In the film, we meet Rick, the owner of Rumors, who isn't even out to his parents ("I know they love me and accept me, but if I told them that I don't think they could accept that"). There's Rumors' "show director," the fantastically glamorous, sharp-tongued drag queen Jim Bishop, aka Alicia Stone ("Let us be the grown adult taxpayers that we are and make our own decisions"). There's also Lori and Ruby, the lesbian couple that buys the abandoned, dilapidated gay bar Crossroads and puts all their time and money into opening it up as a new gay bar, Different Seasons.
We also get a long, in-depth interview with the Fred Phelps, leader of the Westboro Baptist Church that picketed Weaver's funeral (I'd compare his balding, pockmarked, squinty looks to Mr. Burns, but I would never, ever insult Mr. Burns like that). Phelps blames homosexuality on parents who don't teach their children about God 'n stuff and actually says, "I'm the only one telling [homosexuals] the truth, for God's sake. I'm the only one that loves them." Of course, that would be a lot more believable if he could actually supress his smirk when he says that all gays are going to hell.
We also get to meet Tim Wildmon, president of the American Family Association, located in nearby Tupelo, Mississippi. Wildmon describes his association's acceptance that other people are allowed to "exist" (gee, how big of them) while others explain how AFA members would read on the radio the license plate numbers of cars parked at gay bars the previous night. So, you can exist, just don't be different and drink beer at the same time.
The film gets a little repetitive. Not to take away from anyone's problems, but there's only so many times in a 76-minute documentary you need to be told that being gay in a small town is really, really hard. Maybe it's because I'm part of the choir, but there's only so much preaching necessary to make your point — and isn't this documentary probably going to be viewed only by the choir anyway? Also, after a moving, silent montage of proud gay men and women who promise to keep attending their local gay bar despite local prejudices, director Malcom Ingram strangely decides to end his film with one more offensive spit of verbal bile from Fred Phelps. Not exactly the note on which you'd expect him to end his tribute to tough, perseverant gay men and women. (To make up for that, if you get the DVD, definitely watch the hilarious extra with executive producer Kevin Smith, director of Clerks and friend of the gays.)