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Tourmaster Transition Jacket

  • Abrasion-resistant 600D polyester shell with 1000D nylon dobby overlays at shoulders and elbows
  • Reissa waterproof, breathable zip-out liner, and zip-out thermal liner
  • Aqua-Barrier™ Under-The-Helmet Hidden Hood (U.S. PATENTS #8,156,573 AND #7,779,485)
  • Standing collar and adjustable zippered cuffs feature soft microfleece trim
  • Adjustable “set-and-forget” collar and holdback hook
  • Accordion stretch panels on elbows for increased comfort
  • Zippered hand pockets, a rear storage pouch, and four internal storage pockets
  • Large vertical chest vents double as pockets
  • Intake vents on the chest, upper arms, forearms, and shoulders
  • Exhaust vents located on arms and back
  • Safe-Tech CE Level-2 shoulder and elbow armor
  • Removable EVA foam back pad (fits Safe-Tech 851 back pad)
  • 360° reflective printing
  • Adjustable waist strap with TPR pulls
  • Adjustable arm take-up straps
  • Zippered expansion gussets
  • Includes an 8” jacket-to-pant zipper attachment with the pant side included
  • Genuine YKK ® zippers

Tourmaster

Sizing Information

tour master transition 5 jacket

We checked the sizing of this style with our Fit Check mannequins Huey and Dewey . They are wearing size Medium and XL jackets respectively. These are their “usual” sizes and they fit just fine. We also checked the chest and belly of the other sizes and find them to fit OK too. Therefore, we recommend you choose the size you normally wear in men’s clothing. If anything, we find the fit to be generous, so if you are between sizes, I’d advise the smaller.

Another way to refine your size selection is to measure your chest and belly and then use our size chart (below) which lists max chest and max belly sizes for each jacket size. The measurements in the chart are a combination of the manufacturer’s size chart and also the measurements we take on the product samples. After you measure, you can choose a jacket size using the chart. You’ll want to choose a size that will accommodate both your chest and belly.

This jacket is offered in tall size. Tall jackets will be about 1 1/2” longer in the sleeves and torso than the “standard” size jackets. Sleeve lengths listed below are for standard sizes, so add the 1 1/2” for an estimate of the sleeve length of tall sizes. Sleeve lengths are measured from the shoulder seam to the cuff end.

Need help measuring? Get it here .

Our Two Cents

The Transition jacket by Tourmaster is a newly updated version of this longstanding jacket style. This is a longer touring style (sometimes called a “3/4” style) favored by touring riders and commuters. This jacket includes both a removable waterproof liner and thermal liner. It has extensive venting capability too. Armor is included for the shoulders and elbows and a back protector is available. Both men’s and women’s sizes are offered, so take the link below to view the other gender.

We’ve been carrying versions of the Transition jacket for years. The most recent iteration was “version 5” which we reviewed in 2017. This season, they decided to reset their version-naming scheme and simply call this one the Transition Jacket. This jacket offers a lot of functionality for the money so value-wise, this is a winner!

So what’s new here? This jacket is now offered with two removable liners… a waterproof liner and a thermal liner. You can mix and match those in the jacket depending upon the weather conditions. Previously, this jacket was only offered in a fixed-waterproof liner version, which, by nature isn’t as easily worn in warmer weather conditions. And speaking of warmer weather, this jacket has a number of forward facing zip vents….sleeve ends, bicep, shoulders, and chest. And in the back, there are two rear exhaust vents. Being a jacket without a “fixed” waterproof liner means these vents flow directly through to your body when open, and so they are the most effective. This jacket probably won’t be comfortable on hot summer days even with the vents open, but it will work well in all temps below that… and of course, wet weather too. So I’d say you can find comfort in at least three of the year’s seasons (depending on where you live of course).

A touring style like this has a longer body and by nature comes with a lot of storage options. In front, you get a couple zippered handwarmer pockets. The two chest vents I mentioned earlier can also double as pockets, and in the back is a large fanny pouch. Inside, you’ll find three more pockets.

Earlier I mentioned the included removable waterproof liner, but this jacket has one more trick up its… er… collar. It has a rain hood hidden inside. And when deployed, you wear it over your head and under your helmet. The hood will create a rain barrier between your helmet and your jacket collar effectively blocking water from entering around your neck. The jacket’s collar is also adjustable with a sliding snap arrangement. There is also a small loop and corresponding hook on the shoulder to hold open the collar and keep it from flapping when you don’t need it zipped all the way up.

Tour Master is featuring SafeTech brand armor in their 2020 and later products. The jacket includes shoulder and elbow armor inserts that are CE level 2 rated. The material is a more flexible and “squishy” rubberized material, which I think is an improvement in comfort over past designs using less flexible black solid rubber. The jacket has a fabric pocket for a back protector. The jacket comes standard with a simple thin foam back pad (mostly a place holder). Optionally you can buy a CE rated back protector by SafeTech for about twenty bucks (something I’d recommend).

