As the recent conservative blowback over “Superman” has clearly illustrated, many American moviegoers like to complain that movies have become too political.

The arguments vary; some claim that an overemphasis on social issues has made going to the movies feel like attending a lecture, or that cultural agendas have infiltrated a popular art form that is “supposed” to provide escapist entertainment. Others see it as a deliberate effort to “brainwash” audiences into acceptance of certain political ideals, depending on which side of the fence they may be on.

If you can relate, we understand your feelings, and we sympathize – but, and we hate to break this to you, every movie is inherently political. 

For a film to avoid politics is, in itself, a political choice; no matter the intention of the people behind it, every film that is now or ever has been made will always have a political aspect, and to deny that it is there is to be ignorant of the very power that makes cinema perhaps the most influential art form ever created for mainstream consumption – though it’s fair to say that some movies wield it with a more scrupulous sense of neutrality than others.

Such a movie is Ari Aster’s new neo-Western “Eddington,” which opened in wide release on July 18 after a (mostly) critically acclaimed debut at Cannes in May. Top-heavy with an A-list cast of principals and seemingly timed by fate to emerge in the midst of our nation’s most critical test of sanity to date, it’s the kind of microcosmic allegory that translates sweeping and near-abstract principles of political partisanship into the interpersonal dynamics of its characters, while also taking pains to invest us in their intimate concerns – something that always, inevitably, drives our actions around any given issue that affects us personally.

Set in the early days of the COVID pandemic, it centers on Joe Cross (Joaquin Phoenix), the sheriff of the small (and fictional) New Mexico town of its title. An old-school lawman who sees himself as a protector of decency and freedom, he finds himself at odds with the new mask mandate from the town’s progressive mayor, Ted Garcia (Pedro Pascal) – perhaps more aggressively so due to the latter’s alleged former history with his own wife, Lou (Emma Stone), a “mentally unstable” victim of trauma sparked by sexual abuse as a teen. Leveraging his popularity with the townspeople, he decides to run against Garcia in the town’s upcoming mayoral election; but what begins as a straightforward competition centered around “common sense” arguments about public safety versus freedom of choice soon turns to wider conflict when national protest over the death of George Floyd spreads into the streets of Eddington.

Chafed by accusations of racism within his own police force – despite the inclusion of Black officer Michael Cole (Micheal Ward), whose father was Cross’s own predecessor as sheriff – and suspicious of Garcia’s involvement with a shadowy corporate backer whose effort to build a mysterious AI-training plant in the town has become a divisive issue among the town’s citizens, the sheriff tries to diffuse the tension with a level-headed “business as usual” approach which prioritizes the public peace over the ethical concerns of the town’s newly-”woke” youth population; meanwhile, his marriage is starting to unravel as Lou – coaxed by a youthful online guru (Austin Butler) and in defiance of her conspiracy-theorist mother (Diedre O’Connell) – becomes more determined to break free from the accepted story of her past, throwing his personal rivalry with Garcia into an uncomfortably uncertain new light. Faced with the prospect of a humiliating loss and the disintegration of his “happy” home, he decides to take a more aggressive approach to his campaign, sparking a chain of shocking and violent developments that rapidly turn both his town and his life into a powderkeg, as his efforts to avoid its consequences become ever more desperate and irrational.

With a stellar cast of better-and-lesser-known talents performing at their best, and the picturesque New Mexico location lending a distinctly surreal air of grandeur, it’s a deliberate thrill ride of a movie, grounded in the contrast between everyday banality and the raging turmoil of inner life; it hinges on false narratives, whether taught us by others or conjured by ourselves, and the dangers, both personal and public, of embracing them; and though it sometimes feels over-long and occasionally relies on contrivances that feel too convenient to be believed, its writer/director crafts it with enough clarity of vision – not to mention self-assurance – to make it all work.

Aster – whose two breakthrough films (“Hereditary” and “Midsommar”) turned him into one of Hollywood’s “young directors to watch” toward the end of the last decade – rose to A-lister prominence as a maker of “elevated” horror, and while “Eddington” furthers the departure that began with his last movie (the acclaimed-but-little-seen “Beau is Afraid,” also starring Phoenix), it is nevertheless driven with the kind of mounting slow-burn suspense – as well as the devious twists, turns, and sudden shocks – that draws a clear lineage from the genre which inspired him to become a filmmaker in the first place. Perhaps unsurprisingly, these tactics serve him well, ramping up the underlying tension until viewers are mentally begging for it to explode; and, truth be told, it might easily be argued – from a certain point of view, at least – that “Eddington,” despite its self-identification as a “satirical black comedy” and a narrative that reads more like an action-driven crime thriller than a movie about arcane evil or otherworldly threats, is very much its own kind of horror film, depicting a real-life terror that feels particularly ominous in the “cultural moment” we currently live in.

Swirling with the absurdities of American public opinion, pointedly and painfully magnified by its small town setting, Aster’s ambitious opus hinges on all the paradoxical logic of our time; from the murky behind-the-scenes manipulations of big-money tech interests and the insecurity of white male “incels,” to the paranoid and half-baked misinformation of online influencers and the blatantly self-serving lies of our public officials, “Eddington” makes sure to touch on all the existential crises which haunt our collective lives in the here and now and undermine our understanding of “truth” itself. Yes, it draws ludicrous caricatures of current events, and it roots itself in a filmmaking trope (think “The Godfather”) that symbolically links American identity with a tendency toward the violence, corruption, and amorality of criminal behavior, with side servings of toxic masculinity and colonialism; but just because it plays those things for laughs (albeit mostly the wry, inner variety) doesn’t mean they aren’t terrifyingly relevant to our real world existence.

