It’s a story that has been heard countless times before: someone feels the call of stardom, and they believe the only way to answer is to move across the country to Los Angeles. Entire libraries are filled with the unfortunate stories of these people, who often discover that the “City of Angels” is much harsher than it seems onscreen. But for the select few, they manage to find success in one of the toughest industries in the world. And for those like TikTok star Clayton Farris, they manage to do it while providing the LGBTQ+ representation our communities need now more than ever. 

“I grew up in a very traditional Southern space, and I always just stood out because I was…I was different,” said Texas-born Farris when he sat down to discuss his new movie, Weapons. “I had a whole life [in Dallas] that I packed up and left — and as soon as I got to LA, I was like, ‘Oh, this is where I’m meant to be.’”

Anyone online in the past decade has seen Farris’s work. Before starring in numerous hit TV shows and movies, the man made his mark on Vine through comedy sketches (never again can someone ask for their keys without imagining a printer being hurled at them). Since then, he’s acted in hit series like Scream Queens and Ratched, all while becoming a mainstay in the LA comedy scene and amassing more than 400,000 followers on TikTok. Clayton brings his trademark style of irreverent humor to every project, all while proudly sharing his bisexual identity with the world — a sense of pride that didn’t come easy to him. 

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“Coming from a place that really encourages people to be closeted, it’s been a long journey for me to be able to be myself,” he explained when he sat down with the Los Angeles Blade, still tired from the Weapons red carpet he’d been strutting down only a day before.

“I always say: any character I play, I always bring the ‘bisexual edge’ to them.” The actor laughs but stresses the importance of this kind of representation, and the long journey it took for him to share his bisexuality through his art. Farris knows that it is essential to bring his authentic identity into every single role…even in a movie as terrifying as Weapons. 

Most horror fans are familiar with director Zack Cregger’s work; his previous film, Barbarian, is infamous for not only its jaw-dropping plot twists but the unceasing anxiety it carries throughout every scene. His latest film, Weapons — a mystery-horror centered around a classroom of children who flee their homes in the dead of night — recently premiered and is already being lauded as one of the scariest movies of 2025. Yet somehow, amidst the thrilling bloodshed that its trailers are promising, it finds the space to feature LGBTQ+ representation through Farris’s role as Terry, the goofy, endearing partner of one of the main characters. 

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While he laughed about the quirks he brought to the character and what wild fun it is to star in a scary movie, Farris also recognized just how important this performance really is. “To be one of the only queer characters in such a big movie, [I was] like, ‘Oh, this kind of has some weight to it!’” he exclaimed, proud of injecting casual queerness into such a complex plot.

He went on to describe how, even at the premiere, there were executives coming up to him, thanking him for the representation and the nuances he brought to what could have been such a cliché stereotype. It’s a kind of representation that LGBTQ+ horror fans have fought decades for, and through Terry, Farris is proud to push it even further. 

No matter where his career takes him next, whether it be in another gore fest like Weapons or some hit comedy show in LA, Farris makes it clear what his goal is as a bisexual actor: “I just want to do a good job, and represent the community well.” It’s a mantra that more performers should carry, and it’s what makes Farris one of the true standout comedy stars of Los Angeles (and TikTok) today. 

Follow Clayton Farris on Instagram & TikTok

Weapons is now in theaters

Picture it, West Hollywood, the tension is high in the air as this year’s Project Drag contestants battled each other, one act after the other. Los Angeles Blade was on hand as guest judge for this particular evening, with TV show characters being the theme of the night. Project Drag, created in 2013 by nightlife personality Tony Moore, is THE drag competition when it comes to representing local drag queens. Even though this evening’s edition marked just a few weeks into the competition, it was clear these queens wanted to win…badly.

LØRELEI, no stranger to a spotlight, took the stage dressed as Smurfette and launched into a frenzy of dancing (backup dancers in tow). Halfway through her act with a dizzying array of jumps and jazz hands, she leapt into the air and smack dab into the DJ! The audience gasped as she teetered on the edge of the DJ’s station. Would she crash into the DJ, taking the whole setup with her? Or would she fall back and crash into the audience? Gravity had its way, and she crashed into the floor in a blurred mess of yellow hair and red high heels. Was this the end of LØRELEI’s time with Project Drag? Like the showperson she is, she turned the moment into a bit, not knowing that weeks later, she would take home the crown.