You can mate this jacket to Tour Master pants with the short rear zipper to make a complete touring or commuting outfit. Pants are very reasonably priced, so you can get everything for under $400 for both pieces with optional armor. A very good value indeed! :: Paul, 01-21-21

Happy Customers Who Bought This Product

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I emailed customer service and about the issue and attached photos. I was contacted by Mike with CS by phone about 2 hours later. He apologized about the garment. ( Read more... )

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tour master transition 5 jacket

Women's Transition Jacket

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  • Abrasion-resistant 600D polyester shell with 1000D nylon dobby overlays at shoulders and elbows
  • Reissa waterproof, breathable zip-out liner, and zip-out thermal liner
  • Aqua-Barrier™ Under-The-Helmet Hidden Hood
  • Standing collar and adjustable zippered cuffs feature soft microfleece trim
  • Adjustable “set-and-forget” collar and holdback hook
  • Accordion stretch panels on elbows for increased comfort
  • Zippered hand pockets, a rear storage pouch, and four internal storage pockets
  • Large vertical chest vents double as pockets
  • Intake vents on the chest, upper arms, forearms, and shoulders
  • Exhaust vents located on arms and back
  • Safe-Tech CE Level-2 shoulder and elbow armor
  • Removable EVA foam back pad (fits Safe-Tech 851 back pad)
  • 360° reflective printing
  • Adjustable waist strap with TPR pulls
  • Adjustable arm take-up straps
  • Zippered expansion gussets
  • Includes an 8” jacket-to-pant zipper attachment with the pant side included
  • Genuine YKK® zippers
  • 4-year warranty

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tour master transition 5 jacket

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TourMaster Men's Transition Series 5 Jacket (Black, Large)

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TourMaster Men's Transition Series 5 Jacket (Black, Large)

Product details, about this item.

  • Shell constructed using highly abrasion resistant 600 denier Carbolex polyester fabric, 1680 denier ballistic polyester in the elbows
  • Pipeline venting with pinch vents provide ventilation when open and waterproof protection when closed
  • A total of 11 intake and exhaust vents for maximum air circulation
  • Aqua-Barrier Under-The-Helmet hood to help eliminate seepage while riding (U.S. patents #8,156,573 and #7,779,485)
  • Accordion stretch panels in the back and elbows for increased flexibility and comfort
  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 27 x 22 x 3 inches; 4 Pounds
  • Item model number ‏ : ‎ 8777-0505-06
  • Department ‏ : ‎ mens
  • Date First Available ‏ : ‎ September 16, 2017
  • Manufacturer ‏ : ‎ TourMaster
  • ASIN ‏ : ‎ B075PFHRPL

Product Description

Shell constructed using highly abrasion resistant 600 denier Carbolex polyester fabric, 1680 denier ballistic polyester in the elbows. Pipeline venting with pinch vents provide ventilation when open and waterproof protection when closed. A total of 11 intake and exhaust vents for maximum air circulation. Aqua-Barrier Under-The-Helmet hood to help eliminate seepage while riding (U.S. patents #8,156,573 and #7,779,485). Accordion stretch panels in the back and elbows for increased flexibility and comfort. Phoslite reflective protection help increase nighttime visibility. Microfiber lined collar and cuffs. Adjustable sleeve take-up straps at forearm and bicep for a custom fit and to help secure elbow armor. Newly designed CE-approved Armadillo armor in the elbow and shoulder, with revised articulated triple-density back protector. Waterproof, breathable Rainguard barrier. Removable thermal liner. Zippered chest map pocket, fleece-lined hand warmer pockets, internal pouch, mobile media pocket, and dual zippered fanny pack. Adjustable waist belts with TPR pulls help fine-tune the fit. Includes 8" jacket/pant zipper attachment with pant side included. Waterproof front bellows cargo pockets. Collar anchor. Durable ESO two-way main zipper closure with dual wind flap.

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To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

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tour master transition 5 jacket

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tour master transition 5 jacket

Calgary Flames News

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Could talented 2024 Draft prospect Igor Chernyshov be the latest addition to the ‘C of Red Army’?

Craig Conroy has been the general manager of the Calgary Flames for just over a year. Over that year, he’s added 22 players to the club’s reserve list via various means; seven of those players have been Russian or Belarusian. Based on that trend, we’re thinking that the Flames won’t completely steer clear of Russians at the 2024 NHL Draft if the scouts determine they’re the best players available at the specific spots.

Could Dynamo Moscow winger Igor Chernyshov be a player that the Flames covet?

Scouting report

A product of Penza, Russia – a small city southeast of Moscow – Chernyshov is a November 2005 birthday, making him one of the older first-time draft eligible players in his class. He’s a right shot winger listed at 6’2″ and 196 pounds.

After playing in the Dizel Penza system as a youth, Chernyshov was recruited into the Dynamo Moscow (or Dynamo Moskva, for the Russian speakers) organization – that’s the Red Army, for those keeping track of historical hockey dynasties. He’s played for several seasons in the Dynamo system, including chunks of each of the past three seasons with their top under-20 team in the Major Hockey League, Russia’s top major junior circuit. (He played alongside Flames prospect Yegor Yegorov on that club).

While Chernyshov has split time between various teams over the past few seasons, bouncing between different rungs in the Dynamo organizational ladder, he spent more time in the KHL in 2023-24 than anywhere else.

In November, Dobber Prospects’ Hadi Kalakeche provided a really handy summary of Chernyshov’s games at the KHL and MHL levels:

Chernyshov’s MHL tape is just unfair. He bullies opponents along the boards, easily strips them of possession, and makes small-area passes to open teammates with an ease and accuracy that leaves his opponents scrambling to keep up. Once in open ice, especially after three of his large strides, he can’t be caught. In the KHL, much of the same remains, but he has also shown a whole lot of adaptability despite the limited ice-time. When he can’t out-muscle and out-speed his opponents, he has shown some glimpses of an off-puck game that helps him support his teammates’ routes. He tracks back, finds his check, and sticks to him. He’s still fairly raw, with a toolkit that sees him use a lot of his individual tools in a not-yet-cohesive way, but the top-six upside is evident.

