As a nonbinary person, Ross Alan is a gender bender and transcender. They’re bringing that spirit to music with their new country-disco album, Audible Serotonin, released on August 28th. Yes, you read that correctly: a blend of country music and disco?!? 

“This album is my love letter to queer joy. After years of writing heartbreak ballads and trying to fit into a box, I wanted to create something that celebrates the healing power of music, freedom of expression, and existing unapologetically; all things I’ve struggled with in the past.” Alan says of the album.  

Queer joy is important now more than ever. Alan shares, “At a time when the world has never felt heavier, joy and release through music can become an act of resistance. As a non-binary artist, I believe visibility and representation don’t always have to come through our struggle—it can come through celebration, fearlessness, community and a really good song.”

Alan took some time to chat about the new album, music, the loss of Dolly Parton, and proves you don’t have to decide on a gender or a genre.

How would you describe the vibe of the new album? 

The album is country disco, in line with this world I’m building. That’s the brand, and I’m pushing that identity. But in the last couple of days since its release, I’m realizing the vibe is also this sort of sunset or twilight album. Cold Blooded (2020) was definitely night, and Revelation (2023) was definitely sunrise. 

I found the twilight metaphor works to emphasize the duality of the album. There is day and night on it. It’s that sweet time right between day and night where the joy and queer serenity of the sunset meets the mischievous and chaotic fun of the evening. It’s sonically dance-y, but it’s also lyrically deep. So if you wanna feel things and shake ass, this album is for you!

Audible Serotonin is such an amazing name. How did you come up with it? 

I came up with the name in 2022 in the pursuit of trying to name the feeling music can give you when the note or lyrics hit just right. Those goosebumps you get from that pleasure are called frisson, which is a French word. 

Because I am not French, I wanted there to be a term I could utilize because it was such a big part of my experience with music. You feel validated and connected to something bigger than yourself knowing a musician experienced what you did, regardless of how small or large the feeling. 

It’s a little boost of serotonin, but it’s not just physical. It’s emotional and connective; it’s, you guessed it:  audible! I tried “Music Serotonin”, “Rodeo Serotonin” and “Sonic Serotonin” and nothing felt quite right until “Audible” crossed my threshold. And to re-reference French: voila!

Country music and disco are a wild combo. What prompted you to unite the two? 

At their core, they are both about connection, which we do as queer humans when we seek our chosen families. Country music tells stories about our humanity. I’m from Ohio. Country is who I am at my core, and I ran from it for so long because I didn’t want to live in that box. It felt so obvious. 

 I decided to stop running and wanted to figure out how to do it on my own terms. Since deciding to pursue this, I’ve been drawn to both genres in such a balanced way. Disco, in the same pocket, invites the celebration of those stories that country tells, which is who I’ve grown to be as I’ve gotten older. 

Blending them was a lot less of an uphill climb than I expected, and the union feels so natural to my identity. I wanted to work on this union so people could feel everything without getting stuck in the heaviness. You can experience heartbreak, process hope, render nostalgia, find love, and still dance. 

Is this your Joanne era? 

As a little monster, I love the reference and consider it a huge compliment, but no. I think Gaga used country as a vehicle to deliver that specific body of work that could not have been driven in any other car. It’s an incredible album, and there is much about it that I admire. But she stepped down and out of that era and hung up her cowboy hat shortly after its release. 

Mine is here to stay. Country, which I’ve been avoiding forever, has finally found its way home to me, and I’m not going anywhere any time soon.

I can’t not ask you about the loss of Dolly Parton… 

It’s a tragedy. She was, to no surprise as a country artist, a great source of inspiration for me and someone I greatly respected. Her loss is profound in a way I think we very seldom see a loss like this. 

I heard about it through a group of friends and got online, and everyone was posting about it. I do mean everybody. Which is so rare to be the type of generational artist that touches every single person. She was infectiously positive, shiny, and glamorous in the same ways I try to be. Positivity and empathy and kindness? They work. 

There is a reason not a soul on earth disliked her. And I wish everyone would take notes. You can be kind and campy and funny and sexy and yourself. Should we change the acronym to WWDPD? What would Dolly Parton do?

Why is queer joy so important right now? 

I mean, look around. We are living in unprecedented times. The world is heavy, and I personally find all of the tragedy and constant bad news to be draining. I operate with so much empathy, and I am frozen by the reality that I am only one person, and I can only do so much with my time. So I choose to spend that time reminding others that joy is vital. I know it sounds like therapy, but queer joy is vital. I want others to know it’s okay to feel happiness, to let good things in. Especially during this particular album cycle, joy for me was an opportunity to give myself permission. It wasn’t about denial of reality; it was about resistance towards a better world.

View this post on Instagram

A post shared by ROSS ALAN (@rossalanmusic)

What do you want people to feel when they listen to your music? 

I want people to leave feeling inspired and more themselves. There are so many rules and expectations in the world right now. I want my music to feel like a permission slip for people to wear what they want, say what they feel, and experience their emotions without remorse. I think the world needs more empathy – full stop. If my music can hold space for the people hearing it to feel, love, and care more? Then I’ll be a very happy musician.

Who are some of your music inspirations? 

My influences are wide, and that’s probably why my music is too. I grew up loving so many different artists, and all of them find their way into my work. Country artists like Dolly Parton, Shania Twain, Alan Jackson, Orville Peck, and Kacey Musgraves. Disco artists like ABBA, the Bee Gees, Charley Pride, and Donna Summer. 

Of course, my inspirational pop girlies like Chappell Roan, Britney Spears, Gaga, Taylor Swift, and Halsey. But I also find inspiration from artists I know and respect: Adam Mac, Cornelius Versa, Zee Machine, Cain Culto, and so many more. Music is in my blood, and the moment I hear what someone else is doing, it’s a reminder to me that life can be long and fruitful, and I have a lot of time ahead of me to explore genre-bending, collaboration, and expression.

