The recently released Weapons is already being lauded as the scariest film of 2025.

Directed by Zach Cregger, this story about an entire class of third graders running away is a twisty tale of dark magic, visceral bloodshed, and unnerving women (who gay men are already labelling as icons). The movie’s trailers are filled with uncanny imagery, yet one of these clips never fails to unsettle: a woman’s blood-caked face slamming through a wooden door, desperately trying to tear apart the young boy within. That woman is Mrs. Lilly, and when actress Callie Schuttera isn’t trying to massacre children onscreen, she’s working with her wife to uplift LGBTQ+ stories today. 

The Los Angeles Blade sat down with the performer to discuss her role in Weapons and how much LGBTQ+ horror fans have been loving the film since its release — not only for its inclusion of non-straight characters, but the many “bad women” that fill its plot. The performer was thrilled to be in the latter category; Mrs. Lilly is the mother of the only child not to run away, who only gets a few speaking scenes before transforming into a bloodthirsty puppet. When asked her approach to portraying a character that oscillates wildly between maternal and murderous, Schuttera explained, “It was important to show what our family looked like before the outside influence came in…that maybe we weren’t a perfect family, but a normal [one], and we loved each other.”

She spent a majority of the conversation gushing about her place in the film, particularly how much Mrs. Lilly’s wanton violence has been terrifying everyone watching. “I think it’s because it subverts that motherly expectation,” she remarked, on why your average (and usually non-Queer) viewer is so disturbed by villainous mothers. “We expect comfort and nurture from mom. To see the opposite than what we expect, it really messes with our heads.” She continued about how much she appreciated this role, not just because it let her become her most gruesome self, but for how it offers an exceptional model of ‘casual Queerness.’

“My favorite part about [Weapons] is that we are showing Queer characters without having to explain or justify their queerness — they can just be [who they are]!” She exclaimed, when breaking down the film’s non-straight storylines and what she hopes they mean for the future of horror. “I think for so long, [horror has] cornered LGBTQ stories into this trauma box. That if we’re going to tell a story of Gay and Queer people, it has to come with heartbreak…I think one of the keys to integrating ‘us Gays’ into society fully is [making it clear that] we are just doing normal things.” It’s a type of casual representation that LGBTQ+ creators have spent the past few decades pushing for, and while Schuttera helps the cause through her acting roles, she went an extra step further in the fight for inclusion: she started her own production company.

Co-founded by Schuttera and her partner, Gabriela Ledesma, Poison Pictures works with the ‘best up-and-coming filmmakers in LA and around the world to create high-quality products from start to finish.’ When asked why her and Gabriela felt the need to start the production company, Schuttera explained, “If you want to make original stories, that is the best way to refine your skills and learn the industry — especially if you want to be part of producing your own work, and not just handing it over to someone else.” 

Whether it’s the couple’s own projects or various TV commercials, Poison Pictures has quickly proven itself to be one of the best resources for indie creators — and it couldn’t exist at a better time. Because while Schuttera is happy to have an avenue to tell truly authentic stories, she recognizes that artistic creation free from discrimination is a right that people are being denied now more than ever. And that, with discriminatory groups and prejudiced politicians feeling emboldened to share their hateful rhetoric, it’s becoming scarier for Queer people to tell their stories without fear of backlash today.

This unfortunate truth is what makes Schuttera so grateful not only for her company, but for how her role in Weapons can help other artists realize that their dreams aren’t impossible. This is the mission that drives her through every project —  whether she’s onscreen or behind the camera — and it’s why she works so hard to make it easier for Queer filmmakers to access the resources and support they need. When asked to finish the interview with some advice for those LGBTQ+ creators who are afraid to tell their stories right now, she said, “Don’t be afraid to keep running at the problem. Don’t be afraid to keep having conversations. Don’t be afraid to stake your worth.”

“Because when you show up for yourself, all those people who have a certain idea about you, they’re going to learn. You’re going to educate them by standing up for yourself and showing them how to treat you.”

On Thursday, August 28th, 6 pm at the Abbey in West Hollywood, the business, political, and entertainment community will come together to celebrate queer joy and the cannabis culture for “Loud and Proud.” The event is free.

The connection between cannabis and the LGBTQIA+ community is rooted in activism, care, and survival. During the height of the AIDS crisis in the 1980s and ’90s, queer activists and allies fought to decriminalize and legalize medical cannabis as a vital tool for pain relief, appetite stimulation, and quality of life for those living with HIV/AIDS. Figures like Brownie Mary and Dennis Peron risked arrest to provide cannabis to patients, sparking the movement that led to California’s Proposition 215 — the first law in the U.S. legalizing medical marijuana.

This evening will also celebrate the “Loud & Proud” digital docuseries produced by
Culture Machine, in collaboration with The Last Prisoner Project, spotlighting the intersection
of queer identity, activism, and cannabis culture — celebrating joy as resistance and honoring the communities that built the movement. Featuring prominent voices such as Laganja
Estranja, Jorgeous, Justin Simien, Luke Anderson, and other leaders in the space, “Loud &
Proud” blends history, storytelling, and cultural commentary to highlight how cannabis has been used as a tool for healing, protest, and liberation.