In March, Sportsnet’s Jason Bukala provided a succinct rundown of Chernyshov’s game :

Chernyshov brings a combination of size and skill. He has a gear through the neutral zone in transition and his most attractive element is his potential offensive upside, especially on the power play. Overall, Chernyshov is best described as equal parts shooter and distributor. Defensive detail, effort and awareness ranges at times, though. Chernyshov split time between the KHL and MHL this season. At the KHL level he produced 3G-1A in 34GP. At the MHL (junior) level he scored 13G-15A.

In short: Chernyshov’s quite good. He’s not quite a complete 200-foot player, but he’s a really useful, versatile offensive player who’s played an impressive amount of pro hockey in a top league for somebody his age.

The numbers

Chernyshov played 34 games in the KHL, scoring three goals and one assist for four points. He played 22 games in the MHL, scoring 13 goals and 15 assists for 28 points.

In the KHL, only three first-time draft eligible players had more games played or points than he did: Nikita Artamonov, Anton Silayev and Artyom Shchuchinov.

In the MHL, the only first-time draft eligible player in the league with a higher points-per-game than Chernyshov was Ivan Demidov – he had 32 more points (!) than Chernyshov in eight more games. But aside from Demidov, Chernyshov was the top producer in his age group on a per-game basis.

Availability and fit

A common refrain in our discussions of prospective 2024 picks from a Flames perspective has been “man, they’re good, but the Flames need centres and defenders.” And yeah, that’s the case. If Chernyshov wasn’t a winger, he’d be a better fit for the Flames’ needs. But the Flames need skill, especially right-handed skill, so we’re not sure if the positional needs aspect of things would really diminish his chances of being selected if he was available when they selected. Add in the fact that the Flames have a gaggle of Russians that could help him adapt to North America, and he starts to make a lot of sense for them.

But Chernyshov is part of a big chunk of the prospect first round crop that projects into the proverbial no-man’s land between their two first round picks – they select with their own pick at 9th overall and Vancouver’s at 28th overall. Chernyshov has appeared as early as 10th overall and as late as 30th overall on the public draft rankings, but typically has appeared somewhere between 18th and 21st.

He’s quite skilled and an attractive prospect in the mid-to-late first round, but It seems improbable that he’ll be selected by the Flames due to his placement relative to other top prospects (and the placement of the Flames’ first-rounders).

This article first appeared on Flamesnation and was syndicated with permission.

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tour master transition 5 jacket

Moscow mule 'murderess' Kouri Richins, 34, declares WAR on prosecutors for 'taking her away from her kids' after her arrest for husband's murder

  • The mother-of-three made her first comments since her May 2023 arrest
  • She accused prosecutors of doing 'anything they can' to 'hide their corruption'
  • READ MORE: Defense for Kouri Richins withdraws from her case

By Mackenzie Tatananni For Dailymail.Com

Published: 10:19 EDT, 23 May 2024 | Updated: 11:25 EDT, 23 May 2024

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The Utah mother-of-three accused of spiking her husband's cocktail with a deadly dose of fentanyl has made her first comments since her arrest.

Kouri Richins, 34, has remained behind bars since a judge denied her bail last year. She stands accused of killing her husband, Eric, by slipping fentanyl into his  Moscow mule on Valentine's Day.

In remarks provided exclusively to correspondent Andrea Canning and the Dateline: True Crime Daily podcast , Richins lambasted prosecutors for doing 'anything they can to prolong this process and hide their corruption.'

'I’ve been silent for a year, locked away from my kids, my family, my life, living with the media telling the world who they think I am, what they think I’ve done or how they think I’ve lived,' she said.

'You took an innocent mom away from her babies. And this means war.'

Kouri Richins, 34 (left), has spoken out for the first time since her arrest in May 2023, accusing prosecutors of corruption and blasting them from taking 'an innocent mom away from her babies'

Kouri Richins, 34 (left), has spoken out for the first time since her arrest in May 2023, accusing prosecutors of corruption and blasting them from taking 'an innocent mom away from her babies'

Richins stands accused of murdering her husband, Eric (right) by slipping a lethal dose of fentanyl into a Moscow mule cocktail

Richins stands accused of murdering her husband, Eric (right) by slipping a lethal dose of fentanyl into a Moscow mule cocktail

The comments came after a judge granted her lawyers' May 17 request to withdraw from her defense, with lead attorney Skye Lazaro attributing the decision to an 'irreconcilable and nonwaivable situation,' according to documents reviewed by DailyMail.com.

'To properly safeguard the Defendant’s constitutional rights, this Court should immediately grant the Firm’s motion to withdraw and should immediately appoint new counsel to continue the vigorous defense of the criminal charges against Ms. Richins,' Friday's filing read.

In her remarks, Richins directly addressed her legal team's withdrawal from the case.

'Represented or not, we all know and should understand there’s only so much I can say,' she said.

'But what I will say is this withdrawal was not my choice. And it was not a personal choice of any counsel on my defense team.'

The request was filed just a day after the defense asked a judge to disqualify prosecutors over 'severe violations' of Richins’ right to effective counsel.

The motion pointed a finger at prosecutor Brad Bloodworth, alleging he infringed on attorney-client privilege in multiple breaches of Richin's 6th Amendment rights.

The document accused authorities of recording jail calls between Richins and her defense team without their consent. Bloodworth allegedly accessed and listened to the recordings from May to December 2023. 