Okay, besides inspirations, who is your definitive diva? As in, which female vocalist inspires you on a profound level?

Gaga is really my number one. She unlocked something in me at a young age. She kind of gave me the permission I seek to give other people now with her creativity, writing, kindness, and compassion. 

She reminds me we should aim for excellence, work harder, and believe in the art we make. In a way, I feel like she broke the code. Like she wasn’t supposed to get past the barrier, being the way she is and doing what she does and did. She made it against all odds. So I create now, knowing that there is always a chance to do the same. But in my own way.

Any exciting live performances and events coming up? 

Absolutely! I’m performing my new record for the first time at Boomtown Brewery on September 5th with my full band. I’m so excited to play some of these new tracks live. And then I just got booked to headline at Orange County Pride in October, so I’m over the moon about that! And lastly, I haven’t announced details yet, but I’m going on tour for 6 weeks in October, November, and December with this record and cannot wait to take 18 domestic American cities by storm! 

The album is available to stream on Spotify, Apple Music, and most global streaming distribution services.

What started with a group of friends in questionable drag sardined into a quaint WeHo flat has evolved into one of LA’s most cherished fundraising feats. Best in Drag Show marries Miss America with RuPaul’s Drag Race, complete with swimsuit, talent, interview, and evening gown competitions. But beneath the weaves and wit lies something more meaningful – a community that comes together with the collective goal to raise money and awareness, all while having a fantastic time.

Best in Drag Show was originally created by Alexis Pittman, who died of the AIDS epidemic in 1999, and what began as a cute and quaint kiki of close friends became a fundraising event to support those whose lives have been impacted by HIV/AIDS. Today, Patrick Rush keeps the spirit of Best in Drag Show alive and thriving, preserving the essence that made Alexis’ original pageant so beautifully impactful. With every lash and every laugh, Best in Drag Show continues to be a testament to the fact that drag can be just as powerful and uplifting as it is entertaining. We talked with Rush about the early days of Best in Drag Show, its evolution throughout the years, and the significance of remembrance while serving our LGBTQ+ community.

For our readers who may not yet be acquainted with Best in Drag Show, how would you describe this event, and what makes it so one of a kind?

Best in Drag Show is the underdog of drag shows. We are a spoof of the old-school Miss America Pageant, with our “ladies” competing in Swimsuit, Talent, Interview, and Evening Gown.

And I’m using the word “talent” loosely. Sometimes they don’t have any.  We are much more like a Carol Burnett skit that goes off the rails. It’s filled with humor (often biting and irreverent) and heart. We are ALL volunteers, and that way, the money we raise goes to where it’s supposed to go.

What was your initial inspiration that birthed Best in Drag Show and how has it evolved from your original vision?

I take zero credit for “birthing” this beast. This was all Alexis Pittman, who died of AIDS in 1999. One night while playing poker with a group of friends (all in the recovery community) at Alexis’ one-bedroom, rent-controlled, and smoke-filled apartment in West Hollywood, Alexis said (in his/her Mississippi accent), “Hey Gurrrls, Miss America’s on TV tomorrow night and I think we should dress up and have our own pageant”.  

A handful of guys slapped on some very questionable drag and had a pageant. There were probably 12 people total in the apartment. Mini-Christmas lights created the runway, and so many of the guys were smoking that they set off the smoke alarm. It was a fun night that was repeated the same way the next year.

Many more peeps squeezed into Alexis’ place, and we decided to move it to a bigger apartment the next year. About 70 people showed up, and that’s when we decided to put out a bucket with a sign that said, “Donations for AIDS,” and the audience threw money all night. We raised over $400 and couldn’t believe it. The winner that night was Alexis (he cheated and gave all the judges free highlights the week of the pageant). That was when it officially became a fundraiser.

The next year, a bigger house and $1500.

The next year, an equity waiver theater down a crack alley in Hollywood called the Richard Pyror Theater (I’m not making this up), and we sold it out and raised $5,000. That was the first year we had celebrity judges show up. Nell Carter and Bob Mackie. Bob had so much fun; he designed the outfits for the onstage “Pinkies” that we used for many years.

The growth continued and culminated with us selling out The Wiltern Theatre (2400 seats) in our 10th year (which was the original “Battle for the Tiara”). I think this was 1998. Alexis Pittman died in July of the following year, and we stopped doing the show.

Three or four years later, we were approached to bring back the show and decided to call it “Best in Drag Show”, but we used all the same elements that Alexis had taught us. “Let’s see how little we can spend and how much we can raise”. As of this year, we are closing in on $8 million dollars.

Best in Drag Show has gained significant traction since its premiere. Did you imagine at the time that the event would become what it is today?

NOPE! Not in a million years. It grew slowly and organically year-to-year based on word of mouth. There was no social media when we started… just people talking about how much they loved the show.

What are some of the responsibilities that go hand in hand with hosting? What does hosting this event mean to you?

My #1 responsibility is honoring Alexis’s memory. As a man who is HIV-negative, there’s no excuse for me not to try to do something. Because of my drug and alcohol abuse, I never went to college. So it’s not like I’m going to come up with the cure…but I can write bitchy things to say about our contestants (lovingly, of course).

Hosting this show has changed my life…for the better. I had so much internalized homophobia when I met Alexis, and he was NOT having that from me. He knew I wouldn’t do drag, so he told me to throw on a black tux jacket, write the show with him, and be the host. I had a healthy fear of him, so I didn’t question it.

The irony is not lost on me that men dressed as women made me a better man.

What are the makings of the perfect contestant for Best in Drag Show?