Indeed, in the end, Aster’s movie is chillingly unsettling, leading us through a labyrinth of cause-and-effect inevitabilities and delivering us, finally, to a place that feels both disconcertingly unresolved and alarmingly familiar; to say more would be a spoiler, but we’ll venture to add that, whichever side of the political fence you’re on, it’s a film that will challenge your thinking and disrupt your comfort.

In 2025, what better recommendation could we give for a film than that?

Sasha Colby didn’t set out to become “your favorite drag queen’s favorite drag queen.” It just kind of happened.

“You know, I was so stoned,” she admitted with a laugh, recalling the filming of her “Meet the Queens” promo. “We were about to sit down for the interview, and they were like, ‘Oh, just think of something, like a catchphrase you want to say.’” What came out was a now-iconic phrase that captured the truth: Colby is the queen’s queen, beloved by legends, adored by fans, and deeply respected in her craft. “It came out of the deep crevices in here,” she said, pointing to her head.

She thinks RuPaul might have planted the seed: “Ru had said on the main stage once, ‘You’re a drag queen’s drag queen—you’re what drag queens watch.’ And maybe that stuck in my head and just kind of … word association.”

And she’s only getting started.

After making history as the first out trans winner of “RuPaul’s Drag Race” to headline a Live Nation tour, Colby is hitting the road again this fall. Her “Stripped II” tour kicks off Sept. 16 in Seattle and wraps up in Hawaii, where she’ll bring her artistry full circle back home. This time, it’s bigger, bolder, and deeply personal, just like Sasha herself.

“I’m really excited to be going back on the road,” she told the Blade. “We’re doing a lot more cities. I think we did 23 last year, and this year we’re doing 30.” But the expansion isn’t just about scale, it’s about purpose. “The last tour was more about my journey to ‘Drag Race.’ This one’s about having fun, having some escapism, and magic. That’s so desperately needed in the world right now.”

The show is shaped by themes of resilience, joy, and gender freedom. It’s not just entertainment, it’s a protest in lipstick and lace.

“For me, doing drag is a protest,” Sasha said. “The most accessible way I can create change is through art and storytelling.” That means celebrating her Native Hawaiian heritage, honoring trans and queer ancestors, and centering the experiences mainstream media still too often ignores. “I love talking about how Native Hawaiians used to live and how they revered and had a space for trans people, for nonbinary people,” she said. “Those two things—the cultural and the queer—they overlap a lot. That’s my safe space to create from.”

The show will include Easter eggs for fans, references to cultural pride, sex and body positivity, and, of course, a healthy dose of gender fuckery. “Just really bending the mind,” she said, “and hopefully allowing us to get more comfortable with what we see as sexy or queer — or even straight, you know?”

It’s no surprise that Sasha’s rise to icon status has made her a beacon of trans joy and resilience. But she’s honest about the weight of that visibility.

“I actually try not to think about being someone everyone looks up to,” she confessed. “I’m definitely far from a perfect example of always having my shit together.” What grounds her, though, is openness. “I think that’s the real point of strength in vulnerability—being OK to show yourself, flaws and all.”

It’s a reminder that behind every perfectly executed performance is a full human being with trauma, imposter syndrome, and insecurities, just like the rest of us. And yet, she shows up anyway. “It comes and goes. It comes in waves. Work in progress.”

Digital spaces, she says, have been crucial for building community when in-person organizing isn’t always possible. “Sometimes when we can’t be there in person, all we have is community online.” But that connection comes with responsibility. “What we post matters. A lot of people look to us as their news source. So I try to be mindful of that.”

Her activism, like her art, feels instinctive. “I think maybe just my upbringing—being Native Hawaiian, living with injustice on an occupied island nation—I’ve always just been interested in speaking truth,” she said. “I’m trying to do this mantra where I don’t have to be right, I just have to be happy. Unfortunately, being right makes me happy.”

Same, Sasha. Same.

Her connection to her roots runs deep: not just culturally, but queerly. “Being queer, being trans got me connected with my Hawaiian side,” she explained. “There’s a long history of trans hula dancers and singers. They were the ones who taught me about Miss Continental, the Glades, the Carousel — all these places I was drawn to as a performer.”

One concept she carries with her is the Hawaiian idea that kana (your purpose in life) is tied to kulana (your responsibility to community). “Once you know your purpose, then that’s easy to understand your part in your community — whether it be your trans community, local community, or global community.”

As for the future? “Sky’s the limit,” she said, beaming. “I see myself telling stories in different ways—drag, film, music, stage. I just love telling stories.” And she hopes that trans and queer people everywhere keep doing the same. “Keep on existing, because it’s making everybody so upset. It’s wild—but we’re not going to stop.”

Before we wrapped, I asked Sasha what she would say to her younger self—before the wigs, before the titles, before she became everyone’s favorite drag queen’s favorite drag queen. “Oh, baby girl,” she said tenderly, “even though it feels like you’re trapped in your body, in your house, in your family—just stick with it. You’re one stubborn little gal. And don’t forget, you’ve always taken care of yourself. You got you.”

And what is she most proud of? It’s not the crown, or the titles, or the sold-out shows. “I’m proud that after working as a gig worker, living off tips for 30 years, I can finally pay my bills on autopay,” she said. “It’s an amazing thing for trans women of color to be able to do that. So, thank you, drag.”

Yes. Thank you, drag. And thank you, Sasha Colby, for reminding us that joy is revolutionary, art is healing, and we shouldn’t just “protect the dolls,” we should also pay the dolls.

Check out the full interview:

 Stripped II runs from September 16 to November 15, 2025, with 30 confirmed North American dates, including Los Angeles on September 26 and a grand finale in Honolulu, bringing Stripped II’s powerful celebration of trans joy and storytelling to a wider audience than ever.