Prosecutors allege the mother of three was in debt and fraudulently obtained four different life insurance policies totaling $1.9 million before Eric's death

Prosecutors allege the mother of three was in debt and fraudulently obtained four different life insurance policies totaling $1.9 million before Eric's death

The comments came after a judge granted the defense's request to withdraw from the Richins case, citing an 'irreconcilable and nonwaivable situation'

The comments came after a judge granted the defense's request to withdraw from the Richins case, citing an 'irreconcilable and nonwaivable situation'

The request was filed just a day after the defense asked a judge to disqualify prosecutors over 'severe violations' of Richins’ constitutional rights, including listening in on attorney-client jail calls

The request was filed just a day after the defense asked a judge to disqualify prosecutors over 'severe violations' of Richins’ constitutional rights, including listening in on attorney-client jail calls 

When one of Richins' lawyers made the discovery and asked prosecutors whether they were aware of it, Summit County Attorney Margaret Olson insisted that she had no idea, according to filings.

Bloodworth, meanwhile, asserted that the defense was 'well aware' that the calls had been recorded, seeing as one of the lawyers had refused to use a phone application that shields attorney-client calls.

He claimed prosecutors had not listened to any of the calls and insisted that the defense had been provided with the recorded calls through discovery over the nearly eight-month span.

'I will not play into the prosecution’s unconstitutional behavior anymore,' Richins said in statements provided to Dateline.

'Although I am extremely disappointed where we’re at right now with this case, I’m anxious. I’m anxious to prove my innocence. I’m anxious to get to trial.'

EXCLUSIVE Moscow Mule 'killer' Kouri Richins's lover unmasked: Utah author wanted to start new life with handyman Robert Grossmann - who ended up homeless after she evicted him

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Prosecutors allege the mother of three was in debt and fraudulently obtained four different life insurance policies totaling $1.9 million before plying her husband Eric, 39, with the spiked Moscow mule in March 2022.

One year after his death, Richins published a children’s book that depicted a father watching over his children while sporting a pair of angel wings.

She dedicated it to Eric, calling him an 'amazing husband' and 'wonderful father.'

Richins faces charges of aggravated murder, forgery, and mortgage and insurance fraud. This year, she was hit with an additional count of attempted murder for allegedly drugging her husband's sandwich in an earlier attempt.

'I think my wife tried to kill me,' Eric told his friends at the time, according to witness testimony.  

A month later, Richins called 911 after finding Eric 'cold to the touch' at the foot of their bed, according to a police report. Medical examiners discovered that he had five times the lethal dose of fentanyl in his system. 

DailyMail.com revealed last week that the 34-year-old was romantically entangled with 41-year-old Robert Grossmann, a handyman.

'If I was divorced right now and ask you to marry me tomorrow, you would?' Richins texted Grossmann just weeks before Eric's death.

The mother-of-three is currently being held at the Summit County Jail. She has not entered a plea and maintains her innocence.

Share or comment on this article: Moscow mule 'murderess' Kouri Richins, 34, declares WAR on prosecutors for 'taking her away from her kids' after her arrest for husband's murder

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Lesbian, bi, trans stories dominate queer crop of summer movies

Comic book adaption, horror thrillers, and more on the way

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Summer is almost upon us, and that means it’s time to look ahead toward another season of movies – but for queer movie fans, the typical “popular” summer escapist fare might not have quite the right appeal. Not to worry: the Blade is here to offer up our usual list of titles to watch for.

Backspot (May 31, in theaters) Helmed by nonbinary Toronto filmmaker D.W. Waterson in their feature directorial debut, this Elliot Page-produced sports drama has been described as “Whiplash” for competitive cheerleaders. Focusing on ambitious cheerleader Riley (Devery Jacobs of “Reservation Dogs”), it’s a heavily queer-themed coming-of-age tale that weaves romance with hard-hitting “behind-the-scenes” as she and her girlfriend, selected for an all-star squad, square off against a hard-edged head coach (out queer “Westworld” star Evan Rachel Wood) who demands a drive toward perfection – forcing Riley to confront her own crippling anxiety to keep her dreams from crumbling into dust. Also starring Shannyn Sossamon (“A Knight’s Tale”), Kudakwashe Rutendo, Thomas Antony Olajide, and Wendy Crewson

Let the Canary Sing (June 4, Paramount Plus) Billed as “the story of music’s most authentic superstar,” this career-spanning profile of queer-adjacent pop icon Cyndi Lauper from award-winning documentarian Alison Ellwood delivers a chronicle of her ascent to stardom and an exploration of her impact and the legacy that she has bestowed through her beloved music, iconic style, unapologetic feminism and fearless advocacy. There’s not much we can say about this one except that it’s a perfect treat for fans – and an enticing invitation for future fans – to get a close-up look at a legend who has truly earned her status.

Queendom (June 14, in theaters/on demand) Filmmaker Agniia Galdanova is behind this award-winning SXSW documentary, which follows queer Russian performance artist Jenna Marvin as she takes to the streets of Moscow to stage theatrical protests against the country’s Putin-led authoritarian regime – all while working behind the scenes to escape her homeland and flee to a place where her queer identity isn’t a crime. Coming in the middle of Pride month, it’s a potent reminder that – in many parts of the world – queer people still live in fear of homophobic suppression, but it’s also an inspiring story about the risky business of speaking truth to power.

Summer Solstice (June 14, in theaters) It should go without saying that telling trans stories is important right now, and this film from Brooklyn-based director Noah Schamus is exactly the kind we need. Following trans man Leo (Bobbi Salvör Menuez) as he hustles his way through a life of auditions, acting classes, barista jobs, and “situationships,” it segues into a thoughtful exploration of interpersonal gender politics when an old friend – cisgender and straight Eleanor (Marianne Rendón), takes her on an impromptu weekend getaway in upstate New York. Dealing with the new dynamics (and old emotions) of relationships after transition, it’s a movie which goes a long way toward revealing both the commonalities and the unique complications that ultimately make any trans story, told authentically, into a human story.

