Rarely have we seen a fierce comic book squad-up of LGBTQ+ icons like the X-Men. 

Originating in Marvel comics, for decades now, the team’s millions of fans have watched their stories play out both in print and on the silver screen. Thousands of narratives — with even more astounding characters — that offer thrilling adventures, as well as poignant lessons on what discrimination looks like today. Because despite what some Marvel fans may have you believe, these stories about a class of people being disenfranchised by a bigoted society have always been allegories for the discrimination faced by real-life communities. Combine this with its many queer and queer-coded members, and it’s no wonder that LGBTQ+ fans were ecstatic when it was announced that the team’s original series, X-Men: The Animated Series, was being rebooted for Disney+ in 2025. 

These viewers were thrilled to once again watch their favorite team of super-powered mutants fight bad guys with campy flair. But when the reboot, X-Men ’97, was released, LGBTQ+ fans were shocked to learn it would also feature the first nonbinary character in the entire Marvel Cinematic Universe! Morph, the shapeshifting, wise-cracking mutant from the original series, would return to not only fight villainy but also provide vital representation for millions of nonbinary audience members. And when creating such a monumental figure for this version of the team, X-Men ’97’s creators knew there was only one voice actor who could do the superhero justice: JP Karliak. 

“As a kid, I was a huge fan of animated shows like He-Man and Batman: The Animated Series. I was so enamored with voice acting, I felt it couldn’t be a real job!” Laughed Karliak, as they spoke with the Los Angeles Blade to celebrate X-Men ’97’s recent season two premiere. It’s the latest project in their jaw-dropping career; whether it’s voicing the titular professional in Boss Baby: Back in Business or a saucy trophy in video game Date Everything!, Karliak can be heard in many hit franchises. They’ve become known for the tonal whimsy they bring into every role, a trademark talent that has made JP one of the voice acting industry’s top queer actors. 

Karliak emphasized how honored they are for this title — especially because of the many issues this industry still has with its LGBTQ+ performers. “There’s a narrow-mindedness in so much of the voice industry that it’s like, ‘Okay, well, we can only let you play this particular thing,’” they explained. “But also just a [person’s] transness shouldn’t determine that they can only voice trans roles or only voice nonbinary roles! In the same way we’ve seen so many cis straight people play cis-het roles, letting queer people play the majority roles only helps us to build long-lasting careers — because there’s no way to do it if we’re only playing queer roles.” 

It’s a unique set of issues further complicated by the many problems all voice actors face today, ranging from the rise of AI to big studios’ harmful underpayment practices. It’s because of this that JP established QueerVox, a nonprofit that provides aspiring queer voice performers with the training they need while connecting them with the roles they deserve. From communal job boards to free classes to networking events that help LGBTQ+ artists connect, Karliak spoke proudly of all they’ve done to help make this industry more accessible for all. 

Presented with a performer who excels not only in talent but in making a difference, it’s no wonder that the X-Men ’97 team thought JP Karliak would be the perfect voice for Morph! Although the character definitely had a darker backstory than the actor’s usual roles, X-Men: The Animated Series saw Morph turn from the team’s comic relief into the brainwashed henchman of their most sickening villain. This led to the mutant spending much of their original time on the show in recovery, traumatized from having their autonomy ripped from them in a narrative that resonated so deeply with LGBTQ+ fans. Karliak was thrilled to bring back Morph to hopefully give them the joy they deserved, and they were happy to be doing so with the character — one who literally shifts constantly between gender identities — finally using they/them pronouns. 

“Knowing from the get-go that this was going to be a nonbinary character now, and as identifying as gender queer myself…I felt so much kinship with this character,” explained JP, as they spoke about how it felt to embody Morph through their voice. “It felt like as long as I was being true to myself, I was doing the character a service.”

It’s a truth that comes through in every line, with JP’s mischievous yet resounding performance style showing in every moment Morph is onscreen. They recognized that this would be one of the first examples of a nonbinary person that viewers would see in animation and wanted to do them justice, saying, “Giving nonbinary characters [like Morph] the ability to be serious, to experience loss and pain, to experience joy — all aspects of humanity! And to not just be relegated to one narrow band of the human experience…it’s just so important.”

This interview took place on the day that it was announced X-Men ’97 would be returning for seasons three and four, which meant fans can expect more years of Morph shapeshifting across their screens. Karliak was ecstatic at this news, and when asked what they hope to explore in these new installments with the character, they said, “In season one, Morph was a less confident version of me, because Morph was really just trying to find where they belonged and feeling accepted, having just rejoined this team and not really knowing what the dynamic was…I think season two finds them much more confident, much more akin to where I find myself, personality-wise. They don’t feel that they always have to use humor to break the tension.”

“So much of Morph’s journey has been dominated by victimization and trauma and so much hurt. I’d love to see them just experience some joy and find friendships and relationships that are really fun, and fulfilling, and beautiful.”

It’s a future for the character that many of their fans hope to see as well. And, luckily for them all, with a talent like JP Karliak voicing the nonbinary mutant, chances are they’ll be getting just that — and so, so much more.

In a digital landscape where social media reigns supreme, few industries are as profitable — or as risky — as the influencer economy. 

Becoming an influencer has transformed from a side hobby into a legitimate profession, one that generates millions every year. And that’s putting it lightly; low estimates of profit derived from influencers in 2025 currently sit at 30 million dollars. Whether it be corporations making online celebrities a major part of their marketing or certain users getting paid thousands of dollars for a single post, it’s undeniable that influencers hold power within our often unstable economy. 

Which is why the industry’s bias against marginalized creators is so deeply unfortunate. 

The bigoted rhetoric that fills many parts of modern society has always (sadly) infected our digital world. It’s an issue that has only grown in recent years, with a combination of hateful users and predatory algorithms making it insurmountably harder for diverse influencers to find their audience online. It’s a harmful trend that continues to stifle the queer voices so many people need to hear right now, and it’s something that Carlo Lupercio fights against through his agency, Lupercio Management. 

“We represent specifically Latin as well as LGBTQIA+ creators — creators that are not traditionally represented to the full capacity,” explained Lupercio when he sat down to speak with the Los Angeles Blade. “I serve as their partner but also as their manager, and really am just amplifying and helping them achieve the goals that they want to achieve as creators.” Carlo brings a personal passion to this work; before founding this agency, he worked in influencer marketing for many well-known brands. And it was through these experiences that he learned the term that companies use to keep our communities out of the spotlight: ‘brand safe.’