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This last Pride month, The Charles, an exquisitely stylish bed and breakfast, opened its doors, making it Pacific Grove’s first LGBTQ+ boutique hotel. It isn’t just a place to stay; it is a place to belong, boasting an environment of inclusivity. This is a welcome sanctuary of coastal beauty and classic design that is both stylish and warm. Bringing over four decades of global influence and experience to the creation of the property is internationally celebrated designer Charles Gruwell, who, after 30 years away, returned home to Pacific Grove to establish this most personal location.

Gruwell has over 45 years of experience in design. He has designed acclaimed properties that span from the Monterey Peninsula, Los Angeles, Las Vegas, Indonesia, and the list goes on. He has earned a name as one of the top names in outstanding design and innovation.

His work ranges from designing over 40 one-of-a-kind boutique hotels and resorts to exclusive residential properties, restaurants, country clubs, and retail spaces – all boasting his signature flair and aesthetic. Gruwell has been featured in a long list of top industry publications that include Architectural Digest, Interior Design Magazine, and Metropolitan Home.

Gruwell was born and raised in Pacific Grove, which is located on the southern edge of Monterey Bay, and has become a popular tourist location because of its charm and location. His journey to become one of the industry’s leading names started off with a unique twist. After attending Fresno State College, he came back to Pacific Grove to work as a high school teacher for four years. It was during his teaching that we would meet his lifelong friend, interior designer Johna Ball. He would shadow her on her residential projects in Pebble Beach, and his passion for design came full force.

He went on to work for Hirsch Bedner, the largest hotel design firm in the world, at their location in Santa Monica. From then on, he spent his career away from Pacific Grove, starting his own business and traveling the globe, earning his place in the design world. His hometown was always close to his heart, and he fondly told the Blade about his first-ever professional gig – designing his niece’s hair salon in Pacific Grove.

Gruwell shared with the Blade what he thinks sets his work apart, “Every (designer) has their own talents and they all are in their own lane doing whatever they’re doing. But I have a really diverse background.” Gruwell’s first mentor was Marlene Grant, who had a very classical approach to interior design. He then worked for Michael Bedner, namesake of Hirsch Bedner, who trained him in hospitality design. His really big break came when he went to work with Anita Brooks, and together, they would design the Four Seasons and Mandalay Bay Resorts as well as the multi-million dollar residences of the casino owners. They also received a commission for Disney’s Animal Kingdom Lodge in Orlando, Florida. Gruwell continues, “All of those add up to life experiences that some designers never get. I have really diverse influences from different high-end design professionals in both the residential and hospitality marketplaces. I think what makes me a little more special.”

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After years of travel and design, Gruwell’s mother fell ill and eventually passed away at 103. His friends encouraged him to come home, to leave the rat race and enjoy his time where he grew up. He returned to Pacific Grove and turned his mother’s lot into his new, customized home, close to the Ocean.

“I came back here because I wanted to be back to my roots. When I was growing up, I didn’t realize that I lived in the most beautiful place in the world. Now, at 73 years old, I know.”

Don’t think Gruwell is retiring or taking it easy. Since returning home, he has designed major hotels and a number of residences in Pebble Beach. But it was a call from a client that really spoke to him.

“Don (and Jay) Desai gave me the opportunity to design The Charles Pacific Grove. He said, ‘Let’s give you a namesake property, and let’s have you design it any way you want to. And let’s invite the LGBTQ community to a stylish and inclusive hotel.’ And so that brought me full circle.”

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Though all of Gruwell’s properties have his signature style, The Charles is completely his, from start to finish. The building itself is part of his life; it is a Victorian-style home built by Frank Buck in 1904.  Gruwell remembers being fascinated by the building as early as he can remember, passing by it constantly growing up. It turned into a boarding home, back to a residence, and then to a bed and breakfast. The building is listed on the National Register of Historic Places.

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“The house itself is what spoke to me. The actual architecture of the Victorian House spoke to me and said, ‘Make me a beautiful, luxury, London-inspired residence.’ So, because of the architecture and all the woodworking on the inside, it just had this whole feeling of a grand home; the building is what guided me to do the design.”

Making The Charles truly his own also meant making it inclusive.

“In all my travels, I’ve gone to different hotels and no one ever really talks about them being inclusive, inviting the LGBTQ community to be seen and welcomed, and celebrated. They nod to it, but no one ever really makes a declaration about it. So, don’t we create a stylish, elegant interior and invite the LGBTQ+ community so they know they can come to Pacific Grove and stay in a stylish and inclusive hotel environment where they don’t have to make any explanations about who they are or what their preferences are. They can just come and feel welcome, they can be celebrated, and they can be the individuals that they are in our hotel.”

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With queer travel on the decline because of changes and uncertainty in safety and being welcomed, The Charles is a stylish breath of fresh air that is at the center of an oceanside oasis where you can walk the from Lover’s Point into Monterey to Cannery Row. Cannery Row is home to the world-class Monterey Bay Aquarium. Restaurants, shopping, kayaking, surfing, paddle boarding, wine tasting, art galleries, and beachside rest are all must-dos when visiting. Carmel By the Sea, just five miles away, boasts one of the most beautiful white sand beaches around. Or you can just spend your time in any one of The Charles’ 16 luxury rooms.

And Gruwell’s message to the LGBTQ community this Pride season?

“Stand tall in your individuality, your diversity, and your equality, and know that you matter and you are relevant. Be true to yourself, and don’t let anyone bring you down.”

Visit The Charles Pacific Grove / 581 Pine St, Pacific Grove, CA, 93950

Los Angeles is loud and crowded – it is a city overflowing with sound and stories. Yet amid all the noise, it can be surprisingly hard to truly hear one voice. But Samantha “Sammy” Rios, poet and performer, cuts through the noise with unmistakable clarity. On August 1st, Rios will take the spotlight at The Ford as part of If I Awaken in Los Angeles, a one-night-only multimedia production that brings the city into sharp, luminous focus.