This event at The Abbey brings that mission to life, with live performances, a panel discussion, and a community gathering, to celebrate the past, uplift the present, and inspire the future of cannabis justice.

The evening will feature live performances by Maris and S.I.A.T. Los Angeles Blade publisher Alexander Rodriguez will moderate the evening and feature panelists Andrés Rigal (co-founder of Green Qween), Maha Haq (cannabis educator, consultant, and activist, founder of UCLA’s Cannaclub, Head Coach for Social Equity Development at the LA Department of Cannabis Regulation), Vanessa Oliver (CEO of Cloud9 Studios and founder of the Cannabis Wedding Expo), and West Hollywood City Councilman John Erickson.

The event is FREE, RSVP HERE.

“Loud and Proud,” Thursday, August 28th, 6 – 9 pm,

The Abbey: 692 N ROBERTSON BLVD, WEST HOLLYWOOD

For more than two decades, Andrés Rigal has been a fixture in Los Angeles’s LGBTQ nightlife scene, pioneering a diverse portfolio of events from EVITA to Summertramp and DTLA Proud. But recently, the nightlife mogul expanded his business holdings by launching Green Qween, LA’s first cannabis retailer dedicated to serving the LGBTQ+ community.

Green Qween officially launched in 2022 as a partnership between Rigal and Taylor Bazley with its first location in DTLA. After overwhelming success, it has expanded to a new location in the heart of West Hollywood at San Vicente and Santa Monica, in partnership with “CEO of Everything Gay” Tristan Schukraft.

With Rigal set to be a featured panelist at Loud & Proud, an event celebrating the same-titled digital docuseries about the history of the queer cannabis community at the Abbey on Aug. 28, and presented by the Los Angeles Blade, Culture Machine, and the Last Prisoner Project, we spoke with Rigal about the challenges and opportunities that come with being a queer retail pioneer.

(This interview has been edited for brevity.)

Blade: How did your background in queer nightlife prepare you for the cannabis retail business?

Andrés Rigal: For more than 20 years, I’ve had the privilege of producing queer nightlife in Los Angeles, always with the community at the heart of every brand I create. My focus has always been on creating spaces that celebrate the full spectrum of our vibrant, multifaceted LGBTQ+ community. 

Early on, I recognized a gap. So much of queer nightlife felt exclusive, catering to narrow circles instead of embracing our diversity. That realization became my mission: to break down silos and create events where every corner of the LGBTQ+ family feels seen, celebrated, and invited to the party.

At Green Qween, we’ve centered the queer community in every aspect of our brand. Proceeds go directly to local queer-led nonprofits, ensuring our success supports the community that laid the foundation for this industry.

For me, entrepreneurship is about more than building businesses. It’s about creating platforms that amplify voices, foster inclusivity, and celebrate the diversity that makes our community so extraordinary.

Blade: Why do you think it’s important to have an LGBTQ-focused cannabis store? What does Green Qween provide that other cannabis retailers don’t?

Rigal: To open Green Qween WeHo, we had to first transfer our cannabis license from a previous address to our current location. This meant we had to make our case for the transfer in front of the West Hollywood Business License Commission. That night we had more than 30 people from the community show up and speak on our behalf, something the commission said was unprecedented. Community members shared personal stories about the importance of seeing queer and trans employees at the DTLA store, and why queer representation matters even when shopping for cannabis. The commission then voted unanimously to approve our license transfer and said Green Qween would be “a net positive for the community.” 

At Green Qween, we invest in our community with the intention that the community’s success is an indication of our success.

Blade: How has business at the new location in Weho been going? How does the store experience compare to the downtown location?

Rigal: Green Qween WeHo is a runaway hit. Before we opened, people were clamoring to know when our grand opening would take place. Now that we’re open, it’s been non-stop. People love our friendly and knowledgeable staff, the delicious interior design and, of course, the five-foot disco ball that sparkles day and night.

The WeHo experience is similar to our downtown location. Although the color palette of the stores are slightly different, you know it’s a Green Qween when you walk in. In DTLA you get the same amazing service, the top selection of cannabis, and our stunning post-modern design with an enormous, shimmering disco ball. Our DTLA store is an icon while our new WeHo store points toward the future.

Blade: How do you see cannabis culture intersecting with queer identity/community? Do queer people have a special connection to cannabis?

Rigal: The LGBTQ+ community significantly shapes pop culture, and this includes the intersection of cannabis culture. LGBTQ+ activists created the medical market in California during the HIV/AIDS epidemic of the ‘80s and ‘90s. Since then, we’ve been pushed out of the industry, which is one of the reasons we’re here to take up space and reclaim our legacy.

Blade: How have you seen the queer community’s relationship to cannabis change or evolve over your time as a figure in the community?