“There is this stigma of some brands where what is okay for a White gay creator may not be okay for a Brown or Black creator,” Carlo explained. “As a creator, you want to be authentic. You want to show your [truest] self to the internet, because that’s the way that people will follow you…but oftentimes, a brand does not see that as ‘brand safe.’” He detailed the many times he saw this term used against queer and POC influencers, with executives using it as a method of catering to the potential anger of the hateful parts of their audiences. 

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Carlo got a firsthand look at this phenomenon and how it left many talented people without the opportunities they needed in this cutthroat industry. It made him passionate about fighting against these discriminations to create a way for influencers of any identity to have an equal shot at success — and so, Lupercio Media was born. 

Lupercio Media serves as a comprehensive resource for its clients, with each one belonging to a marginalized community (identities that would make many other agencies ignore them completely). Carlo outlined how he works daily with these creatives to understand their dreams and develop plans on how to attain them, helping them in countless ways, ranging from establishing their image to securing brand deals. But beyond these professional duties, Lupercio stressed that he also serves as a personal cheerleader for each of these diverse clients, saying, “There’s obviously the job component — but I am also their partner. I find out who they are as a person outside of [being an influencer]…when you’re working with talent, they’re still people at the end of the day. So really getting to know them personally is a huge role of mine as a manager.”

“I think it’s important for [influencers] to create content that shows who they are…because it’ll only inspire the next person,” emphasized Carlo. “It’ll open up more opportunities, and it will show brands that this is a large demographic in society that they just cannot ignore — despite everything that is going on in the world. Because LGBTQIA+ people are here. They’re present. And they are not going anywhere.”

And that is at the heart of Lupercio Media: the knowledge that managing these people not only helps their careers but also the LGBTQ+ community as a whole. Because social media is growing every single day! And queer users, especially young ones, are constantly searching for people with their identities who show them that they can succeed as their most authentic selves — even if there are many people today telling them they can’t. 

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Because of the influencer industry’s discriminatory practices, many of these folks searching for inspiration have been historically left wanting. But through Lupercio Media, Carlo works hard to not only give marginalized creatives a platform but also to make sure that everyone has someone they can look up to online. 

It may sound laughable to the many folks who still write off influencers and the power they hold. But Lupercio Media recognizes the strength of these individuals and how they can serve as true models of success for countless underserved communities today. Carlo Lupercio works tirelessly to ensure that any creator, no matter their identity, has what they need to offer their followers the representation they need — and all while securing some pretty sweet brand deals along the way.

‘Poking the Squid: What We Can Learn from Animal Sex’
By Perrin Roosevelt Ireland
c.2026, W.W. Norton
$29.99 241 pages

Birds do it.

According to Cole Porter, bees do, too, but it’s not exactly what he imagined. Wild and tame, avians, insects, and mammals all have sex – although not always as you’ve been told or for reasons you might think. Even educated fleas do it and, as in the new book, “Poking the Squid” by Perrin Roosevelt Ireland, humans can learn from them all.

If you read through scientific papers on animal reproduction, you might notice something unusual: for scientists, the word “sex” means a lot of different things.

Says Ireland, “It’s used to describe behaviors, biology, life histories, and more.”

That might be because animals are not simply binary.

Take, for instance, hyenas. It’s easy for the casual observer to mistake a male hyena for a female and vice versa because of stereotypes of anatomy. Mating, for hyenas, requires subordination for the male and a nifty trick on the part of the female’s body to get things done.

Our feathered friends are no birdbrains, either: black-browed albatrosses were once thought to be monogamous but global warming seems to have changed their nesting habits sometimes. Male flamingos have sex with one another, as a territorial thing; other birds and animals form same-sex pairs for other reasons.

The Chinese mantis eats her mate after fertilization. Female snakes, alpacas, guinea pigs, and monkeys are anatomically able to enjoy sex. Genitalia between species varies quite a bit; in fact, the vaginas of ducks “are highly complex.” Lionesses will mate up to 100 times when in heat. Female damselflies will change into a “third sex” to avoid overly aggressive mating males. Bearded dragons can change their sex, if needed, as can yellow clown goby fish. And seahorse pregnancy and birth sparked a book banning in Tennessee.

So, asks Ireland, if animals, including us, vary so much in biology and life, “… why are we using the word sex like it means something, anything, consistent?!”

Pick up “Poking the Squid,” page through it a few seconds, and you’ll see that the information here is largely told through cartoon-like drawings mixed with captions. It seems to be something on the lighter side, but don’t let that artwork fool you.

Author Perrin Roosevelt Ireland offers readers solid information that cozies up to the scholarly, with hard science, philosophy, feminism, and quotations from researchers to support it, thus furthering the narrative and hitting the points squarely. If you see the art and expect something lighthearted, comic, and small-talk-worthy, you could be disappointed.

On the other hand, if you want solid, wryly serious facts, you’re in for a treat.

There’s lots of learning to be gleaned here, and some slight nudge-wink whimsy to emphasize the absurdity of wrong-headed thinking. This can make readers feel like they’re in-the-know on the jokes, and the playfulness balances the seriousness of the information well.

So, serious, scholarly, or slightly silly, none of these are negative but you’re going to know what you want from a book like this. For the right reader, someone in the mood, “Poking the Squid” is wild.

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

If we want queer artists to succeed, then there need to be systems that support them. 

Unfortunately, providing free resources to aspiring artists hasn’t always been America’s priority. This is even more blatant for marginalized creators; while the U.S. has rarely offered artistic programs the funding they deserve, recent years have seen countless conservative attacks against most kinds of LGBTQ+ creativity. But despite these institutional and social roadblocks, queer creatives have always persisted! No matter what era of film and television we’re in, it’s heartening to watch so many creators fighting to not only make their own projects but also make it easier for other marginalized artists to do the same. 

In a city as vibrant as Los Angeles, there are luckily dozens of groups helping to platform underserved filmmakers today. These organizations fight to create a film industry where truly anyone can thrive, and nowhere is that work more visible than within the Queer Film Collective. 

Growing from a small networking group into a thriving nonprofit, the Queer Film Collective (QFC) serves as a resource hub for LGBTQ+ directors, actors, and all film and TV professionals in Los Angeles. The LA Blade spoke with QFC’s founder, Ray Taylor, about how important the group’s work is today, emphasizing how it’s more important than ever that we support the people making inclusive media possible. He spoke about the impact of this representation, the experience of trying to create LGBTQ+ films in our current political environment, and, when discussing QFC’s exciting new Summer Panel Series, how he’s excited to foster an LA film industry that gives queer filmmakers the respect they deserve. 