Even though LØRELEI wanted the win so much, she came to the competition a consummate performer, mixing her theatre world with her drag skills to put on truly unique acts. She is a true drag queen in the sense that she’s not just about looks. She can command an audience, she is a successful podcast co-host of SHABLAM!, and she co-founded and runs Dionysia, a non-profit organization dedicated to developing long-form theatrical works by drag artists. Oh, and did we mention she’s been touring around the nation with the Taylor Swift Eras Tour: Drag Brunch? When did she even have time to do the competition? It’s what she does, she makes the show go on.

We chatted with this fabulous queen after her win, in between cities on her current tour.

What was your first exposure to drag?

I was always a theatre kid since I was 10, and I was introduced to drag in small doses through Musical Theater. A Chorus Line, La Cage Aux Folles, Kinky Boots – seeing queer representation in this particular medium was formative to my understanding of drag, and knowing that one day I wanted to be a famous drag queen. Through high school, I would dress in drag for Halloween, and by the time I got to college, I started to hit club nights that were 18+ in drag.

What was your first professional drag gig? How did it go?

I remember my first “big-time” professional gig was at Queen Kong with the Boulet Brothers back when they produced parties at Precinct in 2018. I competed in their star-search competition, placing 2nd in the Top 3 alongside Kornbread Jete (RPDR S14) and Charles Galin (King of Drag S1). After that, I was added to the rotation as a performer at Queen Kong until they finished producing the party in 2019. My very first booking with them after the competition was a “Satanic Lady Gaga” night, and I performed “Applause” as Charles Manson. I was so nervous, and I was corseting so tight, I think at that age I was corseting down to 21 inches – so I hate to say this, but I threw up onstage during my performance. The audience was shocked – and I was shocked too. But I kept performing and made it work. Around this time, Dragula was picking up speed, and we had seen the likes of Vander Von Odd vomiting on screen as part of the performance, so many thought that what I did was incredibly punk, and I just kinda ran with it. It’s one of my cringiest memories in drag – but I remember after my number, the Boulets came to check in with me and make sure I was okay, and they told me that I did a great job and that they loved the number. The show must go on, I guess!

What sets your drag apart from other Queens?

What sets me apart the most from other queens are my inventive performance ideas. I am a conceptual performer with a sense of humor that I express through writing and staging, and many of my performances feel like short-form theatre shows. My palette of references steers away from conventional drag pageantry, and gears more toward the avant-garde, the meta-theatrical and the bizarre. Every performance has a new character, so you never know what to expect from a Lorelei show – but I guarantee that no matter what you will be entertained. 

You are the winner of Project Drag! What did going through this competition teach you most about yourself? 

That no matter how cunty you think you are, there is always room to grow. It taught me not to be afraid to try things that might make you uncomfortable. Being in a competition like Project Drag requires you to be vulnerable and receptive to critique, it requires you to risk failing despite your best efforts. There were plenty of times that I fumbled in the competition – literally. One week I fell clear off of the DJ stand (shoutout to my Smurfette performance). But there were also many successes – I won two challenges before hitting the finale, and those were celebratory moments that demonstrated the best of what my drag could be. You have to take the good with the bad, and if you don’t ever swing big, you’ll never get that pay off to celebrate your drag. You have always be a student of the world, and look for ways to constantly improve your craft. 

What were your biggest challenges in making it through the competition?

I would say the schedule of the competition was probably the hardest part – this was an 11-week competition, with challenges that are comparable to Drag Race, including group challenges and design challenges. Our weeks were spent crafting, rehearsing, spending, working incredibly hard to stay on top of our game every week, while still balancing life obligations like work or our health. 

Personally, I was competing in Project Drag while also traveling out of town every weekend as a cast member in the Taylor Swift Eras Tour: Drag Version brunch show. During the competition, I traveled to cities like Albuquerque, El Paso, Oklahoma City, Dallas, San Antonio, Houston, and Austin. Every week, I’d fly out after work on Friday, perform brunch shows on Saturday and Sunday, fly back home Monday morning, and then compete in Project Drag that same night. From Tuesday to Thursday, I balanced my day job, other drag gigs, and prepped as much as I could for the next week’s challenge—before hopping on another flight Friday and doing it all over again.