Rigal: I’ve seen the queer community embrace cannabis more over time, especially as stigma is reduced and it becomes more mainstream. People turn to cannabis for so many reasons, including medical, recreational, spiritual, and even as a more mindful alternative to alcohol. Cannabis truly is plant medicine and can help people just as much as it can facilitate a good time.

Blade: What are you planning to discuss at the Loud and Proud panel? What do you want people to take away from it?

Rigal: At the Loud and Proud panel, we’ll cover nightlife and cannabis in the queer community. I hope people will take away a feeling of pride in our community’s contribution to cannabis culture and a sense of ownership to further steward a future of plant medicine that honors this history.

(Green Qween is located at 802 N. San Vicente Blvd in West Hollywood. “Loud and Proud: Tracing the Smoke Back to Its Source” will take place at the Abbey, 692 N. Robertson Blvd. on Aug. 28 from 6-9 p.m.) 

There’s subversive theater, and then there’s the visually intoxicating whirlwind that is & Juliet. A re-imagining of Romeo & Juliet, this jukebox musical envisions what would’ve happened if Shakespeare’s young heroine hadn’t joined her love in an early grave. Shirking its inspiration’s problematic themes, it sees Juliet embark on a colorful journey of self-discovery (while belting out some of the best pop songs of this century).

The show has earned international acclaim since its premiere in 2019, with thousands of fans delighting not only in & Juliet’s music but also in its portrayal of something that is unfortunately rare nowadays: healthy, non-tokenizing LGBTQ+ representation. The LA Blade caught up with the cast of & Juliet’s North American tour during their stop in Los Angeles and learned how they feel sharing this kind of show all over the U.S. — and what they hope it means for the future of musical theater as a whole. 

& Juliet finds its Queer voice in the character of May, Juliet’s non-binary best friend. The plot sees May join the young woman’s liberating adventure, not only supporting her but finding out more about themself as they absolutely conquer Britney Spears classics and fall in love with the timid Francois. May’s performer, Nick Drake (who identifies as non-binary in real life), summed up what this role means to them in one phrase: “I have the greatest job in the entire world.”

They raved about how important it feels to bring this character to audiences all across the United States, exclaiming, “To share the [message] that queer people not only exist, but deserve the same amount of love and passion that everybody else [receives] every single day…that is such a great, great gift.” It was a sentiment that their co-star, Kathryn Allison (who plays Juliet’s put-upon caretaker Angélique) shared, adding how this has been especially valuable when performing in conservative states. Knowing that so many viewers will be returning to non-supportive homes, she says, “I think people being able to see themselves represented in the show…it’s really powerful. To make sure that they know that they’re not alone, right? We really provide a safe space for [them] to be themselves, when maybe in their own communities they can’t be at the moment.”

These performers work hard to leave their audience with a sense of belonging, something that is felt in every scene of & Juliet; the story sees Juliet struggle to find herself in a rigid society where people refuse to understand her. Luckily, with people like May and Angélique, she finds comfort in a chosen family like no other, with each jaw-dropping performance bringing her new people to cherish and new spaces to be her most authentic self in. It’s a comforting narrative that, during a time when discriminatory politicians and hate groups are becoming more vocal, audiences need to hear more than ever. But this cast isn’t willing to let the musical’s message end just because they take their final bow. They imagine a future where musicals offer nuanced LGBTQ+ characters that any viewer can really learn from — not just quirky sidekicks good for a few laughs. 

One of this cast’s biggest advocates for inclusion is & Juliet’s leading lady herself, Rachel Webb. She doesn’t take her role as Juliet lightly and is proud of the massive work this show does for Queer representation, saying, “I’m really grateful [for] what & Juliet does with May; they’re not just the funny best friend. They have their own storyline, and they have their own “falling in love” story.” When asked what she hopes for the future of representation in musical theater, she continues, “I think I would love to see more trans voices in the writing rooms. I would love to see more trans voices on stage, [and in] stories in which they’re centered as love interests and not just comedic characters.” It was a desire that Drake shared wholeheartedly, proclaiming, “It’s now a tokenized plotline to have [someone] be hurt because they’re Queer — I think that’s tired, y’all!” They agreed, along with the rest of their cast, that the best future for musical theater is one where LGBTQ+ characters are truly allowed the spotlight. Are given the chance to be nuanced, well-rounded individuals, ones who don’t get used as easy sources of dramatic trauma or insignificant streams of self-deprecating jokes. It would be a monumental future for a medium that has historically benefited from the Queer community while failing to respectfully portray its members. 

And, with shows like & Juliet bringing a signature style of radical, musical inclusion all over the world, it’s a future that may arrive sooner than any of us can expect. 

& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

When Hollywood forgets the full flavor of storytelling, artists like Cecilio Asuncion bring the spice. With a creative compass pointed at authenticity, Asuncion has been serving up stories that go deeper than big box office regurgitations and sanitized clichés. In an industry that still misses the mark on nuance, especially when it comes to marginalized folks and their identities, Asuncion steps in with work that doesn’t just “check boxes.” He builds entirely new platforms, like Cinepride, a film festival born from the need to showcase stories that Hollywood still sidelines.