Cora Bora (June 15) If you’re a fan of Max’s queer-friendly queer-favorite series “Hacks,” you’ll need no introduction to the comedic personality at the center of this “dramedy” from director Hannah Pearl Utt. Out bisexual comedian and actress Megan Stalter stars as a “failed girl musician” who sets out not just to revitalize her career prospects but to win back the affections of her ex-girlfriend – and forges a new life path for herself in the process. Stalter, known mostly for her endearingly painful, over-the-top comedic portrayals of deluded-but-inextinguishable confidence, gets an opportunity to show a much wider range of layers here than she’s been allowed to explore before – but don’t worry: she’s still hilarious! Jojo T. Gibbs, Manny Jacinto, Ayden Mayeri, Thomas Mann, Chelsea Peretti, and queer comedy icon Margaret Cho also star.

Fancy Dance (June 21, in theaters/AppleTV) This debut feature from filmmaker Erica Tremblay is also the eagerly awaited return to the big screen of Indigenous American actor Lily Gladstone, whose Oscar-nominated turn in last year’s “Killers of the Flower Moon” not only made history but made them into a star. Here, they play a queer hustler who becomes the guardian of her niece (Isabel DeRoy-Olson) when her sister disappears. Trying to stay one step ahead of a deadbeat dad (Shea Wigham, “White Lotus”) and an American justice system that is weighted against the rights of Indigenous women, they hit the road into the backcountry of their Oklahoma reservation on a quest to find the missing mother. The “buzz” is already predicting another Oscar nod for Gladstone, but whether or not that’s just Hollywood hyperbole, it’s sure to be one of the summer’s must-see picks.

Sing Sing (July 12, limited theaters/August 2, wide release) Speaking of last year’s Oscar nominees, powerhouse out-gay-thespian-of-color Colman Domingo is the lynchpin of this based-on-a-true-story prison drama about a wrongly convicted inmate at the notorious correctional facility who finds solace in a rehabilitation theater program, mounting productions with fellow prisoners and rising above the crushing isolation of incarcerated life. Intense and topical, yet also inspirational and uplifting, it debuted at last year’s Toronto International Film Festival alongside Domingo’s other starring vehicle, “Rustin” – and his performance in it was praised as superior, Oscar nod notwithstanding. Consider that alone a recommendation to add this Greg Kwedar-directed real-life tale to your watchlist.

Deadpool & Wolverine (July 26, in theaters) It’s rare for us to include a big-ticket comic book film in our list of upcoming queer titles, but we can’t ignore the appeal of this new Marvel entry in which the two title characters are thrown together for a mission that will rewrite the history of the “MCU” forever. Sure, it sounds like a convenient way to hit the “reset” button and take the blockbuster franchise in a new direction – but it’s also the irresistible culmination of a longstanding “man-crush” held by the “canonically pansexual” Deadpool (Ryan Reynolds) for X-Man MVP Wolverine (Hugh Jackman), fueled enthusiastically by both stars since long before this clever concept vehicle ever got greenlit. Directed by Shawn Levy, and also starring nonbinary actor Emma Corrin in their first “villainous” role, it features Morena Baccarin, Rob Delaney, Leslie Uggams, Karan Soni, and Matthew Macfadyen, too – and while it may not be highbrow cinema, based on the irreverent, borderline absurdist tone of both the “Deadpool” comics and the previous film installments made from them, it’s likely to be a lot of fun.

Cuckoo (Aug. 9, in theaters) Last but not least, this German-American co-production – a “Shining”-esque horror tale about a family vacationing in the Alps that find themselves endangered after discovering the resort town in which they are staying harbors a web of disturbing secrets – will undoubtedly draw the attention of hardcore horror fans. But it also has strong, built-in queer appeal in the form of its transgender star, Hunter Schafer (“Euphoria”), who takes on her first starring film role as the movie’s “final girl.” Dan Stevens, Jessica Henwick, Jan Bluthardt, and Martin Csokas also star, with direction and screenplay both coming from Tilman Singer.

Queer ‘TV Glow’ a surreal horror gem

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Challenging and surprising us in a way that feels thrillingly audacious

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In an age when so much of our consciousness is fixated on screens, it’s no surprise that the year’s most effectively soul-shaking horror film so far should be about precisely that.

It’s certainly not the first movie to take on the topic. Using television and computer screens to evoke creepy chills was a “thing” even before David Cronenberg used “Videodrome” to blur the lines between the physical world and the electronically conveyed imitation of it we often substitute for the “real thing.” In “I Saw the TV Glow,” however,  the focus is not so much about the natural fears that arise from our reliance on technology to help us navigate our lives – the dangers of artificial intelligence or the violation of privacy to manipulate us or make us vulnerable – as it is about something much more primal. Filmmaker Jane Schoenbrun’s second feature might center on our fears around pop culture obsessions and the dangerously delusional fantasies they inspire, but its real agenda lies in a somewhat less obvious direction.