“We’re doing everything we can to make it so filmmakers can make their films,” explained Taylor, as he described the whirlwind process his past year with QFC has been. “The Queer Film Collective is a nonprofit that provides resources, opportunities, and education. We focus on four pillars: connect, collaborate, create, celebrate, and our main focus is making it easier for films to be made.” It’s an important mission for not only queer filmmakers but creators in general! The past few decades have seen big studios grow more reluctant to give new creatives a chance (or offer livable wages to the many workers who make their projects possible). And while recent years have shown that not only original ideas but also small creators are essential to improving the film industry, it’s been extremely disheartening to see that this hasn’t changed today. 

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Ray, an accomplished film director, spoke about how the QFC was created in opposition to this unfortunate phenomenon. He organized the group’s first official meet-up — a small get-together of only a few dozen people — as a space for folks to share advice about navigating this tenuous profession while queer. “The more I talked to people, the more I realized they wanted resources, they wanted opportunities, they wanted to get on sets,” he reminisced. “So I threw together a pitch deck, and I said, ‘All right, here’s my five-year plan. We’re going to become a nonprofit.’ And in January of this year, we got our official 501c3 status, and that five-year plan is now thrown out the window — because everything that was on it has already happened in the first six months of our being alive.”

The Queer Film Collective couldn’t have arrived at a better time because, as Taylor is quick to remind anyone who will listen, inclusive media has always been key in the fight for LGBTQ+ rights. The man stressed, “It’s really important to focus on telling these stories that allow queer people to just be seen as people — they’re just everyday people! They experience joy; they experience heartbreak…I think that it’s really important to normalize seeing queer people in media, because the more normal that you see queer people in media, the more normal you will see queer people in life.” And while we’ve been lucky to see allies create inclusive media, Taylor emphasized that it’s only by uplifting queer filmmakers that we ensure this industry continues to make media that our communities can find themselves within. 

Whether it be community meet-ups, their constantly evolving job board, or the organization’s constant spotlights on queer projects and individuals, every aspect of the QFC helps create the onscreen representation that so many people need to see. And while each of these facets is integral to the group’s work, Ray has never been more excited for the upcoming resource they’ll be providing LGBTQ+ filmmakers: The QFC Summer Panel Series. 

“I wanted an event that we get to do every year, and whatever that is, I wanted it to be impactful,” raved Taylor, as he excitedly described how he and other QFC leadership initially thought of the series. He spoke at length about the many industry professionals they’re honored to have join these panels and, in a shocking rarity for educational opportunities in film, how all of the conversations will eventually be uploaded completely free online. “The conversations that we chose this year we felt were really important because we’re starting our panel series with a whole conversation about queer joy and telling stories beyond trauma, and we’re ending our panel series on a on a panel that’s talking about how to create art in today’s political climate…all of these are hot topics right now, and I think that they need to be told. And I think not only do queer filmmakers need to hear this, but everyone needs to hear.” 

As the interview came to an end, it was obvious how ecstatic Ray was to talk about the Summer Panel Series and invite everyone reading to attend. Not just because of what an accomplishment it was — though he proudly listed off the many amazing discussions this series had in store — but what it represented for QFC as a whole. This organization was founded to empower LGBTQ+ filmmakers and help create an industry where not only can inclusive media be easily made, but the people who want to make it actually have the chance to. This panel series caps off an astounding first year of doing just that, with Taylor teasing even more to come in the next few months. 

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And as a final pitch to encourage folks to come, Ray summarized why this panel series — and all of the Queer Film Collective — is so vital: “I think that queer stories are so important to tell…and not just the ones focused on trauma or coming out! In my opinion, the most important queer stories right now are the ones focused on joy and succeeding in life, because we need to show the world — and not just the world, but also young LGBTQ+ people — that queer people are here. We’re going to survive. We’re going to keep pushing, and nothing’s going to bring us down. And so I think that queer filmmakers need to have those opportunities to tell these stories, because I think that they are so important.”

Summer Panel Series: Thu, Jul 9, 202610:59 AM  Thu, Aug 27, 2026 1:00 PM

Join the Queer Film Collective for an 8 week panel series bringing together working filmmakers, writers, and creatives for honest, practical conversations about the realities of the industry today.

No matter which generation you belong to, you have nostalgic memories of “teen comedy” movies from your adolescent years, even though you’re a little embarrassed about it today.

This is particularly true for the Gen X and Millennial crowd, who grew up with raunchy teen movies from “Fast Times at Ridgemont High” to “Porky’s” to “American Pie,” and have lived long enough to experience the shock of watching younger generations deploring them for the very raunchiness and toxic behavior that made them appealing to us in the first place.

These are exactly the type of films that are channelled in “She’s the He,” a SXSW hit and Independent Spirit Award nominee that hit VOD platforms on June 30, which strikes a nostalgic chord that conjures both the extreme “political incorrectness” and heartfelt sensitivity of the movies that inspired it – but updates the formula to add an edge that’s especially relevant in our current time.

In other words, it recreates the “raunchy teen comedy” genre through a queer eye (with a focus on the fine points of gender identity), and it’s every bit as messy, awkward, inappropriate, and “cringey” as you might hope it to be.

Written and directed by trans/nonbinary filmmaker Siobhan McCarthy, it’s a movie that might result in mixed feelings from many audiences over a story that centers on two cis-male high school seniors, Ethan (Misha Osherovich) and Alex (Nico Carney), who pretend to “come out” as trans together as a way to get close to girls.

Actually, it’s mostly Alex’s scheme to gain “access” to his crush, Sasha (Malia Pyles), and quell the rampant rumors that he and lifelong BFF Ethan are gay, reasoning that being “trans” would technically make them girls, too. It works, incredibly, in the beginning, but as a burgeoning friendship with nonbinary Forest (Tatiana Ringsby) distracts Alex from his rampant teen hormones, Ethan begins to realize that she really is trans, after all. What started out as a juvenile ploy suddenly becomes a complicated mess, and the two best friends must try to navigate their way out of it; unfortunately, Alex can’t stop scheming for sex and Ethan is struggling with the prospect of coming out to her transphobic mother (Suzanne Cryer), and needless to say, it puts a strain on their friendship. Meanwhile, there’s a whole locker room full of testosterone-charged jocks who want in on the scam themselves.