Presented by youth poetry powerhouse Get Lit – Words Ignite, in partnership with the LA Philharmonic and directed by Gina Belafonte, the show blends spoken word, music, dance, and immersive film to trace Los Angeles’s cultural geography. The show goes in-depth with the communities that define Los Angeles: from its Indigenous origins to Koreatown.

For Rios – a queer, Chicana poet and the current Los Angeles Youth Poet Laureate – the opportunity to be part of If I Awaken felt deeply personal. “I’ve been working with Get Lit for about three years now, and I’ve cherished every moment,” she says. “Being able to share the city, my family, and all the parts of L.A. that I hold so dear to my heart has been an unforgettable experience.”

While the show’s vignettes stretch across the city – from Chinatown to South Central to the Canyons, Rios brings a different part of L.A. with her on stage. “I feel especially responsible for bringing the stories of East. L.A. and Boyle Heights to life,” she says.” This is particularly meaningful to her because her family was featured in the videos that will be presented when the show discusses East L.A. While working with Get Lit, one moment in particular made Rios emotional: bringing the crew to El Tepeyac, her favorite local restaurant. “It was something I never pictured happening – being able to share my family and show people just how special everyone in my little corner of life really is.”

The multimedia format of the show – film, live performance, music, and so on – challenges each poet to think in an interdisciplinary manner. For Rios, that means being mindful of the camera as much as the crowd. “When I’m on film, I try to think about how my performance looks on the other side of the camera,” she says, “but my writing remains rooted in my own voice.” Whether the world is overbearing or comfortable, Rios cannot stop writing.

In many ways, her work embodies what Get Lit teaches: that poetry is not just an artform, is civic engagement. It is a form of activism that teaches others about how to embrace the differences in other people. And for Rios, that connection between the political and personal is not theoretical – it is lived. “As a Chicana poet, a lot of what’s going on in politics is personal to me,” she says. 

If I Awaken In Los Angeles reimagines the city as a vibrant, creative canvas, where Rios is the artist. “This show allowed me to go into different communities and meet people personally.” She leaves the Blade with an endearing note: “We’re all united in our own special way.” And in a city too often reduced to freeways and noise that cannot be quieted, that kind of unity is revolutionary.

—

Event Details:
If I Awaken In Los Angeles Presented by Get Lit – Words Ignite in partnership with the LA Phil
Venue: The Ford | 2580 Cahuenga Blvd E, Los Angeles, CA 90068
Date: August 1, 2025
Time: Doors open at 6:30 pm/ Show starts at 8pm
Location: The Ford, 2580 Cahuenga Blvd E, Los Angeles, CA 90068
Tickets:https://www.theford.com/events/performances/4068/2025-08-01/if-i-awaken-in-los-angeles

On July 26, 2025, at the Grand Central Air Terminal, the Los Angeles chapter of the NLGJA, the Association of LGBTQ+ Journalists, will host Press Pride Prom, a benefit and awards ceremony honoring Southern California journalists and newsrooms. Three inaugural journalism awards will honor those who championed LGBTQ+ stories in 2024.

The Los Angeles Blade, in collaboration with the NLGJA, will present the Troy Masters Legacy Award for Visionaries in Media, honoring a journalist or news media professional whose work reflects a dedication to the craft of journalism and a commitment to setting the stage for the next generation of LGBTQ+ industry leaders. Troy Masters was a veteran, queer journalist, and founding publisher of the Los Angeles Blade who passed away unexpectedly last year.

The inaugural nominees are nominees include Mariah Castañeda, co-founder of LA Public Press; veteran journalist LZ Granderson, who currently serves as an OpEd columnist for the Los Angeles Times and an ABC News contributor; and John Griffiths, founder of GALECA: The Society of LGBTQ Entertainment Critics and Dorian Awards.

The Los Angeles Blade is honored to be given this opportunity by the NLGJA to pay homage in such a profound way to Masters and the legacy he created, and that the Blade continues to cultivate, for the queer community.

NLGJA LA co-president Hansen Bursic shared, “We are honored to present an award this year in honor of beloved Los Angeles publisher and journalist Troy Masters. These nominees embody Masters’ dedication to LGBTQ+ journalism and his passion for community building in Southern California and beyond.”

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The Los Angeles Blade is further honored to be listed as a nominee for the event’s Excellence in LGBTQ+ Reporting Newsroom Award, honoring a news outlet whose coverage of the queer and trans community is well-informed, complex, varied and intersectional, with a track record of promoting The Association of LGBTQ+ Journalists’ mission to advance fair and accurate coverage of LGBTQ+ communities and issues. We are nominated alongside LAist and Variety.

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The evening will also include the presentation of the Queer Beat Award for Excellence in LGBTQ+ Reporting, honoring a single story or series that demonstrates care, skill, and a commitment to fair and accurate reporting of LGBTQ+ themes, issues, and people. The nominees include A Night They Can’t Remember, at One of the Country’s Most Popular LGBTQ+ Bars by Kate Sosin and Steven Blum for The 19th; Banned Rainbows and ‘Forced Outing.’ Will Elections Reshape This Relentless School Board? by Jaweed Kaleem for the Los Angeles Times; and She Was Supposed to Be at Pulse Nightclub — And Club Q. Now She’s Fighting To Keep LGBTQ+ People Safe by Lil Kalish for HuffPost.

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NLGJA LA co-president Katie Karl remarked, “These nominees represent the diverse and passionate spirit of Southern California’s LGBTQ+ journalism community. At a time when queer and trans stories and journalists are under attack, we are proud to uplift a few of the incredibly talented journalists who are speaking truth to power and helping tell our community’s stories.”

