment thread awaits.

Being an employee of a big paper, I have hardly ever had that happen to me. The one time I remember was in the 90s as a business reporter being denied entry to a stockholder meeting of the Fisher Companies, which was then under SEC rules a public company. I was furious--shaking--and a good deal less polite to the Fisher vice-president who kicked me out than Goldy was yesterday--and I don't regret anything I said to that Fisher man, or about him, thereafter. My experience wasn't exactly the same as Goldy's, but close enough.

Obviously, a lawyer holding a press conference in his private offices may let in who he likes and exclude who he likes. It may well be, as Goldy suspects, that they excluded him because he's anti-Rossi, and because his style of expression is less than genteel. Maybe even the name of his blog has something to do with it. But for the record: Goldy is part of the media in Seattle. People who follow politics know who he is. They read him. Whether Feit is paid, or how much he is paid, is beside the point. We are not media because of how much money we make, or that we make any at all. We are media because of what we do.

I can only add: The only time I've ever been asked to leave a press event was at a press conference held by the anti-monorail campaign in 2003--and I'm still pissed. People who work with the media need to learn that you get better press by letting the media (even the partisan media!) in than by excluding them.

94.9 FM if you want to listen. Anything else we must discuss?

UPDATE: For those of you griping about my Burner-Reichert coverage in the comments... You'll want to listen to this show. I'm running out the door to head to the studio right now, so I don't have time now to post what I've just been sent about Reichert's B.A./A.A. claims, but I'll talk about it on Weekday. (And will post here as soon as the show's over.)

That's 94.9 FM beginning at 10 a.m. if you'd like to listen. Any other topics we should discuss?

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Anything else we should discuss?

Coincidence? Dunno. I do know, though, that Dan and Terry's baby is almost 11 now, and we never once used the term "gaybie" to describe him...

The signs said Obama was for gay marriage and abortion, and said his candidacy was "endorsed by the KKK." Another sign said, "Jesse Jackson hates Obama."

Perhaps they'd seem a teensy bit credible if it weren't for the "white supremacists support the black man" sign. But the great thing here is actually how Obama handles the little twits.

Being all white and stuff, I shall demur from commenting on what appears to be, um, let’s just call it a conflict of interest. But as a faggot, I shall seize this moment criticize my own ilk who vote against our interests: Log Cabin Republicans can go fuck themselves.

In case you hadn't heard, Cthulhu—the H.P. Lovecraft-inspired, quasi-gay-horror flick directed by Seattle's Dan Gildark and written by former Seattle City Council candidate/monorail advocate/Stranger contributor Grant Cogswell—kicks off a week-long run at Metro Cinemas today.

Stranger reviewer Paul Constant hated it:

Cthulhu has been trumpeted in the pages of The Stranger for years now, so it is not without a certain amount of institutional shame that I admit Cthulhu is a poorly made film with almost no merits. The "almost" here refers to the cinematography by Sean Kirby, which is, at times, beautiful. But everything else is shit. The pacing is awkward, the costumes are embarrassing, and the dialogue is wooden and just plain dumb.The worst part is that the filmmakers are trying so hard to artfully transcend the apocalyptic horror genre—to comment, through little parodies and self-aware digs, that they're making a "real" movie with "real" themes—that they wound up producing a horror movie that's not in the least bit frightening. Cthulhu is possibly the worst in a long line of shoddy H. P. Lovecraft film adaptations. It's a goddamned shame, is what it is.

Paul's not alone is his hatred of Cthulhu—I've heard from a lot of people who also thought it was shit. However, I saw Cthulhu at SIFF a couple years back and I did not hate it. The unequivocal repulsion experienced by many of my peers challenged me to clarify in my mind what it was about the film I liked. Grant's a friend, and I hated to think that was the basis for my appreciation. (This would also be unlike me—my friends count on my compulsive, almost-Tourette'sish aesthetic honesty, and I have the list of ex-friends to prove it.)

But this review from the Willamette Week gets at what I think Cthulhu has to offer:

Gildark and screenwriter Grant Cogswell’s nervy work is a reminder of the timidity of most independent filmmaking—even when Cthulhu fails, it fails with panache...Even Gildark’s most obvious gimmick—gay love story meets otherworldly horror—has emotional weight. Cthulhu is basically the tale of a religious-fundamentalist family willing to take extreme measures to cure their son of his sexual orientation. And it takes a certain daring to repurpose The Lion, the Witch and the Wardrobe as an allegory for a gay idyll. The movie, like most bold pieces of art, flirts with unintentional comedy, but it pushes right past that threat, even as its plausibility crumbles. The movie falls apart—the center does not hold—but its anarchy is a blast to watch.

It's as a "gay movie" that Cthulhu has the most to offer, I think—the film captures the creepiness and barely subsumed antagonism of small-town life like no other film I've seen. Still, appreciating a film by a friend through the prism of a cinematic sub-genre is what Josh Feit would've called "a double-reverse back-flip" of a recommendation, and there's a good chance you'll hate it. You can find out this week at Metro Cinemas.

Anything else we should discuss? That's 94.9 FM, beginning at 10 a.m., if you want to listen.