Let’s be honest –  representation isn’t just about who gets the spotlight—it’s about who gets to hold the camera, write the script, and take a stab at tweaking society for the better through film. Whether he’s reframing tired tropes or elevating new voices through a cultural lens, Asuncion proves that storytelling is in need of purpose, not permission. We recently had the chance to talk with Asuncion about reclaiming narratives, making room for honest expression, and  creating Cinepride from the ground up, and why the future of film might just be found far from the studio lot.

What was the moment when the idea for CinePride ignited? What was that creative process like?

CinePride actually came from a really difficult place. My husband passed away the night before Thanksgiving in 2023, almost two years ago now. Because I come from the independent filmmaking world, I thought, “You know what? This could be a meaningful legacy project.” Looking back at my career, I realized that so many doors had been opened for me, and I wanted to create a space where people could come together. Not in competition, but in collaboration.

That’s one of the things I’m most proud of with CinePride. We’re not trying to create another competitive film festival. I mean, you know how festivals can feel, so cutthroat, like a pageant. But that’s not the point. Especially as a gay Filipino immigrant, I’ve been taught that there’s only so much space for someone who looks like me. So naturally, we begin to see each other as competition. But CinePride is about dismantling that mindset. We’re starting fresh.

It’s like the whole “only one seat at the table” concept.

Exactly.

What sets CinePride apart from other LGBTQIA+ film festivals?

We’re kind. That’s probably the biggest thing. And I mean that genuinely. Also, our programming is deeply intentional. We owe a huge thanks to the screening committee, our Programming Director Miguel Santos, and our Development Director Michael Daly. We made a conscious decision that “community” doesn’t just mean “gay.” It means honoring all the different colors, identities, and orientations that make up our world.

Because I’m still actively working in the industry, I know what it feels like to be a filmmaker submitting to a festival. I remember when I did the rounds with my first documentary, What’s the T? I was so excited to meet people, but I got treated like I didn’t belong – classic mean-girl energy. Even that needs to change. Kindness and grace matter, especially when you’re already in the room. And for those submitting, whether to us or anyone else, graciousness will take you far. This industry is small. People remember how you treat them. We might not always be nice, but we’re always kind. That’s a big distinction.

One of your awards is for Best Micro-content. Can you talk about what that category includes?

It’s for films under five minutes. But we created it to make space for people without access to big budgets or fancy gear. Maybe all they have is their phone. It’s especially geared toward youth and emerging creators. And in a world of reels and short-form storytelling, that kind of work deserves to be seen too.

Another award that stands out is the Social Impact Award. What led you to create that, especially in our current climate?

Look at the world we’re in right now. I’m Gen X, and we didn’t grow up with social media. But today, I think we confuse posting with activism. And that’s not enough. We need to do something – whether that’s running a festival, helping at a food bank, or just showing up for our community.

When I worked on Strut and with Slay Model Management, I made it a point to connect with nonprofits doing real work for the trans community. They’re doing the heavy lifting – housing, healthcare, survival. Film and entertainment get all the attention, so it’s our job to spotlight the people who don’t get enough of it.

That all really resonates. It’s frustrating when people give a shout-out during an awards speech and then do… nothing.

Yes! I call it “fad-vocacy.” Like, don’t thank the trans community in your Emmy speech and then never hire them. Don’t wear a “Protect Trans Kids” shirt and then disappear. That doesn’t help anyone pay for groceries or hormones.

CinePride also includes panels and Q&As. Are there any you’re especially excited about?

Absolutely! We’re partnering with NBCU Launch, and I’m really excited about that. We’re bringing our community in front of actual decision-makers, people who might not have had that kind of access before.

I really believe in what Michelle Obama said: when you walk through doors of opportunity, you keep them open for others. I’m where I am because so many people helped me. I got to executive produce my first TV show with Whoopi Goldberg. That doesn’t happen to everyone, and I’ll never forget it. So now I ask myself: how can I do the same for others?

That’s powerful. What does “advocacy through film” mean to you? And how do you think Hollywood might be falling short?

Advocacy through film means telling the stories that matter and making sure they’re seen by people outside our community. We already know our own struggles. The goal is to reach others.

Now on Hollywood, It’s tough. Advocacy and business don’t always coexist easily. That’s why independent film is so important. Most of these filmmakers aren’t doing it for money – they’re doing it because they have to tell these stories. We’ve made progress in Hollywood, especially with authentic casting and representation, but we still have a long way to go. And honestly, I think when the current gatekeepers retire or… move on, your generation will do things better.

Were there any unexpected challenges that came up while planning CinePride?

Surprisingly, no major wrenches. People warned me it’d be a huge undertaking – and it is – but when you’ve produced a full season of TV, a three-day film festival feels manageable. The bigger challenge is funding, especially from government sources. That’s why we leaned into private sponsors instead. I didn’t want to take money from trans organizations that need it more than we do. Thankfully, I’ve been able to invest in this project myself.