The awards, presented by ABC7, will be hosted by veteran LA-based journalist and GLAAD award winner, Tracy Gilchrist. The ceremony will be held on July 26 from 6 to 9 p.m. in Glendale at the historic Grand Central Air Terminal. The evening will be prom-themed, giving attendees the opportunity to relive high school memories as their authentic selves.

Early bird tickets are on sale now until June 20. Tables and regular tickets will also be available
to purchase through July 18. You can learn more and get tickets here.

Earlier today, the 2025 Primetime Emmy nominations were announced, and a few of this year’s key frontrunners have particularly resonated with the LGBTQ+ community during a politically turbulent year.

Coming off Season 3’s win for outstanding comedy series, Hacks Season 4 was nominated for 14 awards, with Jean Smart, Hannah Einbinder, Julianne Nicholson, and Robby Hoffman being recognized for their performances. Since the show premiered in 2021, each season has explored the comedy and entertainment industry through the lens of generational differences between queer writer Ava (Einbinder) and the old-school Deborah (Smart).

While Smart has won outstanding lead actress in a comedy series for all three seasons, this year could be the chance for Einbinder, who identifies as bisexual, to finally take home a prize of her own in supporting actress. And if Season 4 nabs the outstanding comedy series crown yet again, it’ll be another huge moment for bisexual representation. But it will have to fend off the industry satire The Studio, which received a staggering 23 nominations for its breakout first season.

Another one of this year’s most high-profile contenders, The Last of Us, received 16 nominations for its second season, including non-binary actor Bella Ramsey, lead actor Pedro Pascal, and supporting/guest actors Kaitlyn Dever, Jeffrey Wright, Joe Pantoliano, and Catherine O’Hara.

Notably, though, Season 2 has been hit by much more backlash, much of which has been fueled by homophobic anger at the love story between Ellie (Ramsey) and Dina (Isabela Merced). Merced, who identifies as queer, was widely praised for her turn as Dina, but was not nominated for supporting actress. And while Season 1 received 24 nominations, Season 2 lost out on a few, bringing The Last of Us down a notch in its overall standing.

There were other snubs as well. Mid-Century Modern, the gay sitcom starring Nathan Lane, Matt Bomer, Nathan Lee Graham, and Linda Lavin, did not see any of its actors nominated. It also missed out on the Best Comedy Series category, for which it was considered a contender, although it did still receive four below-the-line nominations.

However, other openly queer actors were nominated, even for roles or shows not explicitly exploring queer issues or characters. Those include Colman Domingo for The Four Seasons, Cynthia Erivo for Poker Face, Michael Urie for Shrinking, Cooper Koch for Monsters: The Lyle & Erik Menendez Story, and Bowen Yang for Saturday Night Live.

Of course, it wouldn’t be the Emmys without RuPaul, who became the most-nominated reality host in Emmys history after landing his 10th nomination for RuPaul’s Drag Race. He’s also nominated alongside Alan Cumming of The Traitors fame. And in the Outstanding Documentary or Nonfiction special category, the critically acclaimed Will & Harper and Pee-wee as Himself were nominated, and are both considered strong contenders to win.

TV fans can find out which of their favorite queer actors or shows take home top prizes on Sunday, Sept. 14, with Nate Bargatze hosting the 77th annual awards at the Peacock Theater in Los Angeles.

Anyone who argues that Superman should never be politicized clearly knows nothing about Superman.

The “Man of Steel” has been a flashpoint for controversy almost from the beginning, when he was created by writer Jerry Siegel and artist Joe Shuster – two Jewish Americans born of immigrant parents, who conceived the character in a world where the economic disparities of the Great Depression, the rise of global fascism, and the threat of impending war were looming large across American life. Theirs was a hero for the time, who used his strength to help the weak instead of to subjugate them, who stood up against the forces of greed, corruption, and insatiable power to prioritize human life above all other considerations. Is it any wonder that his values would become objectionable to conservatives when the moral complacency of postwar prosperity kicked in? In the hawkish American ideology that dominated the Cold War era, such notions became inconvenient.

To be fair, there has been liberal backlash against the character, too; Superman has often been framed as an icon of American “exceptionalism” that served as a jingoistic mask for the deeper ambitions of the capitalist elite. Indeed, the success of the 1978 “Superman: The Movie” (starring Christopher Reeve in arguably the most beloved big screen iteration of the character) largely hinged on its refutation of jaded disillusionment at a time when America had become too “hip” for wish-fulfillment fantasies about an invincible hero who could save the world.

Since then, of course, Superman has undergone further evolution, mirroring a cultural return to cynicism with a parallel transformation of Krypton’s last son – in the movies, at least – into a morally conflicted figure with deep doubts about his mission and crippling regrets over the collateral damage he’s caused in the pursuit of “truth, justice, and the American Way.” Fans were divided, and this new-and-darker version of “Supe” – despite the fan appeal of Henry Cavill, who donned the red cape for three films under director Zack Snyder – failed to generate the kind of enthusiasm that would elevate DC (and parent company Warner Brothers) to the popularity level of Marvel’s rival cinematic universe.

Now, with James Gunn’s “Superman” – the latest reboot of the comic book hero’s big screen franchise, which serves as the starting point for a new “DC Cinematic Universe” (DCU) after the last one was tanked by mediocre reviews and disappointing box office receipts – the tables have been turned once again. In Gunn’s “reset,” the character (played with infectious and unassuming charm by David Corenswet) is a true idealist, embracing a presumed role as protector of Earth without a sense of being burdened, and motivated to make a difference even through the journalistic efforts of alter-ego Clark Kent. For him, it’s simple: if innocent people are in danger, he is there to be their champion.

