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Colby Melvin, a Houston to Los Angeles transplant, and former About Magazine cover model co-stars in social media video that claims to be the “Official Guide To Bottoming”

It’s defiantly not a video for someone that’s offended easily. It’s also a gamble to determine if it’s funny or a little too much information. You decide.

In ‘The Gay Bottom Bible’, (yes, it’s really called that) gay personality Davey Wavey and co-star Colby Melvin from Houston attempt to answer every question you might have ever had when it comes to A$$ sex. It also includes something that you might not care to know.

About Greenlights Three TV Shows

How to Break My Neck Lifelong Learning The Anthony Project TV Shows About

About Media greenlights The Anthony Project, How to Break My Neck, and Lifelong Learning

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Anthony Ramirez will write the three adaptations.

(HOUSTON) – About Media (the production company/sister-business of About Magazine) has ordered scripts for three original, scripted series to be streamed exclusively through About. Of the three, one is an original comedy written by About editor-in-chief, Anthony Ramirez, entitled The Anthony Project. The latter two are adaptations of books published by About’s publishing company, About Editions. The first is an adaptation of Jessica L. Walsh’s How to Break My Neck, and the second being an adaptation of Zeke Jarvis’s forthcoming book, Lifelong Learning.

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Co-writer Rebekah Knight

The Anthony Project follows a gay writer who all in one week loses his grandmother to renal failure, finds out his boyfriend is cheating on him with a woman, and must take over a magazine after his boss abandons ship. Set in Houston, the series revolves around a fictional Ramirez and his group of eccentric friends as they navigate their love lives, trite homophobia, depression, substance abuse, and alcoholism. All the while, Ramirez must come to learn that no matter how badly he may want to, he can’t fix everyone’s problems … especially when he has so many of his own to work on. The series was created by Ramirez and is being penned in conjunction with Rebekah Knight and Kimberly Dyan. An open casting call is underway for roles on The Anthony Project, with city-wide auditions taking place Saturday, May 5th, at the Montrose Center in Houston beginning at noon.

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Jessica L. Walsh

How to Break My Neck is an adaptation of Jessica L. Walsh’s collection of poetry of the same name. The series invites us into the life of Jessica “J” Cato, a poet with the ability to see people’s pasts when they are near. However, when J denounces her gift, she finds herself with a sever bout of writer’s block, realizing all the poetry she’s ever written was inspired by the lives of women she’s met and clairvoyantly come to know. But what’s more is the discovery that her poems, when read aloud, have the ability to affect change. The series will be written by Anthony Ramirez & Anthony Project co-writer, Rebekah Knight.

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Zeke Jarvis

Lifelong Learning is an adaptation of Zeke Jarvis’s forthcoming collection of short stories of the same name. The series exists in a world of strange rules: when a relative dies, you must cook and eat their remains; teenagers of impoverished families may commit suicide on camera to earn extra income for their families; blood sacrifices must be made to appease the Darkness; and when the Overlord says something, it is law. But the question remains: why are the rules in place? And who made them so? Following the lives several strangers as they navigate through the rules of their post-apocalyptic world, Lifelong Learning postulates questions about life, death, Heaven, Hell, God, Satan, and how society can fall into a world where nothing really makes any sense. The series will also be written by Ramirez.

The Anthony Project is slated to premier on Tuesday, October 16th, 2018. Learning and Neck have not yet set premiere dates, but are anticipated for early 2019.

REVIEW: Oscar-Winning Film “A Fantastic Woman”

The Chilean film took home the Oscar for Best Foreign Film at the 90th Annual Academy Awards tonight, making it the first trans-led film to ever win an Oscar

I recently had the opportunity to go with some friends to a screening of a new, Chilean film entitled Una Mujer Fantastica (A Fantastic Woman). I was excited to see this film because it is the first Oscar-nominated (and as of tonight, Oscar-winning) film starring a trans woman, and representation like that is hard to come by. When the film began, I was surprised at how good it felt to see a woman like me on the big screen.

largeposter-206x300 REVIEW: Oscar-Winning Film "A Fantastic Woman"The film opens with Marina (Chilean actress Daniela Vega) singing in a bar as a man comes in and watches her. She smiles at him, and they go to dinner for Marina’s birthday. The man is Orlando (Francisco Reyes), a business owner and Marina’s much older cis boyfriend. That night, they go home and make love; but later, Marina wakes in the middle of the night to find Orlando sitting up, gasping for breath, and speaking incoherently. She rushes him to the hospital, where he dies of an aneurysm. What follows is the story of Marina trying to pick up the pieces of her life and say goodbye to the man she loved. All the while she is harassed and insulted by Orlando’s family, friends, and the police.

Marina’s life was easy and happy while she had Orlando—a nice apartment and car that belonged to him and which they shared. After his death, all that is taken from her as Orlando’s ex-wife demands the car and his son orders her to move out of the apartment immediately.  As soon as she loses the protection afforded by her relationship, the world rushes in to attack. The police repeatedly question Marina under the suspicion that she had hurt Orlando, misgendering her, and suggesting that Orlando had been paying for her company. Apparently, cis people cannot actually love trans people. Orlando’s ex-wife, Sonia (Aline Küppenheim), deadnames Marina repeatedly, an insulting and delegitimizing act that suggests a trans person’s identity is a playact that can be observed or ignored as is convenient.

Interspersed with the story are dreamlike sequences—Marina walking along a sidewalk suddenly hit with a wind so strong she has to fight to not be blown away; Marina alone in a nightclub transformed from rain-drenched to glam makeup and silver-and-gold dance costumes dancing with an army of likewise beautiful LGBTQ people. These moments both highlight and give respite from the trials she faces every day.

The greatest triumph of A Fantastic Woman is perhaps showing cis audiences the struggles that trans people face daily as we are deadnamed, misgendered, and asked ignorant and invasive questions by law enforcement, healthcare professionals, and total strangers (why is it okay to ask a trans person about their genitals? I honestly don’t get it, and I never see or hear cis people ask each other such questions). Sitting in a dark room hearing a theater full of cis folks gasp in shock and disgust at moments trans people experience daily, I thought maybe that cis people don’t listen, understand, or believe trans people when we talk about our experiences; but seeing it happen themselves, to a character with whom they can’t help but identify after nearly two hours in the dark, drives it home.

A Fantastic Woman invites audiences into the world of trans women, creating understanding and compassion. By the end of the film, Marina gets a chance to say goodbye to Orlando, and has found the strength to fight back against the people who attacked her.

A Fantastic Woman is rated R and has a run-time of 1 hour 44 minutes. Spanish with English subtitles. Content-warning for deadnaming, misgendering, assault, kidnapping.