If all that sounds incredibly problematic to you, you’re not wrong – it definitely is. The entire premise, with all its nonconsensual shadiness and its hormone-driven gaslighting, seems like enough to trigger calls for “cancellation” from both sides of our divided social mediaverse; add to that the fact that the whole thing is played for laughs, as a crass and foul-mouthed sex farce about high school kids, and the movie opens itself up to an even greater level of pearl-clutching.

Like most of those teen raunch-fests of earlier generations, however, “She’s the He” is doing it all on purpose. McCarthy’s wildly “inappropriate” movie is not just some cheap sexploitation comedy, but a savagely campy assault on the attitudes and expectations of the very people that might be offended by it. 

As McCarthy says in their director’s notes for the film, “By taking conservative talking points at face value and playing out their worst fears on screen, ‘She’s the He’ seeks to undermine and defang these harmful ideas while satirizing the very media that has fueled this fear-mongering.” 

Among the most obvious “conservative talking points” their movie lampoons is the whole obsession around gender and bathrooms (it is, after all, a story about two cis males who essentially disguise themselves as trans so that they can get into the girl’s locker room), but there are a whole lot of others, too: the excessive concern over pronouns, the obsession over  genitalia, the assumption that gender identity and sexuality are somehow synonymous, the sexed-up male fantasy of what happens between girls when they’re behind closed doors – all the typical exaggerated tropes are there, and exaggerated even further for full effect. In fact, it’s the film’s not-so-subtle subversion of the “male gaze” through a queer and feminist lens that might be its most satisfying flourish, underscoring the already absurd parody provided by Alex’s single-minded (and hilariously “incel”-ish) prioritization of his sex drive above all other considerations.

Yet what really raises “She’s the He” above the level of the crude humor it deploys has nothing to do with making fun of people, nor is it even about pushing against uptight social boundaries around sexual and/or gender expression; all the irreverent zaniness is wrapped around a deeper story about friendship, love, and growth, a journey of self-discovery and finding the courage to embrace who you really are. And at the center of it is a transgender nonbinary actor in the leading role – in itself a bold challenge to rigid expectations – with not just the talent, but the grace, nuance, and bravery to play it with full authenticity. Osherovich earned a well-deserved nomination for Best Breakthrough Performance at this year’s Independent Spirit Awards, and they’re the heart of the film.

In fact, it might be McCarthy’s deliberate choice to cast their film entirely with actors who identified in some way as queer that fuels its transgressive energy and keeps it feeling “real” even when it’s at its most ludicrously excessive. They make for a great ensemble of players, but naturally there are standouts: co-star Carney (who is also a successful standup comic, known for mining his own transmasculine experience for laughs) does a great job as Alex, endearingly unconcerned and frequently clueless about his shortcomings as he single-mindedly pursues the loss of his virginity, and his chemistry with Oserovich makes them a winning pair whenever they share the screen; Cryer brings a dose of needed maturity to the mix, while also conveying the struggle of a mom trying to navigate her child’s coming out; Pyles and Ringsby both bring the intelligence and depth to undercut our expectations of their characters; comedian Aparna Nancherla earns plenty of chuckles as a teacher haplessly trying to keep up with all the changing identities (and pronoun protocols) of her students; and knowing that the school’s entire male sports team is played by transmasculine actors adds a delicious flavor to the movie’s overall parody of conventional gender presentation that helps make its climactic “locker room showdown” scene all the more hilarious.

It’s worth noting that “She’s the He” is targeted mainly for Gen Z audiences – it’s their generation’s turn to put their stamp on the genre, after all – but older audiences needn’t feel left out; there’s plenty here that should feel universal enough for any age to enjoy; and if you’re afraid it will be too extreme, rest assured: the most shocking thing about it is that it might be the sweetest teen sex comedy you’ll ever see.

Considering they’ve been making them for decades, that’s saying a lot.

Nominations for the 78th Primetime Emmy Awards are here — and they are so, so queer!

With the year we’ve seen in LGBTQ+ media, this isn’t very surprising; whether it be jaw-dropping new series or the ends of fan-favorite classics, every month offered a new project or performer for queer audiences to fall in love with. There were some pleasant surprises — and shocking snubs — with these nominations that have left the many TV fanatics in our community excited, hopeful that their favorite actor or series can take home at least one award at this year’s ceremony.

Will this be the gayest Primetime Emmy Awards that the Television Academy has ever seen? Let’s take a look at some of the biggest, absolutely queerest nominations for this year and find out!

Leading the pack (and making history) for queer television is Hacks, with the final season of this HBO Max comedy earning a massive 25 nominations — breaking Schitt’s Creek’s record for the maximum number of nominations for a comedy series’ final season! Following an established comedienne (Jean Smart) and her bisexual, thoroughly Gen Z comedy partner (Hannah Einbinder), the series has been applauded for not only its portrayals of queer identity but also for how it showcases the generational divide in a way anyone can laugh at. Smart and Einbinder are both nominated for Outstanding Lead Actress and Outstanding Supporting Actress, respectively, with their fellow performers Meg Stalter, Paul W. Downs, Kaitlin Olson, and more also earning nominations for their time on the show. These, along with the numerous nominations for Hacks’ writing, directing, and all-around production, make it one of the most nominated programs at this year’s Emmys. 

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And this isn’t the only sapphic program being celebrated at this year’s awards! When Pluribus premiered, it took the (thankfully non-hive-minded) world by storm; it follows a lesbian author (Rhea Seehorn) who becomes one of the only people left with autonomy when an alien virus takes over the Earth. Seehorn — who offers an impeccably bitter performance as protagonist Carol Sturka — is being honored with an Outstanding Lead Actress nomination, with the show itself receiving 18 nominations overall in categories ranging from Outstanding Supporting Actor to Casting for a Drama. One extremely fun, thoroughly queer fact about these nominees: the actresses behind both of Carol’s onscreen love interests, Karolina Wydra and Miriam Shor, have earned their first Emmy nominations ever due to their work on the series! 

While these queer TV shows are earning massive praise, the Emmys also made sure to honor the LGBTQ+ and ally celebrities who’ve graced our screens this year. 