That said, he’s still something of a mess. In his imperative to protect mankind, he is at odds with the protocols of the human world order, which don’t always line up with his goals. In fact, when the story begins, Superman is already under fire from the media for his disregard of political procedure and international law, having unilaterally prevented a Central European dictator from invading a neighboring country only weeks before. This diplomatic faux pas has led billionaire tech genius and corporate giant Lex Luthor (Nicholas Hoult) to focus his vast resources on a public smear campaign against him.

Needless to say, Luthor has his own secret agenda, a push for global power that depends on ensuring that Superman is eliminated from the equation. Fortunately for the caped Kryptonian, he has the help of Clark Kent’s Daily Planet associates – girlfriend Lois Lane (a perfectly cast Rachel Brosnahan, best known as “The Marvelous Mrs. Maisel”) and Jimmy Olsen (Skyler Gisondo, “The Righteous Gemstones”) – and an assortment of fellow “meta humans” (i.e. superheroes) to keep him on track. 

We won’t spoil the outcome, though it’s a safe bet that the good guys will triumph in the end. More important is that Gunn’s ambitious reconfiguration of the classic mythos makes the choice to go all-in on the qualities that once made Superman the epitome of an archetype.

Corenswet brings an everyman likability to his larger-than-life character, within which all his nods to ethical purity feel like a triumph instead of a capitulation to comfortable sentiment. He inhabits the role, even in the guise of Clark Kent (who, as we are reminded by recall to a long-forgotten canonical flourish, gets away with his disguise via “hypno-glasses” which mask his obvious resemblance to Superman in the eyes of all who see him), and taps into something that transcends the formulaic conventions of the superhero genre. While he may not bring the effortless charm that Reeve carried into the role, he delivers something equally engaging – a real sense of trying to do better – which makes it possible for us, as viewers, to identify with him. Brosnahan’s Lane is revelatory, a modern incarnation that emphasizes her integrity as a journalist to make her an equal to her superhuman paramour; their chemistry, highlighted through a classic “screwball comedy” dynamic in their banter and informed by the active role she plays in the heroics that drive the film, is not only refreshingly equitable but honest.

As for Hoult’s palpably Musk-ish Luthor, he delivers all the smug arrogance we need from a supervillain while also leaving room for a sliver of compassion. In smaller roles, Gisondo’s Olsen is a presence to be taken much more seriously than many of its earlier iterations, while an over-the-top turn from Nathan Fillion as a bro-ishly tacky Green Lantern and the underplayed solidity of Edi Gathegi’s no-nonsense Mr. Fantastic effectively contrast Corenswet’s optimistic Kal-El.

Yes, it’s a little too “busy,” and it admittedly suffers from the contemporary genre’s rapid-fire flow of information, action, and peripheral characters. There’s also the gratuitously irresistible presence of Krypto, a “superdog” under the temporary care of our hero. Even so, these elements somehow give Gunn’s movie a heartwarmingly goofy quality. It’s just that kind of film.

Which brings us to the question of why anyone could see it as anything but a validation of what makes this character so uniquely American. Taken without contemporary real-world context, it’s hard to object to Gunn’s new vision of Superman unless one has a fundamental problem with the idea that compassion, kindness, and equity are goals worth fighting for.

In the context of Trump’s America, however, the movie’s insistence on highlighting these values, along with its emphasis on Superman’s status as an “alien” immigrant and a general sense of inclusiveness among its ensemble cast, feels like a radical notion.

That says more about “them” than it does about “us,” frankly, and for our part we’re grateful for a movie that not only breaks the “superhero fatigue” that has developed for moviegoers over the last few oversaturated years, but dares to refute MAGA-driven talking points about “toxic empathy” and the equality of immigrants (after all, Superman has always been an alien) to reinforce a vision of America that feels worth fighting for.

On July 5, 2025, Dodger Stadium transformed into a vibrant cultural celebration as hololive production returned for its second Hololive Night in collaboration with the Los Angeles Dodgers. More than just a baseball game, the event became a joyful convergence of fandom, self-expression, and community, drawing fans from across the globe.

Over two hours before the first pitch, fans packed the dedicated hololive queue, eager to collect exclusive Dodgers x hololive trading cards featuring Ninomae Ina’nis, IRyS, and Koseki Bijou. Some fans braved the summer heat for hours, while others traveled from as far as Japan for the event. Dodger Stadium became a colorful showcase of anime-inspired fashion, VTuber cosplay, and unmistakable fan pride.

For Tama, a bisexual streamer, the connection to hololive is personal. “I don’t know if I qualify as a VTuber, but I have a little PNG,” she shared with a laugh. Fully decked out in Ina’nis gear—wig, plushie, and merch—Tama has been a dedicated fan since Ina’s debut in 2020. “It’s because she’s an artist and also because she’s really calm and funny. She streams on YouTube, so I kind of just connect with her a lot. She’s relatable, comforting, and inspiring.”

Tama was especially excited to attend her first-ever baseball game and see Motoaki Tanigo—known affectionately to fans as “Yagoo,” the CEO of COVER Corporation—throw the ceremonial first pitch. “He is the most involved CEO you’ve ever seen in a company,” she said.

Yagoo’s leadership has become part of hololive’s charm. Fans admire how visible and engaged he is, and the company’s approach to events like Hololive Night shows that the fan experience is a priority. This year’s collaboration marked a milestone as the first-ever VTuber livestream both to and from Dodger Stadium. Hololive talents not only cheered on the Dodgers but also led the crowd in a sing-along of “Take Me Out to the Ball Game” and hosted post-game activities on the field, including an interactive dance segment called “WHO’S got the MOVES?!?!”