Originality, creativity, and passion. This year is so exciting because it’s our BEST contestants coming back. A “Reheated Rivalry,” if you will. These gals are serious this year in a hysterical way.  Ask any of them, and they’ll say, “It’s not about winning”. They’re lying.

Can you recall a memorable Best in Drag Show moment or outtake from yesteryear that is forever imprinted on your mind?

Luckily, I’m at the age where I forget a lot of shit. But some moments are imprinted on my brain. Anyone who knows me and sees this will say, “Patrick loves when a girl falls,” and that’s 100% true.

But Kitten Kaboodle milking a real cow, Lotta Slots coming in on a camel singing “Midnight at the Oasis,” or Candy Cotton getting in the mouth of a real elephant are hard moments to forget. Disclaimer: We no longer allow animals in the show, so simmer down. It was a different time back then.

Grace Land’s evening gown rising into the rafters and her train saying “Elvis has left the Building” is an amazing moment.

How have you seen APLA Health serving these community needs, and how have you seen this change since Best in Drag Show began?

YES! I’ve seen people’s rent get paid, food be delivered, medical and household bills taken care of, and basic necessities of life get covered.

2 years ago, Coleen Sullivan from ABC7 did a segment on us and showed a man in his new permanent apartment. It was powerful. We don’t often get to see the results of what we do.

Drag has always been a formidable form of queer expression and protest. What role does drag play today in our multifaceted community?

Drag is so much more powerful and brave than I am. I love seeing someone in drag who might normally be quiet or shy become a bigger-than-life, fearless spokesperson. The voice of drag is loud and proud in our show.

At a time when drag is increasingly politicized and debated, what message would you like to deliver to those who might not understand the craft?

COME TO OUR SHOW.

LAUGH YOUR ASSES OFF.

You’ll be safer at the Orpheum than in the White House.

After so many years, what keeps you motivated to continue this tradition?

Not to sound like a broken record, but Alexis Pittman and the countless others who didn’t get to be here still. Being of maximum love and service is the only thing that quiets my own noisy head.  When I’m working on BIDS, I’m not thinking of myself…which is the best version of myself.

I also want to say that I’m one of MANY volunteers over the years. Hundreds of people have given freely of their time, with little to no recognition. Our backstage crew is full of unsung heroes. The people who feed us. Our production designer, sound designer, stage manager, etc etc etc.- these are the heroes.

What do you hope, if nothing else, folks take away from this year’s Best in Drag Show? What message do you have for someone who is interested in participating, donating, or otherwise?

Laughter. Just come for 2 hours and forget how ugly the world is right now. We have ugly contestants who will make you forget what’s happening in our country. Just kidding; we have some pretty ones too.

My message is: please come and support us. This has been going on for 35+ years, and it’s hard to keep surprising an audience. So, if you’ve been before and think you’ve seen the best, don’t miss this year.  You’ll laugh, I’ll cry, and it will be THE BEST of Best in Drag Show ever.

BEST OF Best in Drag Show 2026

The Orpheum TheatreLos Angeles, CA / Sunday, October 4  •  Starts at 7 PM

Get your tickets here.

Have you ever watched a competition show like Survivor or Big Brother and asked yourself, ‘Wow, I wonder what it would be like if this cast was made up of the hottest content creators I’ve ever seen?’ If so, then you’re in luck, because gay streaming platform MenCrush just introduced the next step in reality television with its new series, Crush House. 

Set within a beachside villa, Crush House follows a group of queer content creators (many of whom are LA locals) as they undergo wild challenges while voting each other off, with each man fighting to secure the $20,000 grand prize. While it’s the streaming service’s first competition show, this concept isn’t that different from MenCrush’s usual projects; the platform specializes in documentaries on today’s biggest content creators and the sex work industry.

This new reality series is an extension of this mission, offering not just a platform for raunchy fun, but a genuine look into each creator beyond what they show fans online. It manages to combine sexy competition with a genuine view into the ‘OnlyFans creator’ image many people misunderstand. And, if hosts JJ Aussie and Josh Moore have any say, this program won’t just make enjoyable TV, but will revolutionize the way we speak about online sex work and the many people within it today. 

View this post on Instagram

A post shared by MENCRUSH (@mencrush__)

The duo sat down with the LA Blade to speak about their new roles as Crush House hosts and what it’s meant to lead this inaugural season. These are new positions for the pair; despite their combined following of 1.5 million fans has earned them a reputation as some of today’s biggest gay content creators, they’ve never gotten the chance to host such a large-scale project. creators. They were excited but hugely nervous to take this on, with Aussie emphasizing, “We were anxious — it was MenCrush’s first time doing a reality show, and it was Josh and my first time hosting a reality show!”

“Once we got into the first couple of days of shooting, we relaxed and figured out that we’ve got this — we took control of the crushes, made sure they felt like we had their back, and we had a lot of fun with it,” he continued. It was an early anxiety that Moore also felt, though he explained that this wasn’t the first time they’d led a creators-only excursion. In fact, fans of their content will know that the men have embarked on numerous spicy vacations over the years, whisking away groups of performers to some beautiful location for days of socializing and nights of filming content. “The goal is to create something that hasn’t been done before,” said Josh, speaking both about their personal trips and his work on Crush House. “We create such a safe environment for everyone, an environment that everyone feels comfortable with.”

It’s a comfort that shows throughout the premiere, with the first episode featuring many blurred moments of the contestants filming content (though the series’ omniscient narrator assures viewers they can watch it uncensored on each man’s socials). But along with these, it also takes the time to zoom in on each competitor, giving them a moment alone to speak about their lives as content creators and why they wanted to join the Crush House cast. This, combined with the ample scenes of the guys discussing why they plan to win the ultimate prize, promises a season full of emotional intimacy as much as physical. JJ stressed that this balance was always a huge goal for the creative team, saying, “We created the show to be fun and entertaining — but I also want people to look at these boys as individuals…as human beings.”