That’s both incredibly generous and intentional. You mentioned you moved from the Philippines at nineteen. How has your Filipino background shaped your work?

Honestly, my family wasn’t traditional. My mom was always supportive. We weren’t raised with rigid gender roles or cultural expectations. So I didn’t have a hard time adjusting when I moved here. But I’ve come to see how different that experience is. A lot of Asian peers have learned to stay quiet, to fly under the radar. I was never taught that. I’ve always been encouraged to speak up.

If you could make a cameo in any LGBTQ+ film, which one would it be?

It’s not technically LGBTQ+, but I’d say Death Becomes Her. That’s ours now, right? That or Soapdish. I watched that movie over and over with my best friend Marco. So when I got to work with Whoopi? Full circle.

Would you rather watch a tearjerker or a campy comedy?

Sad movies are like porn – you should watch them alone. But comedies? Definitely with friends. I love ridiculous stuff like Scary Movie – Regina Hall’s Brenda is iconic.

How do you see CinePride evolving in the future?

Bigger and better. I want CinePride in Asia, in Europe, everywhere. And I want us to reach a point where we don’t have to talk about representation – because it’s just the norm.

CinePride runs September 11 – 14, 2025 at Landmark Theatres Sunset.

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media. 

‘Just Good Manners’
By William Hanson
c.2025, Gallery Books
$28.99/272 pages

So. Many. Forks.

You’re glad you’re not doing the dishes at the end of this dinner – but in the meantime, what’s protocol? If this event wasn’t a make-or-break, filled-with-repercussions kind of deal for you, you wouldn’t care; you’d use one fork, one spoon, and enjoy your meal, thank you. So please pass the salt and the new book “Just Good Manners” by William Hanson.

Dining at a restaurant not long ago, Hanson noticed a glaring difference between how his fellow Brits order a meal, and how Americans do it. We might share a language, he says, and we’re a lot alike but we’re also different in many ways. Manners are one of them.

It may seem that formal manners are archaic, even quaint, but Hanson says that they’re needed now more than ever. Manners help smooth social transactions. They leave room for grace in many situations, and they help put people at ease.

“Contemporary etiquette,” he says, “is rooted in six key principles.”

Humility is what ensures that everyone at your meeting or dinner is comfortable, not just you. Hospitality welcomes everyone to the table. Knowing one’s rank shows respect. Says Hanson, “politeness takes patience” and humor, as manners evolve. And although it sounds counter-intuitive, manners are somewhat based on passive-aggressiveness, which helps you be direct, but not too much.

Here, you’ll learn how to deal with introductions in different situations and what to do with a pronoun faux pas. You’ll see that merely greeting someone can be fraught with danger, so be sure you know who’s who before you enter a room. Learn to avoid five “taboo” topics when engaging in small talk. If you’re interrupted, know how to kindly gain control of a conversation again. Find out how the use of slang tells a listener who you really are. Know how to be a good guest, and the kind of host people appreciate.

And yes, you’ll learn about those many, many forks.

You do not live in a bubble. You don’t work in one, either, and smoothing ruffled feathers is needed more than ever in today’s world so maybe it’s time to learn how to do that from a very unruffled source. With “Just Good Manners,” it could even set you apart.

Indeed, author William Hanson makes a case for politeness-as-diplomacy here, in a book that’s very Brit-centric but that includes anecdotes about disastrous situations in other countries. Tales like those are fun to read, in a Schadenfreude way, but they also illustrate why it’s essential to understand other cultures in business settings as well as in many casual events. If that sounds daunting, rest assured that Hanson uses his own advice, putting readers at ease with humor and charm and by taking the scariness out of manners by making them an easy, maybe even enjoyable, challenge.

You won’t feel scolded when you read “Just Good Manners,” but you will learn enough to be someone people want around. It’ll give you confidence. Before your next big event, it’ll give you something to chew on.

The Los Angeles Blade will serve as the official media partner for CinePride Film Festival, debuting from September 11th to the 14th. The four-day celebration of queer cinema will make its debut at Landmark Theatres Sunset in Los Angeles, presenting a powerful lineup that reflects the richness, resilience, and diversity of the global LGBTQIA+ community.

Thirty one films have been selected, featuring a dynamic mix of feature-length narratives, documentaries, and shorts spanning a wide range of genres, including drama, comedy, romance, thriller, and experimental film. Six films will make their world premieres at CinePride, with an additional four celebrating their U.S. or North American debuts. Ten more will be screened for the first time on the West Coast. Showcasing both international voices and emerging homegrown talent, CinePride 2025 provides a bold and inclusive platform for queer storytellers to share their visions on the big screen.