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Fans explored hololive-themed photo ops, enjoyed special stadium snacks in event-exclusive packaging, and had better access to merchandise this year thanks to improved in-stadium sales. Last year, many fans missed most of the game due to long lines at a single merch tent. This time, the experience felt smoother and more celebratory.

Owen, a bi-curious fan who is exploring his gender, shared why VTubers resonate so deeply with him. “I like a lot of feminine things—clothing, colors, jewelry, accessories—a lot of stuff that they don’t give male characters in games. You can’t be a feminine male character in games a lot. It’s really nice to get to just pick the female characters because it feels like me even more than the male characters.”

Owen has been a hololive fan since 2020 and attended last year’s Dodgers event as well. “I like being a fan of stuff. I like music, gaming, stuff like that.” He feels especially connected to Ina’nis through her music. “She has a collaboration with a producer I really like, Camellia. One of the things that drew me to her originally was from her debut stream. She mentioned being a fan of Camellia. That was cool to me because he’s a sort of niche producer and it was cool to see someone like Ina be into him.”

For many fans like Owen and Tama, VTubing isn’t just entertainment, it’s a safe space to explore identity and express emotions without judgment. “People can see it as a mask, but I almost view it as being able to be your true self because you don’t have to have your appearance be the first thing that people see,” one fan explained.

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When I asked Yagoo why VTubing has become such a meaningful and emotionally safe space, he reflected that this was something he realized early on. “The ability to step away from physical labels—things like appearance, race, gender—and to let someone’s creativity stand on its own, whether as an artist or as a performer, is what makes VTubers such a powerful tool.”
He shared that hololive’s global community includes LGBT fans who find a deep connection through female characters. “In the initial stages of the business, the idea that it would be a great way for people to express their true selves—their preferences and identities—became clear pretty quickly.”

As hololive continues to grow, especially in the U.S. and cities like Los Angeles, Yagoo said the company is exploring new ways to reach broader audiences. “Originally, we started by focusing on anime fans and VTubers were quickly embraced by that community. Now, we are trying to create more opportunities through gaming and music as an entry point for people to engage with VTubers.”

The possibilities are exciting. Fans have already built vibrant, diverse communities, and there is potential for hololive to grow even further—through partnerships with Pride events, collaborations with queer creators, and deeper connections with LGBTQ+ fans who already see themselves reflected in this world.

As Ina’nis playfully joked during the event, “Just think: all of our fans outside their houses! In the real world! In Dodger Stadium! You did it! You went outside and touched grass!”

For many, Hololive Night was about more than the game. It was about showing up, being seen, and finding joy together, in real life, and across the virtual worlds we continue to build.

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Whether he’s elbow-deep in puppets or stealing scenes on screen, Patrick Bristow knows how to keep things unapologetically unpredictable and rich with comedy. With decades of improv under his belt and a knack for the unexpected, he proves that comedy and puppetry are best when it’s uncensored.

For over three decades, actor, director, and improv vet Patrick Bristow has been a familiar face across television and film, from his memorable portrayal of Peter on the groundbreaking sitcom Ellen to scene-stealing appearances on Seinfeld, Curb Your Enthusiasm, and more. But Bristow’s creative energy doesn’t stop in front of the camera. As co-creator and host of Puppet Up! Uncensored, a wild, “adults-only” improv puppet show developed with Brian Henson of the Jim Henson Company, he combines razor-sharp comedy with next-level puppetry in a way that’s as unpredictable as it is funny. We chatted with Bristow from his home in Joshua Tree to talk about the show’s origins, the lasting lessons of improv, his unique take on fame, and the true essence of Nellydom.

For our readers who are not yet familiar with the excellence that is Patrick Bristow, could you introduce yourself?

Sure! I’m Patrick Bristow. For most of my 30-some odd years career, I’ve worked as an actor in TV and film, lots of small but memorable roles. But today, I’m here to talk about a show I co-created with Brian Henson of the Jim Henson Company called Puppet Up! Uncensored. It combines brilliant Henson puppeteering with improv comedy. I was in the main company at The Groundlings years ago and have been teaching improv ever since. So this show is a perfect blend of those worlds—kind of a chocolate and peanut butter situation. And we’ve been doing it, on and off, for nearly 20 years.

What’s it like collaborating with Brian Henson?

Brian is incredibly talented, legendary in his own right. Working with him is a dream. We’re both focused on creating the most fun experience possible, both for our audiences and our performers. When we disagree, we figure it out quickly or try both options and go with what works best. There’s no ego involved, just a shared goal.

How did Puppet Up! Uncensored come to life?

Originally, Brian brought me in to teach improv workshops for his puppeteers. He wanted them to gain some of the benefits of improv training—spontaneity, specificity, making bold, immediate choices. We had a group of high-level puppeteers—people whose work you’d definitely recognize, even if you don’t know their names. Some had improv experience already, some didn’t, but they were all great.

After the trial period, Brian asked, “Do you want to keep doing this?” And I said, “Absolutely.” It was really exciting for me to teach improv in a new way because puppeteering requires such a different approach. It wasn’t the same as teaching “fleshies,” as we call human performers in the puppet world.

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“Fleshies”?

(Laughs…) Yeah, it sounds a little derogatory, and maybe it is, but I’m standing by it.

If you could create a puppet of any celebrity to add to the show, who would it be?

Oh, that changes weekly! But right now? A Pedro Pascal puppet. If the Henson team could make one as hot as the real Pedro, I’d be thrilled.

Puppet Up! is described as improv meets puppetry… but for adults. How do you balance the humor?

We definitely bring the snark and satire. We try not to get political, because we want a wide spectrum of audiences to enjoy the show. But yes, it can get spicy. And sometimes a little too spicy, at which point I’ll step in as the “schoolmarm” and redirect. The audience often gives us wild suggestions, and we run with it, within reason!