Tapping into shared millennial memories about the kid-friendly fan-culture fodder our televisions fed us in the 1990s, Shoenbrun’s movie revolves around Owen (Justice Smith), whose early teen years take place within that era. Reserved, anxious, and out-of-step with the conventional expectations embraced by his parents (Danielle Deadwyler and Limp Bizket frontman Fred Durst), seventh-grade Owen (Ian Foreman) finds himself drawn to lesbian ninth-grader Maddy (Brigette Lundy-Paine) when he spots her reading a book about a TV show called “The Pink Opaque.” His fascination, partly fueled by the “forbidden” nature of a series that airs past his strictly enforced bedtime, leads the two into a secretive friendship, in which they bond over the quirky fantasy it presents – in which two teen girls with a psychic connection battle monsters together despite living on opposite sides of the world – and come to experience it as an escape from reality, which reflects and helps to alleviate their own respective unaddressed personal traumas.

Fast forward to roughly a decade later, when Owen, now working in a go-nowhere job at the local movie multiplex, reunites with his former friend – surprisingly, considering that she had disappeared around the same time that their favorite TV obsession was canceled abruptly, with a never-to-be-resolved cliffhanger left as a final discordant note. She tells him a disturbing tale of being trapped inside “the world of the show” after memories of “The Pink Opaque” began to blend with reality in her mind, suggesting that their own identities are somehow tied to its two heroines and that its outlandish mythology is somehow more “real” than the lives they remember living themselves – and triggering a similar process in Owen after their encounter leaves him questioning his own memories of the series and its influence over his fate.

Anyone who has seen Schoenbrun’s debut feature – “We’re All Going to the World’s Fair” (2021), which, like “I Saw the TV Glow,” premiered to acclaim at the Sundance Film Festival, putting the nonbinary filmmaker in the upper bracket of rising talents to watch – will know that their unique narrative approach has a way of keeping the viewer off balance, and that’s something that works brilliantly to give the newer feature its disconcerting impact. Though it incorporates elements of the “body horror” subgenre to elicit some squirmy moments, it’s more unsettling than outright scary, achieving its creepiness by undermining our perceptions and reminding us of the unreliability of memory – in essence, by removing the illusion of certainty from our experience of reality, calling everything we assume about it into question. We aren’t the first to note the similarities between the filmmaker’s approach and that of David Lynch, whose disorienting nonlinear style would have obvious parallels to theirs even if it wasn’t peppered with visual callbacks to some of the latter director’s iconic work; far from being mere imitation, however, it’s the use of a shared visual language to take us on a surreal and sometimes nighmarish journey, which operates under the malleable rules of dream logic as it shape-shifts its way through a narrative that feels as much like free-association as it does a story. 

What makes it particularly effective is that it captures the kind of cultish fandom those of latter generations feel around the precious TV memories of their youth – frequently around the kind of loopy, outlandish sci-fi fantasy shows like the one at its center – and the reasons why such pop culture fodder have such appeal for anyone who, like its two protagonists, feels like an outsider in a world that seems to have no place for them. We’ve all felt like that at some time or another, no matter which generation we are from, so we can relate – just as we can relate to the experience of revisiting a show we loved from our youth and finding it different than we remembered, something this movie deploys brilliantly to hook us into its premise and spark our own paranoid fantasies about mind control over the broadcast waves, supernatural or otherwise.

But while Shoenbrun’s film succeeds masterfully at triggering all those “hidden message” fantasies that emerge in our pop culture – the hubbub over “backward masking” on rock albums comes to mind, or the uproar over the demonic influence of role playing games like “Dungeons and Dragons” – it delivers a much more existential level of fear almost through its stylistic approach alone. By challenging not only our memories of the past but our perception of the here-and-now, “I Saw the TV Glow” pulls the rug out from under our belief in a concrete reality. Further, by following its saga through several stages of life – it follows Owen over a course of 30 years – it drives home the inevitable connection between aging, loss of control over our own minds, and ultimately, death itself as the fate which awaits us all. 

Yes, that sounds pretty grim, and melancholy to boot – but after all, why shouldn’t a horror film embrace those qualities? And like the best horror films, this one finds a transcendent beauty in the twisted darkness it shows us, even if it offers us little  – beyond the escapist fantasies we cling to from our youth, that is – to comfort us as we face the grim uncertainties of our own lives.

How it accomplishes that is something we’ll leave you to discover for yourself, but we would be remiss not to note the movie’s deeply queer/trans subtext – both its lead characters are ostracized for non-conformity in their sexual or gender orientations, though most of that is conveyed “between the lines” rather than explicitly explored – which brings a tangible and resonant layer of metaphor to the proceedings.

Admittedly, “TV Glow” might not be the kind of horror film for all fans of the genre – its nonlinear style and surrealistic resistance to concrete interpretation are sure to alienate those looking for a more easily-digestible experience. Nevertheless, it’s a rare genre film that steps outside its expected boundaries to challenge and surprise us in a way that feels thrillingly audacious – and that’s more than enough for us to jump on board.

A light-hearted, smart, and complex sensibility behind the fantasy

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Believe it or not, there was once a time when the Hollywood entertainment industry didn’t take comic books very seriously — but then, neither did anyone else.

In the early days, comics were dismissed by most adults as childish fantasy; indeed, those with a penchant for clutching pearls saw them as a threat to their children’s intellectual development and therefore to the future of America itself. Their popularity could not be denied, however, and Hollywood, ever eager to capitalize on a trend, was certainly hungry to get a piece of the action.

The problem was that the studio lackeys assigned to adapt the comics for the screen during those “golden years” were never actually fans of the comics themselves. The result was a parade of kitschy – if occasionally stylish – low-budget serials, kiddie matinees, and “B movies” which operated, for the most part, at the level of cartoons, and mindless ones at that. Even in the 1960s, when comics like “X-Men” had begun exploring mature themes and turning the comic book into a counterculture phenomenon, the best that Hollywood – now deploying the then-relatively new medium of television – was a “Batman” series that felt even campier than the corny serials of three decades before.