“We are thrilled at the response of the global LGBTQIA+ community of filmmakers who submitted for CinePride’s inaugural edition,” says Cecilio Asuncion, Executive Director of CinePride Film Festival. “This year’s selections are excellent and are a strong testament that LGBTQIA+ voices and stories from around the world will not be erased! We can’t wait to welcome audiences to celebrate these incredible stories with us in LA this September.”

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Highlights from the 2025 official selection include: 

◊ QUEERBAIT – A precocious classics student is invited to dinner after he piques the interest of a tenured professor. But when his teacher’s mentorship starts to push boundaries, he’s forced to make a choice: protect his academic future, or preserve his dignity? This intense drama is executive-produced by Cate Blanchett and makes its film festival debut at CinePride. 

◊ Maxxie LaWow: Drag Super-shero – an animated musical fantasy featuring  the voices of Jinkx Monsoon, BenDeLaCrème, Heide N Closet, Monét X  Change, and Rosé. When drag queens start disappearing, a shy young barista must summon his inner super-shero to rescue them from an ambitious evil drag queen bent on harvesting their magical anti-aging tears. CinePride marks the first time this fun animated feature will be screened theatrically in Los  Angeles.  

◊ A Life Inside Me – Set in rural South Asia, this captivating drama tells the story of a terminally ill father who wishes to live his final days as his true self  — a woman — and his daughter who is trapped in an abusive marriage. The U.S. premiere of this groundbreaking Indian film will happen at CinePride. 

◊ And You Are…? – Jane Seymour stars in And You Are…?, a most unlikely buddy film that follows Lynn, a grandmother suffering from Alzheimer’s who only has the past to prove she exists. Her grandson Max desperately wants to erase his past, as it has never proved his true existence. Already winning acclaim on the international festival circuit, the film makes its Hollywood premiere at CinePride! 

◊ Lip Sync Assassin – Sampaguita, a fabulous drag queen moonlights as a hired killer to earn extra money and provide a good life for her talented daughter and sickly mother. Just when she thought she could handle any contract killing mission, her new target tests how far she can go to support her loved ones. The thrilling Filipino short film makes its world premiere at  CinePride! 

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Screenings will be enhanced by workshops, filmmaker Q&As, panel discussions, and a  Director’s Brunch. Additionally, CinePride Film Festival will present awards in categories  including Best Narrative Feature, Best Documentary Feature, Best Lead Performance,  Best Director, and the Trailblazer Award. The coveted Audience Choice Award will be  decided by festival goers. 

“CinePride isn’t just a film festival; it’s a movement that belongs in Los Angeles, the epicenter of the film industry,” declares Programming Director Miguel Santos. “It’s about creating space for globally resonant queer stories that challenge conventions, defy genre, and deserve to be seen in theaters. We’re setting the stage for the next generation  of storytellers who will redefine what’s possible in film.” 

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media. 

Since “& Juliet” hit the Broadway stage in 2022 with Paulo Szot, Stark Sands and Betsy Wolfe leading the cast, the show has brought its pop anthems across the world. Spanning Australia, the UK and Germany, this modern flip on Shakespeare is now continuing its North American Tour with a four-week run in Los Angeles.

“& Juliet” plays at the Ahmanson Theatre from Aug 13-Sept. 7, with a cast including Original Broadway Cast member Rachel Simone Webb. The ensemble is rounded out by Paul-Jordan Jansen, Teal Wicks, Corey Mach, Kathryn Allison, Michael Canu, Mateus Leite Cardoso and Nick Drake, who plays May, Francois’s non-binary love interest in the show.

The original play has a notoriously tragic ending, but “& Juliet” grants Juliet a second chance after she decides to give life another go. May is one of many new additions to the “Romeo and Juliet” story and Drake gets to hit the stage running after their first Broadway show, “Back to the Future.” Drake has also made numerous on-screen appearances, with credits including “Fire Island,” “Saturday Night Live” and “The Tonight Show with Jimmy Fallon.”

Ahead of the show’s premiere, The Los Angeles Blade had the opportunity to ask Drake about their experience playing the non-binary character May, giving a Shakespeare story some queer flair and how the show has evolved since its Broadway debut.

Can you talk about how you fleshed out and connected to May as a character and the significance of them being non-binary, especially as a non-binary actor yourself? What does this representation mean to you?

Since May is not a part of the Shakespearean catalogue, I get to create an entire persona out of a name and some lines. I remembered when I, too, was a baby gay and finding my identity. I tried to bring as much of myself into May and create the character from there! I wish when I was little, watching shows at The Fabulous Fox Theatre, I saw a character like May onstage. I would be so inspired and feel so seen as a Black queer person. Now, I get to be that role model for queer people across the nation and get to meet queer people after the show, and that just makes my heart so happy!

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What makes the story of “Romeo & Juliet” so fitting to have a queer twist and love story?

Frankie and May make the “forbidden love” trope even more exciting! Since May technically sees Juliet kissing Frankie after Frankie and May meet at the party, May and Frankie can’t help but be in love with each other and have this secret relationship. The stakes are so high!