View this post on Instagram

A post shared by MENCRUSH (@mencrush__)

It’s an unfortunate aspect of this work that both men know well; both have faced harmful anti-sex work rhetoric while working in this industry. Moore in particular opened up about how harrowing these experiences can be, with the man’s decade-long career meaning he knows the many nasty ways people will try to weaponize his work against him. He reiterated that despite this, he absolutely loves his job – which is why he’s dedicated to de-stigmatizing the industry through projects like Crush House. He knows that showing the emotional, vulnerable sides of each contestant is key to highlighting the realities of this work, stating, “We wanted to really humanize the creators and let people know that there’s a person behind the screen. There’s a person behind that photo, there’s a person behind the videos that you like to watch. So I just want everyone to remember that when they’re saying nasty comments and whatever, that there’s a human being there.”

“People are so quick to dehumanize us as people and as creators. We’re human beings, [and] we deserve a show just as much as any other person on reality TV…you know, it is a crazy game show, but we also delve deep into the humanity and stories of all the guys.”

The hosts promise that, above all else, Crush House will provide an entertaining — and immensely sexy — watch for any interested viewer. But along with that, the audience will also be granted a deeper look into these creators like they never have before. The pair hope this will help de-stigmatize the profession and finally showcase the monumental effort that it takes to succeed in content today. They’re excited to share this information with a whole new audience, and they can’t wait to earn their contestants a whole new slew of (most likely thirsty) followers along the way.  

You can watch the season premiere of Crush House on Friday, September 18th, on MenCrush

Los Angeles DJs Heidi Lawden and FLABBERGAST teamed up for “Children of the Revolution,” a new track released Sept. 4 on Berlin label DESSERT.  Written and produced by Lawden and Hein Hoven, with lead vocals and lyrics by FLABBERGAST, the track appears alongside a darker, stripped-down “Power Bottom Mix,” by Lawden.

Lawden and FLABBERGAST first connected in L.A.’s queer underground party scene. Lawden co-founded Take It Outside, while Zane Pond, who performs as FLABBERGAST, co-founded VICE Underground. On July 4, 2025, amid ICE raids across L.A., they organized an art installation and protest rave on the Arroyo Seco Walkway near Dodger Stadium, where they debuted an early version of the track while local artists covered the bridge with anti-fascist messages.

DESSERT co-founder Tom Peters visited L.A. in April to DJ at VICE. Before the party, FLABBERGAST played him the track, and Peters expressed interest in releasing it. Lawden, Hoven and FLABBERGAST then rebuilt the track and made the “Power Bottom Mix.”

Ahead of its release, Lawden and FLABBERGAST spoke separately with the Los Angeles Blade about the track, their friendship and queer nightlife as resistance.

What made you two want to work together?

HEIDI LAWDEN: It was unbelievably organic. We gravitated toward one another politically when the ICE raids were really happening in our city. We were very connected over our shared disgust.

FLABBERGAST: We’re both very punk. We believe in anti-fascism. Those things bonded us as really good friends. I said to her after I DJed a party, “Let’s go to the studio on Tuesday.” She was like, “Let’s do it.” We did it, and we made the track in a day.

View this post on Instagram

A post shared by FLABBERGAST (@flabbergast4eva)

What were you trying to say politically?

FLABBERGAST: “Revolution,” in the context of the song, is about freeing all people who are under bondage, specifically trans and queer people. We’re not free, and this song is about reminding people of that. It’s all of our responsibility to make noise and fight.

HEIDI LAWDEN: It was a call-out to inspire people to rally, protest, object, and resist. I really wanted it to feel powerful, like a musical air raid siren.

What did each of you bring to the record?

FLABBERGAST: Heidi brought the sound and the euphoria. Everything about her is joyous. My lyrics are more about the protest. And she also includes some of her lyrics at the end. She sang them, which was so beautiful.

HEIDI LAWDEN: My inspiration was really Zane, the things we talked about and musically bonded over. It was wholly inspired by our friendship and our shared views.

Why two versions, and what distinguishes them?

FLABBERGAST: We realized over time that we didn’t want it to be so dark. We wanted it to be uplifting and full of love.

HEIDI LAWDEN: The “Power Bottom Mix” is down-and-dirty beats. It doesn’t reach any kind of crescendo, whereas the full mix has a euphoric ending. The “Power Bottom Mix” is something you could play for 20 minutes on a loop, and it makes you get down and dirty. That’s why the two tracks work so well together if you want to go between the mixes.

The track connects queer nightlife with resistance. What makes the dance floor political for you?

FLABBERGAST: It’s about being in a place you feel safe and liberated. Some people might be hiding, might not be out, and these places are the only places where they can truly feel free. Especially people of the trans experience, they face challenges every day when they go out in public that cisgender people will never have to deal with.

HEIDI LAWDEN: My earliest experiences of nightlife were dancing and not knowing who was going to be there to dance with me the following week. It’s always been an act of resistance. I saw this amazing quote about being in the fight in the daytime and then being on the dance floors at nighttime to remind ourselves what we were in the fight for.

These interviews have been edited for length and clarity.

Entertainment has been bittersweet for queer people. We’ve lost Dolly Parton, Bob Mackie, and Tim Curry. We’ve seen a 41% drop in queer characters on television due to TV cancellations. So you likely weren’t expecting the Emmys to be a particularly queer affair. And yet, there were some delicious moments that were queer-coded, and many of our favorites were honored. 

