Matching the most hackneyed emotional beats of a '70s social awareness miniseries with a visual palette that veers weirdly closer to Roland Emmerich's tepidly rendered Stonewall than Gus Van Sant's Milk, this extended look at the last fifty years of gay rights advocacy is a hodgepodge of ridiculous dramatic arcs (mostly centered on Michael Kenneth Williams' character, an all-purpose proxy for the intersection of being gay and black/religious/in the military/addicted/HIV positive/cursed to live a life of tragedy), a steady stream…