Yet despite being treated as a throwaway genre with no cultural significance or intellectual value, the popularity never went away – and with the generation that grew up with comics now old enough to be working in Hollywood themselves, a new burst of creativity began to infuse the screen’s version of the genre with the kind of nuance and sophistication that fans had always known was there. Fast forward to 2024, when comics-based content dominates not just our movie screens – nobody needs to be told about the way it has shaped (some would say crippled) the mainstream film industry for the last decade or so – but all our other screens, as well. And while much of the material that has resulted from this obsessive fascination with comics (and comics-adjacent material like “Star Wars” and other similar fantasy franchises) often suffers from the same safe “appeal to the LCD” mentality that robbed the vintage stuff of its potential, the artistry of creators who are fans themselves has also resulted in a lot of genuinely good storytelling.

In the latter category, we offer up “Dead Boy Detectives” – a new series derived from a supplemental thread in renowned comics creator-turned-bestselling author Neil Gaiman’s groundbreaking “Sandman”, which debuted last week on Netflix  – as a counter to the increasingly popular notion that comic books have hamstrung the industry’s creativity.

Based on characters and storylines that emerged during the original run of Gaiman’s iconic book (published by DC Comics via its Vertigo imprint), it’s a fresh, funny-yet-emotionally engaging supernatural saga in which two ghosts who died in their youth – the titular “Dead Boys” – operate a detective agency in London, solving mysteries for other spirits who need closure before moving on to the afterlife.

The boys – Edwin (George Rexstrew) and Charles (Jayden Revri) – are not themselves quite ready to depart the earthly plane, however; on the contrary, they operate on the lam, making sure to keep one step ahead of Death (Kirby Howell-Baptiste, reprising her role from Netflix’s acclaimed “Sandman” adaptation ) so that she can’t drag them out of it before they’re ready. Something of a mismatched pair (both died at the same English boarding school, but 60 years apart), they nevertheless have established a fondness for each other and a dynamic together that makes them an excellent team in solving the supernatural crimes they encounter in their work. Their biggest handicap is the difficulty of dealing with the living – who, for the most part, cannot see or hear them – when it becomes necessary in an investigation. Fortunately for them (and for the story, of course), they find a solution to that issue during episode one.

Enlisted by the ghost of a Victorian child to rescue the human medium – Crystal Palace (Kassius Nelson), possessed by a former boyfriend who was actually a demon (David Iacono) – that has been trying to help her “cross over”, the detectives find themselves with a living ally who can not only interact with them, but also with the “real” world in which they do their work. With Crystal  on the team, they are soon called to an American seaport town to investigate the disappearance of a child – who, it turns out, has been abducted by a witch (Jenn Lyon) intent on draining her youthful essence in pursuit of her own immortal beauty. We don’t want to give anything away, but during the course of the case they not only incur her wrath, they set off alarm bells on the “other side”, calling attention to the fact that two AWOL souls are still lingering in the human world.

Things get worse for them in the second episode, when Edwin attracts the interest of the local “Cat King” (Lukas Gage, “White Lotus,” “Down Low” ) and subsequently finds himself cursed to remain until he has “counted all the cats” in town – a daunting and maybe impossible task. 

Though jumping into the second installment might feel like getting ahead of ourselves, it’s important to look ahead for the sake of exploring the show’s deliciously pervasive queerness, so forgive the spoiler-ish leap; because it is Edwin, who died in an era long before being openly attracted to other boys could even be discussed, let alone accepted, that serves to root the story’s tension into a real-life context that helps all the supernatural nonsense connect with relatable real-world experience and emotion. Uncomfortable more than a century after his death with the secrets of his own sexuality, he finds himself hampered by his jealousy of the obvious growing attraction between his literal BFF and the new girl psychic who has joined their team – as well as vulnerable to manipulation from both the witch who has it in for him and the Cat King who… well, let’s just say that Edwin’s cat-counting curse could be easily lifted if he would only accept another way to appease the libidinous (and far from unappealing) feline monarch.

It’s best we stop there, before we reveal too much; the series – developed by Steve Yockey and produced by (among others) original author Gaiman and out queer TV impresario Greg Berlanti – sets up its story arc very plainly from the beginning, so savvy viewers will read the subtext long before any definitive events take place, but much of what makes it fun is watching how it all unfolds.

Suffice to say that, with engaging performances from all its players, a light-hearted, smart, and complex sensibility behind all of its fantasy elements, and a palpably queer vibe that leaves plenty of room for allies to jump on board, too, it’s one of the more worthwhile (and meaningful) “comic book” stories to hit our screens in a long while.

Maybe more importantly, it’s also entertaining, which makes it easy for us to recommend “Dead Boy Detectives” as a case you’ll definitely want to accept.

Not quite a bisexual love story for the ages

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For months now, most of the buzz around Luca Guadagnino’s newest film – “Challengers,” starring Zendaya as a professional tennis coach caught in an ongoing romantic triangle with a pair of male rival players – has been about how “bisexual” it would be.

After all, this was the man that brought us “Call Me By Your Name,” and even if the Italian filmmaker’s work has not always been that queer in focus, this premise was begging for it; and when the trailers started to drop, heavily laden with imagery that made the bisexual subtext blatantly obvious, the speculation – and the anticipation – only grew.