Mariska Hargitay, who has played our favorite quasi-butch SVU detective for 27 years, hosted the festivities. She took home two Creative Arts Emmys for directing the documentary My Mom Jayne: A Film by Mariska Hargitay, which also took home an award. She started the ceremony with a parody of “I Love Rock-n-Roll” which featured appearances by Jean Smart, Jennifer Coolidge, and gay Emmy winner Jeff Hiller. There were also weird product placement ads for Marriott and United. #recessionindicators 

View this post on Instagram

A post shared by Emmys / Television Academy (@televisionacad)

As for LGBTQ representation, Rhea Seehorn won for playing lesbian character Carol Sturka in Pluribus. Alan Cumming took home another Emmy as well for The Traitors, beating out RuPaul and RuPaul’s Drag Race. Drag Race did take home an Emmy for Outstanding Hairstyling For A Variety, Nonfiction, or Reality Program.

DTF: St Louis which followed an infidelity that ended in a muder subplot and featured a unique polyamorous threesome was an Emmy darling and earned Emmys for Linda Cardellini and David Harbour. 

There were some historical moments: Matthew Rhys took home two Emmys for Best Lead Actor in an Anthology and Best Lead Actor in a Comedy, making him the first actor to win for two of the main categories in one night. Rob Reiner, who received a posthumous Emmy for his role in The Bear, beat out 2025 darling Connor Storrie.  This broke the record for the longest span between acting Emmy wins at 48 years, which was previously set by his father, comedian Carl Reiner.

To honor Dolly Parton, Sally Field (who took home an Emmy) gave a stirring introduction, with Reba McEntire singing a tribute. Macaulay Culkin, Annie Murphy, and Dan Levy paid tribute to Catherine O’Hara, with Culkin pulling heartstrings calling her “mama.”

View this post on Instagram

A post shared by NBC Entertainment (@nbc)

There was a 50th reunion for Charlie’s Angels with Jaclyn Smith, Kate Jackson, and Cheryl Ladd presenting Outstanding Drama Series. They took a moment to shout out and honor Farrah Fawcett. Sarah Michelle Gellar and David Borenaz had their own reunion, giving out the award for Outstanding Lead Actor and alluded to the sad loss of Nicholas Brendan, Anthony Stewart Head, and Michelle Trachtenberg, who all passed within the last two years. Gellar was also able to make a quick crack about her now-cancelled Buffy reboot. 

View this post on Instagram

A post shared by NBC Entertainment (@nbc)

The ceremony was also very on it and was quick to add Bob Mackie, who passed earlier this week, to their In Memoriam segment. 

Here’s the full list of winners as well as notable Creative Arts Emmy recipients. 

Lead Actress in a Limited or Anthology Series or Movie

• Sally Field, Remarkably Bright Creatures

Lead Actor in a Limited or Anthology Series or Movie 

• Matthew Rhys, The Beast in Me

Supporting Actress in a Limited or Anthology Series or Movie

• Linda Cardellini, DTF St. Louis

Supporting Actor in a Limited or Anthology Series or Movie

• David Harbour, DTF St. Louis

Directing for a Limited or Anthology Series or Movie

• Steven Conrad, DTF St. Louis

Limited or Anthology Series

• DTF St. Louis

Lead Actor in a Comedy Series

• Matthew Rhys, Widow’s Bay

Lead Actress in a Comedy Series

• Jean Smart, Hacks

Supporting Actor in a Comedy Series

• Stephen Root, Widow’s Bay

Supporting Actress in a Comedy Series

• Kate O’Flynn, Widow’s Bay

Guest Actor in a Comedy Series

• Rob Reiner, The Bear

Guest Actress in a Comedy Series

• Betty Gilpin, Widow’s Bay

Directing for a Comedy Series

• Hiro Murai, Widow’s Bay

Writing for a Comedy Series

• Katie Dippold, Widow’s Bay

Comedy Series

• Widow’s Bay

Lead Actress in a Drama Series

• Rhea Seehorn, Pluribus

Lead Actor in a Drama Series

• Noah Wyle, The Pitt

Supporting Actress in a Drama Series

• Allison Janney, The Diplomat

Supporting Actor in a Drama Series

• Tom Pelphrey, Task

Guest Actor in a Drama Series

• Ernest Harden Jr., The Pitt

Guest Actress in a Drama Series

• Shailene Woodley, Paradise

Writing for a Drama Series

• Vince Gilligan, Pluribus

Directing for a Drama Series

• Saul Metzstein, Slow Horses

Drama Series

• The Pitt

Structured Reality Program

• Antiques Roadshow

Unstructured Reality Program

• Love on the Spectrum

Host for a Reality or Reality Competition Program

• Alan Cumming, The Traitors

Directing for a Reality Program

• Ben Archard, The Traitors

Reality Competition Program

• The Traitors

Writing for a Variety Series

• The Late Show With Stephen Colbert

Directing for a Variety Series

• Yvonne De Mare, The Late Show With Stephen Colbert

Variety Series

• The Late Show With Stephen Colbert

Variety Special (Live)

• The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny

Variety Special (Prerecorded)

• The Muppet Show

Directing for a Variety Special

• Hamish Hamilton, The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny

Short Form Comedy, Drama or Variety Series

• Colbert Before Air

Short Form Nonfiction or Reality Series

• Inside The Pitt

Performer in a Short Form Comedy or Drama Series

• Desi Lydic, The Daily Show: Desi Lydic Foxsplains

Directing for a Documentary/Nonfiction Program

• Mariska Hargitay, My Mom Jayne: A Film By Mariska Hargitay

Documentary or Nonfiction Special

• My Mom Jayne: A Film by Mariska Hargitay

To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion. 

The news broke on his Instagram account Monday, September 14th, with the message:

 “It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a Fashion and Costume Designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs due to pneumonia. 

At 87, Mackie is the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbara Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.

His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on The Judy Garland Show. The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.  

Mackie then went on to do all of the costumes for The Carol Burnett Show, creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market. 

He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including The Sonny and Cher Show. He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.” 

View this post on Instagram

A post shared by Bob Mackie (@bobmackie)

Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of Hacks. 

Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for Lady Sings the Blues. He won a Tony Award for The Cher Show. He won 9 Emmy Awards and received 30 nominations for his prolific television work. 

Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving RuPaul’s Drag Race’s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series. 

View this post on Instagram

A post shared by Bob Mackie (@bobmackie)

It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.

‘Ain’t Nobody’s Fool: The Life and Times of Dolly Parton’
By Martha Ackmann
c.2026, St. Martin’s Press
$30/304 pages

Not too bright.

That’s what people once thought about you. Your language didn’t conform, you had your own sense of style, and you were ignorant about modern things and places and foods. But you were no dummy. You were different, and you had a secret: as in the new biography, “Ain’t Nobody’s Fool: The Life and Times of Dolly Parton” by Martha Ackmann, you knew exactly where you were going.

When Avie Lee Owens and Lee Parton first married, they had the very basics: “two knives, two forks, two spoons, a skillet, a butcher knife, and an old iron kettle.” He was 17; she was 15. Babies came quick. The fourth one was named Dolly, after two great-aunts.

Almost from the time she could walk, Dolly sang. Before she was old enough to attend school, she wrote poetry, and she’d begun to notice rhythms and beats she could make with her fingers. As a schoolchild, she created her own musical instruments out of scraps, and she was eager to perform whenever anyone asked her – and they asked often, because Dolly Parton was a nice girl, and her sense of humor conveyed a warmth that drew people in.

Growing up in the Tennessee mountains, Parton was independent, shunning marriage and child-raising, instead focusing on a dream of being a star. By the time she was in high school, she’d had a regular gig on local television but she recognized that there were few opportunities for fame in the mountains, so she left for Nashville the day after high school graduation, with the snickers of naysayers ringing in her ears.

She stayed with an aunt and uncle there, and she beat the streets, dined on grocery store samples to get by, and missed her family and friends. And they worried about her, but they knew nothing would derail her plans. They knew Dolly would be fine.

As a friend said, “’She had her head on pretty good.’”

Chances are that if you’ve listened to music any time in the last 60 years, you’ve heard Dolly Parton through her words or her music or both. Now you need to learn more about her, and “Ain’t Nobody’s Fool” is where to do it.

Here’s a biography that grabs you on the first page with the tiniest bit of family tree, but not so much that you get bored with it. Author Martha Ackmann writes about Dolly Parton’s early life, putting hardships and experiences in context, both personally and historically. There are name-drops, but not overly so, as Ackmann takes you through Parton’s career, her heartbreaks, her marriage, and her years with Porter Wagoner, in detail but not dramatically embellished or outrageously told. It’s a biography that’s just right, sourced well and written with a fresh take that, like its subject, tells a good story. 

Fans, of course, will want this highly researched book but music lovers of any age or type will eat it up. That means you, so use up that Christmas gift certificate. “Ain’t Nobody’s Fool” just shines.

The Blade may receive commissions from qualifying purchases made via this post.

Drag enthusiasts — and fans of LGBTQ+ excellence in general — were thrilled in 2025 when Revry debuted the first-ever drag king competition show, King of Drag. 

Joining the pantheon of drag-themed reality series like RuPaul’s Drag Race, this new program finally gave the kings of our community the attention they deserve, introducing viewers to a group of stellar performers who’d been flexing their artistry for years in communities across the country. Filled with a judging panel of queer royalty, complex challenges, and jaw-dropping creations from each contestant, King of Drag ended season one to widespread acclaim and thousands of new fans all over the world. 

These watchers were elated when it was announced that the show would be returning in 2026 for a second installment. And they were even more excited to find out who’d be taking over as its illustrious host: historic queer comedienne Cameron Esposito. 

This comic has spent the past few decades proving why they’re the perfect person to host a show like King of Drag. Many will know Esposito from their hilarious (and often very twisted) comedy; her many stand-up specials, albums, and guest appearances have earned her numerous accolades. Pair this with her current standing as a vocal LGBTQ+ advocate, and many folks in the queer community regard Cameron as one of our funniest activists today, always ready with a joke and a lesson on why we need to come together and fight against hatred. With that reputation, it was no question that she’d be the best person to fill the shoes of former host Murray Hill, after he stepped away from the program after season one. And in conversation with the LA Blade about the new role, Esposito raved about how excited they were to take on this mantle, saying, “I started [my career] around Kings.”

“They were really socially justice-motivated. They were super fun to watch — very sexy — and funny,” she continued, recounting her early days as a comic in Chicago’s thriving queer nightlife scene. “So having a chance to lift up that community as a host….I’m trying to come up with a lot of sick jokes so that the show is as good as it possibly can be!” 

Cameron spoke about what it meant to lead King of Drag season two and how honored she was to guide this whole new batch of Drag Kings. “Any reality competition show is a high-pressure situation, and folks are really putting themselves out there! There’s so much vulnerability in that. So I really hope that I was able to bring some sweet little moments of relief for them. And also for the viewers — I hope the viewers think I’m funny,” she laughed.

Joined by judges Gottmik, Vico Ortiz, and Damian Pelliccione, Esposito worked hard to not only make amazing television, but to finally give these performers the appreciation they’d worked years for. She stressed that beyond the jokes she makes on this season (all of which she assures are hilarious), this was her main reason for joining the series, saying, “One of the biggest things was to focus on the kings. To get these folks the greater recognition that television brings, so that when they go back to their cities or when they’re on tour, people have that extra incentive to get out and see them.”

Because King of Drag understands how these artists have been treated not only by the mainstream media, but by the LGBTQ+ community itself — namely, how many queer people push them aside to focus on more ‘conventional’ images of drag. It’s why so few kings have been allowed on drag-centric shows until now, a glaring erasure that not only undercuts each series as a source of queer culture, but robs these performers of the success that television often entails. 