When he isn’t exciting audiences all over the world in Heated Rivalry, Connor Storie was making viewers laugh on Saturday Night Live, a hosting spot which earned him a nomination for Guest Actor in a Comedy. And though Jeff Hiller (who is coming off a 2025 Emmy win for Somebody, Somewhere) has proven to be one of the best parts of new hit Widow’s Bay, it was his turn as a mind-controlled, bicycle-short-wearing drone in Pluribus that earned the openly gay actor an Outstanding Guest Actor in a Drama nomination. Along with these, the always immaculate Zendaya received a nomination for Outstanding Lead Actress for her role as queer recovering drug addict Rue in Euphoria, and long-time ally Claire Danes will be competing for Lead Actress in a Limited Series for her role as troubled lesbian writer Aggie Wiggs in The Beast in Me.  

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When it comes to scripted television, the 2026 Emmy Nominations are filled with nominations for queer performers and stories alike. But, to the shock of nobody who loves nothing more than a good confessional and shocking table flip, there was one category where queer performers absolutely dominated: Reality Television. 

The Outstanding Host for a Reality/Competition Program is one of this year’s most competitive categories — and not just because four of the five nominees are queer! The hilarious RuPaul Charles and Alan Cumming have both received nominations in this category, with their shows RuPaul’s Drag Race and The Traitors also being nominated for Best Reality Competition Program. They’re joined by lesbian heartthrob Kristen Kish, who, for the third year in a row, has been nominated for Outstanding Host right alongside her series, Top Chef, for Best Reality Program!

And, finally, making her debut in the world of Emmy nominations is Ariana Madix, who just earned her first nomination for Outstanding Host thanks to her work on Love Island USA! An alum of reality TV herself, her guiding sexy singles along the path to love has helped this reality series take the country by storm. An openly bisexual host — who has stated that she wants her own show to be more queer — she joins this amazing group of leaders helping to innovate this genre today. 

While these are some of the biggest LGBTQ+ nominees at this year’s Emmys, they don’t include the countless queerr editors, writers, costume designers, and more who have also been nominated in the ceremony’s 100+ categories. They all deserve a huge round of applause for their tireless work this year, and each of them should remember that they’ve each won just by being nominated.

And even if they don’t take home that illustrious trophy, in the words of a particular Queen of Drag who’s nominated for Outstanding Reality Host, always remember: losing is the new winning!

You can watch the 78th Primetime Emmy Awards on Monday, September 14, 2026, at 5:00 pm PST (8:00 pm EST) on NBC and Peacock.

Prince Joshua is back! The two-time winner of the Los Angeles Blade Reader’s Choice Award for Local Music Artist of the Year, as well as reigning Go-Go Madness Champion in West Hollywood, returns with his new mixtape, Prince of the BLVD. A celebration of confidence, ambition, perseverance, and self-discovery — the eight-track album released worldwide on June 1, 2026. 

Prince Of The BLVD takes listeners on Prince Joshua’s personal journey from performing for his family at a young age to encouragement from his father that he could achieve anything he was willing to work hard for.

“Prince of the BLVD is about carrying yourself like royalty. It’s about discovering what makes you special, putting that energy into your passions, and creating a life you’re proud of while being unapologetically yourself. Every song represents a chapter of that journey.” — Prince Joshua. 

As an added bonus for fans, the music video for “GOGO BOY”, the sixth track off Prince of the BLVD, was released on June 10, 2026. The video was filmed at EDYN, Prince Joshua’s weekly party at The Abbey in West Hollywood. In the video, he combines his passion for music, dance, and live performance. Prince Joshua has opened up to Los Angeles Blade to give us more insight into Prince of the BLVD, his state-of-mind while creating the album, what makes it different than his previous albums, how he balances his love for dancing in nightlife with being a recording artist, and more: 

What was the inspiration for this album? And how does it differ from your other bodies of work? 

In Prince of the BLVD, I have a few moments where I slow things down a bit from my hype club banger sound and allow you into the book of Joshua, where I paint the picture with my lyrics that I’ve always been a star, from performing for my family in my living room to being on stage at Weho Pride. In “MOMENT IN TIME” and “DROPPIN HEAT,” I explain why I believe in myself and what kind of mindset I have by being unapologetically myself, working hard for my dreams, and always getting back up when life gets hard. I’ve always been a hard worker and someone who wants to be amazing in everything I do. My track “FULL TIME SLAYER” dives into this mindset of working hard for what you want and always giving it your all. My track “GOGO BOY” was made to have a go-go boy anthem since I always hear songs of dancers and women and never one about the guys, so I created one to pay homage to all the go-go boys out there to applaud them and thank them for being the ones who energize every party. 

What’s your creative process when building an album? Was there anything that you changed for this album? If so, why? 

I really just get inspired randomly. I love to smoke a joint before listening to beats to come up with new songs. Sometimes I’ll be in the shower or sleeping and have an idea, or a couple of lines or bars will come out, and I’ll immediately write them down because I don’t want to forget what comes to me naturally. I don’t like to force my songs; I really just enjoy having fun and speaking of my own experiences and turning them into a musical memory. 

What track did you enjoy working on the most?

I have so much love for my song “MOMENT IN TIME” because before my Papa passed, he told me I could be anything I believed if I worked hard. I include his words of wisdom to share this with anyone who grew up in a family being the black sheep, and in a city where you felt you didn’t belong. You are worthy and capable of achieving anything. I went from potato fields to Hollywood stages. It took a lot of growth, traveling, and hard work, but I created a life for myself that I only ever dreamed of as a little boy. The song takes you on a journey through my life through lyrics. I was most insecure about sharing this song, and yet it’s one that I’ve gotten the most good feedback about. Sometimes it’s okay to open up, and I’m glad it’s been received well by my listeners. 

How is it balancing your passion for music and performing with working as a dancer in nightlife?

I’m often trying to brand myself as a music artist, not just a go-go, which can be difficult after winning various go-go competitions. I’m proud of every title I’ve earned and think it’s time for us go-go boys to show everyone we are capable of so much more than being an accent piece to a party. We can command the stage and evolve into artists, performers, and party producers. I love that I get to blend my love for dance and music at my weekly party EDYN at the Abbey in Weho. It’s a magical feeling when you get to pursue your passions and combine them to make an immersive experience for our community. 

Has there been any negative bias associated with dancing in nightlife? If so, how has that made it more difficult for you?