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Let’s rewind for a moment back to the ‘90s. You were on Ellen, a show that was way ahead of its time. What was that experience like?

It was thrilling and, at times, scary. There was a bomb threat on set while we were filming the infamous “Puppy Episode” when Ellen came out. I wasn’t there that day, thankfully, but it was intense.

Later that season, when her coming out was being teased, I’d get recognized and even grabbed by strangers in public with questions. That visibility gave me a little taste of what fame feels like, and I realized it wasn’t for me. I liked being the guy who dodged in and out of scenes without the chaos that comes with full-blown celebrity.

So you’d take the work, not the fame?

Exactly. The 18-year-old me wanted to be a TV star. But the 30-something me, and now older, gray-haired me, is content making a living doing what I love. Fame sounds exhausting. I’ll take the bank accounts, though! (laughs)

Speaking of things you love: improv. What’s one thing from improv that people can apply to their everyday lives?

Listening without pre-planning. Really tuning in to what someone is saying, absorbing it emotionally and imaginatively, and then responding authentically. Improv teaches you to focus, to be present, and to let go of control, especially if, like me, you’re a hyperactive overthinker. It’s been a lifesaver for me.

Between performing, teaching, and directing, what role do you connect with most now?

Teaching. And hosting Puppet Up! Hands down. Both involve spontaneous interaction, deep listening, and applying everything I’ve learned. If teaching paid as well as TV work and came with insurance, I’d do it full time.

How have you seen representation in entertainment evolve over the years?

It’s come a long way. We’ve moved beyond the old stereotypes: the “straight-passing gay character” being a compliment to a much richer, more diverse portrayal of identities. I think of people like Titus Burgess, bold, bright, and unapologetically original. When I played Peter on Ellen, my husband said I was “striking a blow for Nellydom,” which I was proud of. That’s me! I’m into Jane Austen, I (try to) play the harp, and I once played Queen Elizabeth I at The Groundlings. If I repped for the Nells, I’m honored.

For readers unfamiliar with the term “Nellydom,” can you enlighten?

It’s the kingdom of femme expression, and unapologetically so. A little swish in your walk, pearls at dinner. Not in-your-face, just not hiding. There’s strength in that. The Nellys were at the frontlines of Stonewall. So yes, I’ll proudly reclaim Nellydom.

Puppet Up! Uncensored runs July 16 – 27th, 2025 at the Kirk Douglas Theatre: Tickets here

Pride month 2025 is now behind us, and while it’s safe to say that this year’s celebrations had a darker edge than usual, it’s also true that they came with a particularly rich bounty of new queer movies and shows to entertain us – so many, in fact, that even if we are facing a lull until the fall for another harvest of fresh content, there are still plenty of titles – which, for whatever reason, were off your radar – for you to catch up on in the meantime.

One of the most notable of these –  the bingeworthy series “Overcompensating” (now streaming on Amazon Prime) – will most definitely have been on the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok; for anyone else, it might have easily slipped through the cracks.

Created and written by Skinner as a loosely autobiographical collegiate comedy, it aims for the kind of raucous, explicitly sexed-up tone one expects from that genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and “golden boy” at his midwestern high school, he’s the picture of idealized youthful masculinity; he’s also deep in the closet, struggling to keep his sexuality hidden and maintain his macho “bro” image under the intense scrutiny of the college’s social scene – and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.

In the first episode, Benny’s difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home disrupted by tragedy, she’s an outsider who feels like she’s putting on an act, too, and they click – giving him the convenient cover of female companionship while providing them both with much-needed support and encouragement. He’s also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring up other kinds of feelings faster than you can say “no homo.” Meanwhile, he’s being courted by the school’s “exclusive secret society” – headed by his sister’s aggressively “alpha” boyfriend Pete (Adam DiMarco) – and trying to stay interested in his studies, despite a growing realization that a career in business doesn’t actually appeal to him all that much.

That’s a lot to juggle for anybody, even an overachiever like Benny – whose “lucky” life so far has largely been the result of playing a role he is finding increasingly hard to maintain; but as the series goes on through its eight-episode arc, it becomes clear that he’s not the only one who is “keeping up appearances,” and he is just one of many confused and damaged young people in his orbit, all facing the painful (but often hilarious) process of evolution that is required in order to become truly oneself.

Tailored for appeal to a youthful demographic, “Overcompensating” is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, it’s not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; there’s a nostalgic fun to it, made even more appealing, somehow, by the “political incorrectness” of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent “Animal House” for the Gen Z crowd.

By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves – and, as things draw toward a cliffhanger climax, the consequences of maintaining it – until it achieves a sense of empathy toward them all. There’s a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the “sexploitative” teen comedy of its surface into something deeper. Sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the show’s “mature YA” appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.

As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an “ego project,” the internet-spawned sensation proves his talents quickly enough to get past such judgy skepticism, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned “lived authenticity” to his winning performance – after all, he’s essentially playing himself in a fictionalized version of his own life – while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective “closets,” too. It’s unavoidable to notice that – like most of his co-stars – he’s plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, we’ve become too engaged by him to care.

The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (“White Lotus”) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins to unravel around him. Other standouts include the mononymic Holmes as Carmen’s “wild girl” roommate, solidly likable turns as Benny’s parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny “clocked” from the moment they meet. Finally, Lukas Gage makes a deep and tender impression as a former high school teammate at the heart of Benny’s most haunting memory.

There’s no official word yet on whether “Overcompensating” will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinner’s large fanbase makes it likely that the story will continue. Even if it doesn’t, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.

As for us, we hope that won’t happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, it’s one of the sweetest, kindest, and most savvy shows we’ve seen about breaking free from conformity to embrace your true self – and that’s a message that applies whether you’re queer, straight, or anywhere in between.