“Trans dudes, queer women, lesbians…we are still, often, at the margins of a larger cultural push,” Esposito explained. “Elevating kings is an opportunity to trust audiences more…[because] I really don’t think that viewers have been given the opportunity to treat us seriously. You know, we might be joking around — but we are not a joke. When you’re talking about our rights, our respect, our safety…knowing people who are actually in this community affects how we’re treated. It affects how people see us, that we’re not just like nameless, faceless nothings.”

“I think it’s time for these kings who deserve recognition, and I also think it’s time to trust and move the needle in a larger context. Because we deserve to feel noticed, because we deserve to be paid. And because we deserve to be safe.”

Cameron Esposito is excited to lead King of Drag with not only the comedy that has defined her career, but the advocacy that guides her every single day. Because this series is not only a competition reality show — it’s a spotlight. A spotlight on a community that faces so many issues yet has never received a platform to openly speak about them. Combine this with a celebration of their astounding art, and King of Drag provides an exploration of drag kings like most queer viewers have ever seen before. 

Esposito is proud to play such a huge part in bringing that to audiences today — and she promises to give you some sick, twisted laughs along the way.

King of Drag season 2 drops on Sept. 20th on REVRY.

Hard as it is to believe for those who were around when it happened, “Thelma and Louise” celebrates the 35th anniversary of its release this year. 

Deeply popular with both critics and audiences at the time, its reputation continues to ride high; it’s a movie that manages to exist within a nexus of intersecting genres – the “buddy picture”, the “crime thriller,” the “action adventure,” the “western,” the “neo-noir” – by blending them seamlessly into a crowd-pleasing wild ride of a story, all while delivering a powerful feminist message of outrage, defiance, and empowerment.

And no, “Thelma and Louise” is not a “queer movie” – but it feels like one.

That’s partly because It exists within another genre, too: “lesbian noir,” which blossomed in its wake with films like “Bound” (1996) and has re-emerged in recent films like “Love Lies Bleeding” (2024) and “Honey, Don’t” (2025) – but that also stretches back across decades into the days of old Hollywood, when coded queer characters were a regular fixture in the seedy film noir classics of their time, never overtly identified as such but obvious to spot for anyone savvy enough to read the subtext. That’s why “Thelma and Louise” resonated (and continues to resonate) with lesbian and bisexual audiences who see themselves reflected in its two lead characters, even if there is nothing queer about their relationship — on the surface at least.

Of course, that can be a sore subject; subtext might seem like a “cop-out” for those who long for more open representation for LGBTQ people on the screen – but it’s everything when it comes to recognizing the queerness of older movies (and a lot of newer ones, too), and just because something is not explicitly stated, that doesn’t mean it’s being hidden. After all, most good stories rely on the transcendent power of nuance, which always relies on subtext to shine through. And if any movie relies upon subtext, “Thelma and Louise” is certainly one of them. In its masterfully crafted narrative of a weekend “girl’s trip” that goes horribly wrong, a lot of the most important information is left unspoken.

Take Thelma (Geena Davis), to start with: a naive young housewife whose husband Darryl (Christopher McDonald) treats her like a possession, she blithely ignores his mediocrity and disregards – or at least, pretends to – his repressive tactics to control her, choosing instead to live in a tenuous illusion of “traditional” marriage dynamics; yet when her bestie Louise (Susan Sarandon) offers her a chance to escape for a weekend, she jumps at it – even if she has to skip the part where she asks his permission.

Louise (Susan Sarandon), a bit older and a lot more worldly, is a waitress who spends her days fending off the insults and advances of her male customers at the diner where she works; she sees Thelma’s situation clearly, and hopes that a temporary respite from Darryl will help her recognize the dead-end reality of her marriage. We understand this immediately, even though a direct word is never said about it, and she’s right, of course. They’ve barely even gotten on the road before Thelma’s longing for attention from someone other than her inadequate husband – a honky-tonk Lothario (Timothy Carhart) she meets in a roadhouse where they stop for drinks on the way out of town – leads to an attempted rape that is only prevented when Louise shoots the predator dead in the parking lot.

That killing is the catalyst that turns them into fugitives; as Louise rightly understands, there’s no evidence of sexual assault, just a dead body and a pair of runaway women, and the letter of the law is not on their side. But in truth, that fatal shot is fired not to save Thelma, who has already been freed from her would-be rapist’s clutches when it happens, but because Louise has traumatic memories – and a chip on her shoulder – over something that “happened in Texas,” years before. We never find out what it was that happened, and we don’t need to; our imaginations tell us all we need to know, just as we know that the killing, while it may have been cold-blooded murder, is a justifiable homicide all the same.

There’s more of that subtextual nuance throughout, from the perversely inspiring motivations of hitchhiking hustler J.D. (Brad Pitt, in the sex-on-a-stick performance that launched him on his trajectory to stardom), who takes advantage of Thelma’s gullibility to rob the heroines even as he teaches her the tactics that will soon sustain them on their fateful ride-or-die fugitive adventure; to the self-serving “chivalry” of Louise’s erstwhile boyfriend (Michael Madsen) when he casts himself as the “martyr” for letting her go. And yes, even to the benignly sublimated patriarchal programming that drives police investigator Hal Slocumb (Harvey Keitel in an uncharacteristically empathetic role) to act as would-be savior to these two “fallen” women, though they want no part of his well-meaning attempts to “rescue” them from the consequences of their choices. And when the two fugitives terrorize a piggish trucker (Marco St. John) before blowing up his big-rig tanker, nobody says – or needs to say – why it feels like the right thing to do; it simply IS the right thing, and we, as the audience, know it. What we have seen up to that point has placed us firmly on Thelma and Louise’s side, and we’re as ready to watch the puerile patriarchy burn as they are.