While there may be some negative bias or stigma about being a go-go boy and working in nightlife, as I say in my song “FULL TIME SLAYER”: “ I do what I do, wannabe in my shoes. Living my truth, never think of you. Do it for who, ain’t nothing to prove.” I am who I am, and I come from an experience no other person has. A lion does not concern itself with the opinion of sheep. What I do makes me unique from the blending of go-go boy, music artist, and party producer. I think that due to my experience, I am more than qualified to be doing what I’m doing. I know my work will speak for itself, and people will see how much effort I put into my art, being an independent self-funded artist who uses the tips put in my underwear to afford studio sessions and music video productions that I write and direct myself.

In your opinion, how has nightlife changed as you as a dancer? As a musical artist? 

The first time I saw a go-go dancer, I was at a rave I had snuck into at 17, and I was in awe. I knew I wanted to be up there one day, and when I turned 20, I found the opportunity. I fell in love with the stage as a kid, from acting to doing competitive cheerleading, but dancing for the LGBTQ community was where everything felt aligned. Once I moved to Hollywood, it really began to change the way I dance, and I continued evolving to where I wanted to create my own music I could dance to. I’m so influenced and inspired by my own experience as a gay man living in West Hollywood, and I want others to be able to see themselves in music when we only have a limited amount of gay male artists, especially in the hip hop genre. 

As an LGBTQ recording artist, what challenges have you faced within the industry?

I definitely feel as though my content is censored on various platforms. I’ve even had my TikTok wrongfully deleted before due to trolls bullying me. It’s something I’m constantly trying to navigate and find a way to “win over the algorithm” while still being true to myself. I will always be unapologetically and genuinely myself, no matter how I decide to portray that in my art. I think our own community can be more critical when we see one another making music or getting new opportunities and I encourage everyone to clap for others because the more queer people that succeed in this industry, the more space we’ll be able to take up and connect through music.

What’s the overall message that you want to convey with this album? 

PRINCE Of The BLVD is about living in a royal mindset, no matter what your beginnings looked like, and chasing your dreams by working hard with tenacity and believing in your own worth. I want others to walk away inspired to live life for themselves, not anyone else, and to allow themselves to be the confident bad bitch you want to be. 

Prince of the BLVD is available now on all streaming platforms. Stream here.

You can also stay up-to-date with Prince Joshua through his Instagram, where he gives fans a closer look at his music and nightlife. 

Uncloseted Media published this interview on July 7.

By SPENCER MACNAUGHTON, ISABEL STOKES, and BELLA SAYEGH | After appearing on the 11th season of “RuPaul’s Drag Race,” the first season of “Canada’s Drag Race: Canada vs. the World,” the sixth season of “RuPaul’s All Stars” and now the 11th season of “All Stars,” Silky Nutmeg Ganache, known by many as the Reverend, is undoubtedly a legend.

Born and raised in Moss Point, Miss., Ganache bears all in this episode of “UNCLOSETED with Spencer Macnaughton.” She speaks about her relationship with gender, her 100-pound weight loss, what it’s like living as a queer person of color in a red state and why she’s calling on allies to stand up for the trans community.

Andreas Wessel-Therhorn has gotten a rare front-row seat to the endless changes in the animation industry.

From breaking onto the scene in the ’90s through films like The Thief and the Cobbler and A Goofy Movie, to working on rare contemporary films with hand-drawn animation like Mary Poppins Returns and Space Jam: A New Legacy, Wessel-Therhorn has seen work dry up for the artists he grew up dreaming of working alongside.

“It’s a real shame that knowledge is getting lost,” he tells The Blade. “We’re all at the point where we’re either close to retirement or are in retirement already, or people move to other fields. I wonder where this knowledge is going to go.”

With Disney continuing to pump out sequels like Toy Story 5, and the uncertain road ahead with the emergence of AI, Wessel-Therhorn spoke with The Blade about his decades working in entertainment, how he has been able to pivot and continue finding work over the years, and his thoughts on Pixar cutting queer storylines in films like Elio. This interview has been edited and condensed.

What drew you to working in animation, and what are some of your most prominent projects?

As a kid, I was always a big fan of the Disney classics – and by that, I mean the really old ones like Bambi and Cinderella! I always wanted to be a part of that. It was sort of a childhood dream that eventually became a reality, and for some years was quite thrilling. Now, I wasn’t a big natural talent at drawing; it was really something I had to learn. I was lucky that when I was ready, there was a big demand for people who wanted to do hand-drawn animation. I started on a movie called The Thief and the Cobbler in London, then A Goofy Movie in Paris. Then there was a general shift to go to America, as most companies were relocating. Eventually, I got an interview with Disney in London and was offered a job. I came over here for Hercules in 1996, and I worked on Tarzan, Fantasia 2000 and The Emperor’s Groove. Then I moved over to Disneytoon Studios, where I supervised animation on Tarzan II and The Little Mermaid: Ariel’s Beginning. Apart from Disney, I went outside and worked on Looney Tunes: Back in Action, both Space Jam movies, Tom and Jerry movies, and a bunch of commercials.

I grew up watching many of those, so it’s really cool to hear your credits. You were one of the last ink and paper illustrators and got to see the transition to 3D animation and digital. How did that impact the work you were doing? Were you able to pivot?

This is just my impression — when the studio pivoted to CGI, they did not do a great job of preparing or training us as they did at DreamWorks. It was pretty much learn on your own time, if you have any. I got into this because of hand-drawn animation, and it took me long enough to learn how to draw, so I want to stick with that. That’s my love. For a long time afterward, there was still enough work for me because while there was not as much work around, there was also a smaller pool of people. For quite a few years, I was doing quite well with independent stuff, working on union and non-union stuff, whatever came along. It’s only really in the last two to three years that it has dried up completely. 2D work is usually sent out to either Canada or Europe. Suddenly, a lot of us who were hanging on by our fingernails are suddenly faced with the reality that there’s not enough work around. I pivoted a little bit to book illustrations and did quite a few of those. Thankfully, I’m not at the start of my career but sort of at the tail end. Now I want to concentrate on mentoring and doing my own short films.

It’s a shame because character animation of the kind Disney, DreamWorks and other smaller studios did is the one true American art form. Animation is done all over the world, but that kind of character animation was absolutely unique to the United States. It’s a real shame that knowledge is getting lost. We’re all at the point where we’re either close to retirement or are in retirement already, or people move to other fields. I wonder where this knowledge is going to go.

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I saw the director of Hoppers post some of the early hand-drawn footage, and it looked really beautiful. People were commenting online, wondering why the movie wasn’t done in 2D.