As it turns out, “Challengers” wasn’t teasing us in vain – but it may not even matter, because after spending two hours and 10 minutes with these characters, it’s hard to imagine any viewer, whether straight, bi, or a total “Kinsey 6,” wanting to feel represented by them.

Told in a non-linear patchwork format, Guadagnino’s movie – penned by Justin Kuritzkes – chronicles the complicated relationship that develops when two high school tennis champs, boyhood friends Patrick and Art (Josh O’Connor and Mike Faist, respectively), encounter high-profile pro prospect Tashi (Zendaya) at the US Open juniors. Infatuated at first sight as much by her prowess at the game as by her looks or personality, they woo her together, resulting in a steamy but thwarted three-way experience that ends with her promising her phone number to the one who wins the next day’s match.

More than a decade later, Tashi and Art are a married, wealthy power couple with a child; they’ve risen to fame after Tashi, sidelined by injury into a career as a world-class coach, has helped Art rise to international prowess, while Patrick, who originally won the challenge to become Tashi’s lover, has sunken to the level of low-ranked has-been after brief professional success. Art has hit a slump in his upward trajectory, so to freshen up his game, Tashi enters him into a small-time “challenger” tournament where Patrick, now scraping by on his meager winnings from lower circuit events such as this one, is a “wild card” entry. The rekindling of old rivalries and complex feelings between this intertwined trio of “players” results in a final competition in which the outcome has more to do with unrequited personal passions than it does with tennis.

Ostensibly both a sports movie and a romantic drama, it’s a film that wastes no time in tying its two themes together for an exploration of how the competitive instinct that might be essential to one can be a major obstacle when it comes to the other. Thanks to its back-and-forth time structure, we are rushed through all the necessary twists and turns of a 13-year romantic triad quickly enough to recognize immediately that the need to “win” supersedes every other desired outcome for these three people; more than that, in the broad strokes that emphasize the quick deterioration of their affections in the pursuit of the “game” (a word we use here both literally and figuratively), it becomes obvious that none of them are capable of recognizing how much influence their lust for victory has over their relationships with each other. To put it bluntly, in an era when polyamory has gained traction as a legitimate variation on the spectrum of human commitment, “Challengers” reads a little bit like a primer on how NOT to do it right.

That might, of course, be a big part of the point. In a story about professional athletes driven by the urge for victory trying to negotiate the delicate balance of self-respect and selflessness required to maintain a successful romantic partnership – no matter how many partners may be involved – it’s probably an inescapable element of the plot that there would be a struggle to reconcile those two conflicting impulses. The trouble is that, here, the three characters involved are so far removed from typical human experience that it becomes difficult to relate to any of them. They operate within a privileged world that is out of reach for most of us, and the conflicts that arise in their triad dynamic mostly arise from pure ego. It’s hard to feel empathy for such individuals, frankly, especially when it’s clear that their own mindset is the greatest obstacle to fulfillment in their lives, both professionally and personally. They’re all spoiled brats, and unrepentantly so.

It’s because of this that “Challengers” comes off as the kind of glossy, old-Hollywood fantasy that is more about wish fulfillment than anything else. Each of its protagonists is impossibly attractive; fit, sexy, and living an enviable life even when they’re struggling just to get by. They are the kind of people many of us wish we could be – and that, ironically, perhaps makes us dislike them all the more.

None of this is the fault of the players, who uniformly give the kind of fully invested performance that illuminates the humanity of their characters beyond negative cliches. Zendaya, never shying from her role as master manipulator in the film’s twisted “long con” romance, makes us feel the visceral need for competition that eclipses her less imperative impulses toward personal connection. O’Connor (“God’s Own Country,” “The Crown”) and Faist (Broadway’s “Dear Evan Hansen,” Spielberg’s “West Side Story”) are not only eminently likable, but present an unvarnished and completely believable chemistry as would-be-lovers who can’t quite get past their self-judgment to embrace the obvious feelings they have for each other. The fact that we believe equally in their impulse toward the dazzlingly self-actualized Zendaya makes their performances all the more stellar. Unfortunately, within the larger context of the film, their appeal is tarnished by our ambivalence toward the dynamic the characters perpetuate between themselves.

And what of their sexuality? Is “Challengers” that rare mainstream movie that vaults over the film industry’s long-lamented “bi erasure” to present a bisexual love story for the ages? Not quite. Even if its ending (spoiler alert!) suggests that the entire movie has been about two men getting over their toxic masculinity to embrace their true feelings for each other, the fact that it never defines that relationship as a queer one and chooses instead to leave it up to our individual interpretation feels like something of a cop out. In the long run, perhaps, it’s a better tactic to avoid labeling its relationships in terms of sexuality, since the cultural “endgame” at stake has arguably more to do with normalizing diversity than amplifying an individual sense of identity – but even so, it can’t be denied that, when “Challengers” reaches its final moment, we’re left with a sense of ambiguity that feels far too “safe,” too much a capitulation to the fragile mainstream sensibility, to advance a sense of acceptance for the “B” in “LGBTQ.” In the end, it’s a movie that stops short of the mark for the sake of the lowest common comfort zone.

Which is why, sadly, we have to set “Challengers” aside as a failed – if well-meaning – attempt at providing visibility for the most traditionally invisible faction of the queer community, instead of the unequivocal validation of bisexual attraction we’re still waiting to see.

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  3. Tour Master Transition 5 Jacket, Hiviz/Black, Size:4XL

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  4. Tourmaster Transition Series 5 Jacket

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  6. Tourmaster Transition Series 5 Jacket

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VIDEO

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COMMENTS

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