None of this is spoken aloud, nor is it even alluded to, but it comes through, nonetheless. Chalk it up to the power of Callie Khouri’s Oscar-winning screenplay, which expertly lays this inner narrative as the foundation for everything that happens, and leaves director Ridley Scott to supply the stylish, action-packed visuals.

Thelma and Louise may not be “a couple,” but we can’t help notice as their clothing evolves from frilly-femme to “butch” utilitarianism along the way, nor how their connection to the men in their lives easily dissolves without fanfare. And by the time we reach the movie’s thrilling denouement, when all they have left is their commitment to simply stand up against the things that have kept them feeling incomplete, unfulfilled, and unacceptable, it’s an achingly familiar feeling for any queer viewer who has experienced the same – and let’s face it, that’s probably almost all of us.

We all know what happens, so it’s no spoiler to say that, when they drive off into oblivion in the Grand Canyon, they choose freedom over life itself – and when they head over that cliff, fully embracing their fate as a feminist iteration of the Bonnie and Clyde brand of “noble” outlaws, they seal their fate with a kiss. 

At that point, any further explanation would feel like an insult. Their love for each other transcends anything they’ve felt with the inadequate men in their lives, it’s as simple as that, and their triumph is perfectly captured in that final freeze-frame moment, when they drive off the cliff and begin their plunge toward certain death and it feels like joy.

Yet still, we like to think that their car – like Danny Zuko’s at the end of “Grease” – simply flies away with them instead, into the bliss of an endless summer, and you can’t get any queerer than that!

The Trans Chorus of Los Angeles has always been about more than music. Since its first rehearsal on October 18, 2015, TCLA has built a space where trans, non-binary, intersex, gender non-conforming, and gender-fluid singers can be seen, heard, and celebrated on their own terms. Now, as the chorus enters its 12th season, it does so under new leadership. Two longtime members, Alana Balagot and Corinne Burch, have stepped into the role of co-artistic directors, carrying the organization’s mission forward while shaping a vision of their own.

TCLA’s origin story has an unexpected source. “There was a trans chorus in one of the episodes of Glee,” Alana explained, and the moment stuck with a group of singers who decided to make it real. Alana, a founding member who joined in 2015 after spotting a Facebook ad, had been in choruses her whole life but had not been singing since transitioning. TCLA gave her a space to be both. With support from the Gay Men’s Chorus of Los Angeles, and under the direction of founding artistic director Lindsey Deaton and executive director Lisa Marchbanks, the group held its first rehearsal in a bank conference room. There were no auditions, just people who wanted to sing.

Corinne joined years later, in 2021, in the middle of the pandemic, rehearsing over Zoom before the chorus returned in person. He had moved to Los Angeles in 2020 and started testosterone in 2019, a transition that came with an unexpected fear. “When I started taking testosterone, I was worried I was going to lose that part of myself and lose that mode of expression,” Corinne said. Having studied voice and sung in choirs his whole life, he searched for trans choruses and found TCLA first. Both singers stepped into music director roles together in 2022, after longtime musical director Joe Lawrence stepped down, and last year, when artistic director Abdullah Hall left, they stepped up again, this time as co-artistic directors.

Alana and Corinne describe their partnership as one built on complementary strengths. Corinne brings a background in music therapy and music education, while Alana brings experience in composing and production. Together, their priority is protecting the professional level of musicianship the chorus has cultivated over the past decade. “That’s something that we think really serves our mission of uplifting the trans community, is showing the world how beautiful our trans voices are,” Corinne said. At the same time, they are building something new. Corinne hopes to expand workshops and training resources for people who want to sing but cannot commit to a full rehearsal schedule. “A lot of trans people are turned away from musical spaces in their educational years, and we want to right that wrong,” he said.

View this post on Instagram

A post shared by TCLA: Trans Chorus of L.A. (@transchorusla)

The new season will also lean further into original work created from within the chorus itself. Composers, arrangers, studio engineers, and directors, all TCLA members, are already shaping the group’s sound. Alana wrote and helped produce a music video last year with her wife Becca directing, recorded in a member’s home studio, with other choristers handling production design, art direction, and choreography. “We want to be intentional about who we’re platforming as well, and making sure we’ve got diverse voices and doing it respectfully,” Alana said.

View this post on Instagram

A post shared by Keath (@keathsilvahealing)

When asked what they wish the public understood about TCLA, both directors pointed to something bigger than the songs themselves. “We’re hoping it changes hearts and minds. We want to show that trans people are artists and musicians and like to sing like everyone else,” Alana said. Corinne pointed to the labor behind the scenes: the volunteers who set up and tear down every show, the board running the organization’s business side, and the funding gap that limits how far the chorus can reach. “The number one thing that stops us from reaching more people is funding,” he said. Grants and a loyal base of recurring donors keep TCLA running, but every dollar matters. His ask to the community is simple. Show up.

The chorus has a packed fall ahead. On September 19, TCLA performs as part of a festival with GALA Choruses, the national organization supporting LGBTQ+ choruses. On October 18, the chorus celebrates its anniversary with a birthday concert marking the date of its very first rehearsal in 2015. On November 20, TCLA honors Transgender Day of Remembrance with a full fall show at the Renberg Theater at the Los Angeles LGBT Center.

View this post on Instagram

A post shared by TCLA: Trans Chorus of L.A. (@transchorusla)

More than a decade after that first rehearsal in a bank conference room, the Trans Chorus of Los Angeles remains proof of what happens when a community insists on being seen. Under Alana and Corinne’s leadership, that mission is expanding rather than settling, reaching further into music education, original composition, and public visibility for trans artists. As the chorus prepares for a fall full of performances, its message stays consistent even as its sound grows. Trans people are musicians, neighbors, and artists, and this season, Los Angeles will have several more chances to listen.