Even some of the main supervising animators at Disney who were kept on were basically doing experimental or guide animation for the CG animators — their actual drawings never saw the light of day. For a while, it was good for them because they kept their paycheck. Artistically, it must have been utterly depressing to do stuff that no one is ever going to see.

For 2018’s Mary Poppins Returns, which you worked on, Disney had to bring back many hand-drawn artists for the animated sequence. What was that experience like?

A lot of friends from the industry, we were suddenly back in one room. There’s the sound of people flipping paper all day. The director, Rob Marshall, insisted that the piece of animation would be hand-drawn to match the original. We had a young character designer with an updated, modern version of the characters.

Were you surprised when you got the call and heard they were asking for hand-drawn animation after all these years?

Pleasantly surprised, I would say. I’m sure someone suggested going the CGI route. It has a different kind of charm to CGI. It’s a great sequence in the movie. I was a bit skeptical at first, thinking “how can you follow up Mary Poppins?”

What has your experience been navigating the animation space as a queer person? 

I always had a pretty good time, I have to say. I hardly ever ran into problems, certainly not with management, because there were a lot of queer people in management, especially at Disney. I heard it was quite different in the ’80s, but not in the ’90s; [when I started], it was a very open and welcoming situation there. It’s a very odd mix of people who get drawn into animation. Most gay guys I know worked in production, but not in animation itself. We have a few exceptions, of course, but there was this weird mix of very liberal and religious people.

What I’m missing, unfortunately, is a lot more gay-themed animation. You may have seen that piece from the boss [Pete Docter] at Pixar, which was a ridiculous statement, to be honest, because the kid in Elio would have had a few certain traits from which you may infer he’s gay later. To put that out there and say “we cut the storyline” is ridiculous. I did two short films based on a German gay comic artist, and they did quite well in animation festivals. But even then, they often only did well in gay festivals. It still seems to be put into a certain corner. A few years ago, there was this really sweet CGI short by two young people called In a Heartbeat, which I loved! It not only should have had a nomination; in my book, it would have won, and it didn’t get nominated.

What did you think of the Oscar-nominated animated shorts this year and the winner, The Girl Who Cried Pearls?

Well, it wasn’t my winner. All five had merit and, in the end, it comes down to personal taste and what people like the best — of the people who actually watch them. Especially with features, so many people ask their kids what they would vote for, which explains some of the choices.

As we’ve been talking about your career and you look back on films you’ve been part of, what work are you most proud of?

I loved working on Tarzan because I worked on the mom character. Many mother characters in Disney movies are usually dead already! I was able to use personal experience from things my mom used to do. Sometimes the movie doesn’t turn out to be a big hit, but it was great fun working on Looney Tunes: Back in Action. The live-action was so poor, though, that it didn’t do very well.

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You mentioned wanting to mentor younger animators. What are you hoping to teach, and why are you focused on mentorship at this point in your career?

There’s knowledge I got from other people that I want to impart so it doesn’t go away. There are people interested! Studying animation, or anything, is so expensive in this country. If I can help someone for free and they get something out of it, it’s [for the] better. I never understood the college system here, as opposed to what was in Germany. When I finished school and went to study design, that’s all I was doing 100% of the time. Apart from art history, that was it; everything was practical. Whereas here, students spend at least 50% of their time redoing the stuff they’re supposed to know already. They’re taking English and geography again, which is ridiculous, and then they hardly have any time to learn what they’re there to learn. Sometimes I look over student portfolios; they’re in their final year, and I have a hard time finding anything that qualifies them for working in the industry.

There’s so much information now available on the internet. It’s just there — tutorials, all kinds of helpful things to reference, all the stuff you used to have to go to the library for. There’s really no need to spend tens of thousands of dollars going to college. You can do it yourself if that’s what you want to do.

I don’t work in animation, but I can vouch for the mentors who have helped shape me as a writer. I’m sure people would be lucky to learn from you and all your experience, so it’s great you want to pass down that knowledge.

When I started out, I had a graphic design mentor who later became a production designer on Mulan and other Disney movies. He was really brutal with his comments on my first portfolio. I mean, I almost gave up the whole thing! But it was so important for me to hear that. From your friends and your parents, “Oh, that looks great! You’re really good,” until a professor tells you, “Start again; none of this is usable.” That’s the crux — when you continue at that point and work through it. 

As we wrap up, is there anything else you want to say, or anything on your mind about the current state of animation?

Going back to movies that were actually good, did you see Nimona?

I need to see that!

That was a feature with a very queer storyline that didn’t get much attention, especially from the right-wingers, because it wasn’t Disney. If it’s Disney, they jump on it — the slightest whiff of something queer, and they go crazy. The two main guys in Nimona are a couple, which makes story sense because at one point they become adversaries; since they also share a love, it makes it that much more poignant and makes the stakes higher.

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There are many documentaries that uncover forgotten history. Far fewer remind us that history was never really gone; it just wasn’t being told. Corps Man is unquestionably in the latter of the two, following Navy corpsman Dave Lara, whose extraordinary life spans the Vietnam War, surviving an abusive childhood, serving on the front lines, and quietly building a chosen family of gay servicemen during a time when simply existing could end his military career.

Lara has the rare ability to recount for us unimaginable experiences with equal parts candor, humor, and a keenly clear-eyed perspective. In our conversation, Lara reflects on finding “The Group,” the brotherhood that saved his life, why serving as a corpsman remains to this day the greatest honor of his life, and why, nearly 80 years on, he hopes his story not only preserves the past but helps create a few more allies for the future.

What was your initial reaction when you were told that someone wanted to tell your story in a documentary?

Not surprised. You see, I have been quietly lobbying for something like this to happen. I joined a veterans organization that centered on writing and media industries when I came to Los Angeles. These groups started with returning vets who served in the Afghanistan and Iraq wars and who wanted to break into the movie/TV/writers industry. I’m a writer and knew they would hear my journey, and someone would want to do something larger with my story than I was capable of.

Before serving in Vietnam, what was your life like in your younger years? What led you to become a Navy corpsman?

I was born into a very poor family in Northern California farm country. We moved to Los Angeles when I was 7 years old. My father was abusive, and he realized that I was gay when I was around 9 years old. He began to beat me and made me work in his handyman company, sometimes leaving me at a work site until late at night, without food. 

At 13, he tried to kill me. In those days, it was normal for a father to hit their children, hell, their wives too. So reporting him was useless. But my mother kicked him out of the house, and that ended the beatings. 