What have been some of the most exciting developments in this show on its North American Tour since the 2022 Broadway debut?

We have more choreography because we don’t have a turntable! The best example is during “I Kissed A Girl!” Mateus and I have this cute “Fred & Ginger” dance moment that is so Old Hollywood and just full of love. 

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This show is filled with pop anthems, many by icons like Britney Spears, who are beloved by the queer community. What are the most fun songs to perform?

Definitely “Show Me Love!” It is my favorite number in the show. I love Robyn so much. The second contender, even though it leaves me so out of breath still, is “Domino.”

What are you most excited about in getting to perform this show in Los Angeles and experience the theatre scene here?

I have never spent more than a week in LA and it’s always been for work at the Bourbon Room, which is amazing and I love it there. However, this time I’m here for a month, in a cute Airbnb and with a car! I can’t wait to kind of feel like I am living in LA, I have always wanted to live here — this time, I’ll get a true taste of that. 

Is there anything else you want to add or mention about the show as it approaches?

Be ready to have the time of your life. Scream, shout, and let it all out!

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& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

There are folks who follow and mirror trends, and then there are folks like Dondraico “Draico” Johnson, who not only create new ones but choreograph them into reality. Emmy-nominated choreographer, actor, and full-on creative powerhouse, Johnson has created and cultivated a career on breaking norms, turning expectations upside down, and infusing every project he embarks on with soul, style, and just the right amount of swag.

From performing with the familiar folks like Madonna and Janet Jackson to choreographing little vamps and ghouls in New Zealand, Johnson navigates through the entertainment industry like a tempest of energy and intention. But behind the big names and even bigger moments is an artist truly and deeply committed to authenticity, joy, and making sure he leaves every space he enters just a little more magical than before. In this interview, Johnson dishes on shattering the boxes others try to put him in, shaping culture one box step at a time, and why his work is rooted in purpose, powered by passion, and always aimed at opening doors for the next generation.

You’re an Emmy-nominated choreographer and a working actor. How do those two creative muscles support and challenge each other?

Great question. Those two creative muscles definitely challenge each other because people often want to put you in a box. They assume you can only do one thing. But for me, the way to break that mold is by being excellent at both and showing that you’re multi-talented.

Sometimes they actually complement each other. I’ll book a choreography job, and they later find out I’m an actor. Then it’s like, “Oh wow, two birds with one stone!” It ends up being more of a pro than a con. They really do go hand in hand.

You’ve worked with legends – Michael and Janet Jackson, Madonna, Britney Spears. What’s one lesson from those early days that still guides your work today?

To enjoy it. No matter who walks into the room or what kind of energy they bring, adjust it to fit your world. Don’t let anyone throw your energy off. I always remind myself: good energy trumps bad energy, especially when you’re leading the ship.

People will come in with bad vibes, and I’ll still be like, “Okay, I’m having a great day. Let’s work.” I’m big on shifting the energy of the room for the better.

Was there ever a moment in your career when you had to pinch yourself and think, “Wow, this is really happening?”

Oh, absolutely. When I got the call to work with Michael Jackson, I was like, “Wait, what? Me?!” Same thing with Janet, especially when I danced at the Super Bowl. That was a huge moment.

Another pinch-me moment was choreographing the Aretha Franklin: Genius series with Cynthia Erivo. I was just blown away. It felt like a family on set every day, and I’ll always remember that experience.

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When you work with iconic artists, how do you balance honoring their brand while also pushing them creatively?

I always frame it as a collaboration. It’s not about me—it’s about the artist. They brought me in to help bring out the best in them. Whether it’s dance, music, or acting, I try to create something that fits them and elevates their brand.

They also need to feel like they’re part of the process. That’s something I learned from Madonna. She always wants to have input, and that makes total sense. It’s about teamwork.

You recently worked on Disney’s Zombies 4. How did you approach choreographing the vampires to make them stand out in the franchise?

My first introduction to Zombies was on Zombies 3, which had aliens, werewolves, cheerleaders—it was wild! For Zombies 4, the torch is passed to a younger generation. We introduced Daywalkers and Vampires.

I approached it like this: the Daywalkers were from Atlanta, the Vampires from New York. They all do similar dance steps, but each group thinks their style is superior because it’s rooted in tradition. That tension made for fun, dynamic choreography. It was about respecting the differences while showing they’re more alike than they think.

We shot in New Zealand, the cast was amazing—it was such a great time.

Fun question: if you could be any mythical or teenage creature in the Zombies universe, who would you be?

Oh, definitely a werewolf! They have the coolest style, their music slaps, and their costumes are fire. So yeah, werewolf all the way.

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You mentioned boxes earlier. The word “representation” gets used a lot in the industry, but what does authentic representation actually look like to you?

To me, authentic representation is about showing up as your true self and being accepted for it. I don’t care where you’re from, who you love, or how you identify—just be real.

I love working with people who are honest about who they are. If you’re true to yourself, then your talent—whether it’s dancing, acting, or singing—can shine through without a mask. That’s real representation.