Again, we were very poor, and without health insurance, my mother died of congestive heart failure at 48 years old. My older sister had already left the house to get married. My father came and took my little brother, and I was left alone. So I joined the Navy at 17 years old after getting the LA courts to declare me emancipated.

What did it mean to serve as a corpsman during the Vietnam War?

I have a simple answer, and it may sound like a canned speech, but I am sincere when I say it was an honor. With the training I received, I was able to help save men’s lives. To ease their pain or to be present when they died. To say that it was difficult to have men die in my hands is an understatement, and I have no words to describe the pain of those experiences. But I know that I performed my duty. And speaking for every Corpsman who served in Vietnam, our work was the most important thing we have ever done in all of our collective lives.

The film explores the close bond among your fellow service members, known as “The Group.” What fortified these friendships?

This was pre-Stonewall, so our community was nonexistent. But I knew I needed to have contact with others like me. So I began to look for my “sisters”. I found them at the aid station and aboard the ship. I managed to get both groups together in Hong Kong and Singapore, as well as China Beach in Da Nang, Vietnam. When we first got together in Hong Kong, we rented a double suite at the Hong Kong Hilton and spent the whole night talking. It was the first time any of us had known our own kind, and we bonded in friendship. It was there that we called ourselves The Group, after a novel written by Mary McCarthy and a subsequent movie. The movie had just come out and followed the novel’s storyline about a group of Vaser girls who meet and form a lasting friendship. It follows their lives from there into adulthood. It’s a campy sort of movie, and we’d all seen it. Basically, the story’s themes are sexism, job discrimination, and troubles with men. And those themes resonated with us. 

You see, at that time, there was no tribe of LGBT+ people. We didn’t even know that our love was valid. It’s hard for modern gays to understand that, but we had to start formulating and actualizing ourselves from scratch. And The Group was our starting point for shedding the self-loathing that had been drummed into our heads by society.

As a gay man serving during that time, what was the reality of having to conceal this essential part of your identity?

You hear the saying “Band of Brothers” as it relates to men who fight in war. I think it started during WWII. This Band of Brothers is men who have similar backgrounds as you: wives, children, manly jobs, drinking buddies. The term came about because you could depend on these men to help you get through the worst that war throws at you. They help each other psychologically and physically to persevere. Well, gay men didn’t have a Band. I did not start The Group to create my Band of Brothers, but as it turns out, that is exactly what we were doing. 

It’s true we had to conceal our true selves, but it didn’t stop each of us from buying Zippo lighters and having them engraved with the words “The Group”. My memoir, Zippo Boys, is about us and our experiences. We saw war at its worst, and I know I would be dead without my Group.

How did balancing your military responsibilities with the need to hide who you were affect you?

A reality in war is that you need bodies in the field (that metaphor is intentional). So on the ship, I am pretty sure command knew about The Group, but because we were doing such vital work, they chose to ignore our existence. If you did something overt, well, that would get you in trouble. But if you kept your head down and did not “fraternize” with your fellow sailors, then you were pretty much left alone. 

It was when you got stateside that the witch hunts started getting after us. No matter what you did in the war, they still hated us to the point of ignoring honorable service in Vietnam. 

Looking back, do you think your fellow service members knew more about you than you realized at the time?

Not really. You know, being in the military, you pretty much are at work all the time. It’s just not something that you think about whether someone is gay, or a racist or a religious fundamentalist. Believe it when I say that being in the military, you become a professional and an adult. Oh, sure, there’s the exception, but really, it was just a bunch of people working with a very mixed group from all over the U.S. It was the politicians who set up the homophobic rules dictating our removal. For the men and women in uniform just trying to do their job, that’s all they were concerned with.

Was there anything about revisiting your memories for the documentary that took you by surprise?

No. I’ve been formulating my story for the world to hear. I know that sounds grandiose, but I want the world to know what it was like for one person to grow up gay in a world that deems our existence wrong. A friend I’ve known for a long time said he was proud of my accomplishments on hearing about the documentary. I told him, “I don’t think I accomplished anything other than lived a life.” I’m almost 80, so that’s a lot of life.

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Were there stories or moments that were particularly difficult to share on camera?

Only when I talk about men dying and losing contact with my friends, The Group.

What do you hope young queer folks take away from your story? Additionally, what do you hope current service people take away?

I don’t think young queer folks much care about the past experience of our community. That’s not a diss. The world is better for them now, so they don’t have to think about the past struggle. 

But they will come up against the realities of discrimination, especially with the current power structure. They will find their battles soon enough, and I am confident that when pushed, they will rise up and fight for their rights as we did. 

For my service brothers and sisters, I hope what my story does is to get them the respect for their service that they deserve. 

Fundamentally, that is my goal with all of this I am doing.

How do you think public attitudes toward LGBTQ+ service people have changed since your time in uniform?

I don’t want to limit this question to uniformed LGBT+ military people. For us in general, you have the answer already: marriage equality, being able to serve as an LGB person in the military, adoption, and the ability to work openly. This shows that we made amazing progress. And there is a cadre of straight people whom we now call allies, because they want to lend their voice to our cause. 

We just lost the T of that equation. This has happened in the military, but also public thinking is turning against our Trans members. So it’s up to us to continue to fight back and get them back into our fold. 

You know society thinks of us as one entity, “the queers.” But we are not a “third” sex. We are a group of humans whose lives are normal, and we have been around throughout human existence. We have always been part of the world, and there is nothing they can do to erase us.

After audiences watch CORPS MAN, what conversation do you hope it inspires?

My hope is that we gain more allies. Maybe not overt allies that champion our cause like Christopher Sanders, the Director/Producer of the documentary, or Ty Woodson, who is part of KLCS Public Broadcasting and championed the documentary with Fireheart Entertainment’s Jeffrey Michael Deary for funding. But to reach people. And maybe they will become, in their mind and in their heart, our allies. If my story does that, well, that would be a lot.

What is the one thing you hope folks remember about your story?

It may sound like I am bitter about my service to my country, but really, my time in Vietnam and the Navy was the best time of my life. The United States Navy gave me so much more than it took away. 

You see, I received a General Discharge under less-than-honorable conditions. The witch hunt caught up with me. But I’m glad I served. And The Group? I so love them and think of them often. I would have never had them as my friends if it weren’t for the Navy.

CORPS MAN is available to stream nationally on PBS.org or through the PBS app on your smart TV: https://www.pbs.org/video/corps-man-lgdmoe/