Are there any assumptions people make about you in this industry that you often find yourself challenging?

All the time. People look at me – big guy, athletic build – and they don’t expect me to be flexible, to dance, or do gymnastics. But I can flip, layout, full-out, everything.

Also, as a dark-skinned Black man, people sometimes see me and feel intimidated. But I’m a total love bug. I grew up in a home full of love, not a silver spoon, but love. My dad still calls me “baby,” and I’m a grown man. That’s who I am.

So I always say, give people a little grace. You never know what someone went through three seconds before entering your space.

That’s beautiful. What’s something you’ve passed on to the next generation that you’re most proud of?

I’m from a very small town in South Carolina, like, one stoplight small. I always knew I wasn’t the only creative kid there. In towns like that, if you’re not into sports, there’s often no outlet.

So I make it a point to speak to the next generation, especially those who don’t have access to the industry. I encourage them to do their research. Know who came before you. Use the internet to study the greats. That’s how you train yourself when resources are limited.

What would surprise 15-year-old Draico about where you are now?

That I figured it out. Growing up in the woods, seeing only trees and deer, and then looking at TV, seeing Broadway, films, lights, I thought, “Where do people learn to do that?” It felt impossible.

Now, looking back, I’d tell 15-year-old me: “You did it. You waited it out. You didn’t compromise your values. You stayed ready, and the universe delivered.”

Do you feel the industry is becoming more authentically inclusive, or is it still surface-level?

That’s tricky. Some days it feels like we’re making progress, and other days it feels like we’re taking 10 steps back. It’s a yo-yo.

I think the problem is that so many different groups are pushing for change at once, and the world just isn’t ready for all of them simultaneously. But we’ve got to keep our voices loud. If we go silent, we end up back at square one.

For every Cynthia Erivo, there’s a Sydney Sweeney, right?

Exactly. And speaking of Cynthia, I love her. Just saw her kill it in Jesus Christ Superstar at the Hollywood Bowl. She and Adam Lambert were phenomenal. I’ll plug her all day! That’s my girl.

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You once called yourself a “culture shaper.” How do you define that in your work?

I bring who I am into every room and every project. I’m from the “other side of the tracks,” and I own that.

Even in Zombies, which is Disney and fun and family-friendly, I made those kids dance and brought some soul to it. A little sauce, a little Goya. It’s about keeping it authentic while elevating the work.

We live in a world where people go from one show to the next. What’s one thing you hope people truly feel after watching your work?

I always say people may forget what happened, but they’ll never forget how you made them feel. I want my work to feel like a warm hug. Even without words, I want people to walk away thinking, “That touched me. That made me feel something good.”

I’m a love bug. Like I said, I grew up that way. I want every project I touch to feel like a love letter to the audience.

What’s one dream collaboration still on your bucket list?

I want to do a big musical, something that moves like Chicago, but feels soulful and Black, like the movie Polly from the ’80s. I want to help create the next Wicked, but with real roots, and take it from Broadway to the screen.

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What can we expect from you in the near future?

We’re speaking Broadway into existence! I’ve got a few TV projects in development with Anthony Hemingway Productions. I’m also working on a podcast called Beyond the 8 Count with my friend Jamal Sims. He’s a huge choreographer and does RuPaul’s Drag Race.

I’m also working with Duran Bernard and have some stuff with Normani in the works. Lots of exciting things coming!

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Dinah Shore founder Mariah Hanson is ending her run with the most iconic queer women’s festival with a star-studded lineup that is pulling out all the stops. Past guests, rising stars, queer icons, and aspiring queer talent will take the stage for a once-in-a-generation celebration of queer culture, music, and legacy. Dinah Shore takes place from September 24th to the 28th at the Riviera Resort & Spa in Palm Springs, CA.

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Leading the charge are L Word icons Kate Moennig and Leisha Hailey, gender-nonconforming queer NY Rapper Princess Nokia, dance music icon Crystal Waters, fast-rising, compelling voice in alternative pop SkyDxddy, boundary-pushing artist Only1 Theory, and returning fan favorites Xana and Mariah Counts— all prepared to set the stage ablaze in this historic closing act.

Returning as the longtime host of The Dinah pool parties is Rose Garcia, joined this year by Kaycee Clark, star of CBS’s Big Brother and MTV’s The Challenge. Some of the hottest DJs in the queer scene — DJ P. Nasty, DJ Les Ortiz, DJ Lotus Banks, DJ KG Fresh, DJ Tatiana, and DJ Alex D. — will be behind the decks, delivering pulse-pounding sets that will keep the crowd dancing, connecting, and living for every moment.

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The Dinah 2025 is an invitation to join Mariah in a powerful tribute to the legacy she created and to experience the unparalleled magic that only The Dinah can deliver. This year’s Dinah isn’t just Hanson’s last—it’s her most meaningful. With the Dinah, Hanson didn’t just
build a festival, she built a family.

Tickets and full event details are available now at www.thedinah.com