It was incredibly challenging, but that’s how badly I wanted to win. Looking back, I’m truly grateful for the experience. With everything I managed to juggle, I can honestly say this was the most drag I’ve ever done in my life—and I love living a life that’s so deeply connected to my craft.

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What do you plan to do with your title?

I will probably leverage this title as rage bait against my haters for the rest of my life! And also — of course, I want to use this title to platform my own personal creative journey of making drag performance pieces, but also I would like to use it to platform other artists I work with. There are so many drag artists who helped me win Project Drag because they believed in my vision, and I want to give back to those friends and the community at large. With this title, I hope I can be a beacon for drag artists who may feel limited by the artistic scope of doing drag in a club or bar and are looking to bring their artistry to new arenas, like stages, art galleries, and alternative performance spaces. I hope to create new avenues for drag artists to incubate their ideas and develop performances that push the limits of our industry. 

Theater and drag are two major components of your life. How do your drag and theatre aesthetics complement each other?

I’ve always considered myself a theatre artist, using drag as my medium. Drag has an important role in theatre traditions all around the world, and I think it is the chosen responsibility of a handful of drag artists to continue that performance tradition and innovate upon it as time passes. I’m inspired by artists like Taylor Mac, John Cameron Mitchell, Hibiscus – who use drag and playwriting as a means of distilling their ideas and insights about the world. In the future, I hope I can produce more theatrical work that uses drag as a means of storytelling, and infiltrate the theatre industry with new works that feature drag artists onstage.

What is your biggest mission in running Dionysia?

My biggest mission in running Dionysia is to create a collective of theatre artists and drag artists who help each other in producing more long-form theatrical works that feature queer voices. I would say most theatre queens are known for impersonating or re-creating famous theatre productions onstage, like doing Liza Minnelli or Wicked-themed drag brunch. However, my goal with Dionysia was to make an incubator for drag artists to bring in their own original material and collaborate with others to bring it to life onstage. It’s all about innovating new works to then perform onstage, submit to festivals or grants, and hopefully grow the skill set of each individual artist. 

How can the queer community best support the drag community?

The queer community can help support the drag community by joining us at our events, and thus helping us promote our work of creating safe spaces at a time when being queer in public is becoming politicized once again. As drag artists, we do more than just perform onstage: we offer our image and our visibility as a means of indicating to others that we are creating a space that is sacred for our community. As drag artists, we share stories, we contribute to local culture, we help to preserve community and tradition, and we always appreciate audiences who at minimum come to enjoy the show because it motivates us to continue our work. Tipping helps too! 

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How has being a drag queen changed your life the most?

Being a drag queen has changed my life for the better because it has galvanized my life behind the guiding principle of liberation for obviously queer people, but really of all marginalized people. To me, being able to do drag feels like a proclamation of my freedom – my ability to be whoever I want, when I want. Everyone should have that freedom. I think of that age-old adage “no one is free until we are all free” – and it makes me realize that while I have the liberty to express myself, there are people around the world who don’t have that privilege. I think drag queens in general are especially attuned to the pursuit of justice, and that has helped to guide my life in the direction of being in service to others. Freedom for me means freedom for all – from the USA, to Palestine, no matter who you are or where you’re from. 

We also love your podcast SHABLAM! What do you love most about the podcast? 

Of course I love the opportunity on SHABLAM! to discuss my thoughts and opinions, but the best part is being able to do it with my co-host Annie Biotixx. Annie and I have been friends and collaborators for a long while now, and she always keeps me motivated to produce my best work. She competed in Project Drag 5, and although she didn’t make it as the winner of her season, she was a rock for me in my season of Project Drag, providing her support and guidance through all the challenges. She was even featured in my winning finale number! She’s an incredible host and drag queen here in Los Angeles, and a high-value theatre aesthete. Collaborating with her is effortless, and makes my job of showing up each week to record very easy. 

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What do you want listeners to walk away with after listening to SHABLAM?

At the end of the day, I want listeners to walk away feeling like they belong to an online community that supports them. Ultimately it’s a comedy podcast, so I always want people to laugh – but humor is such a great tool for building community. I feel through recording SHABLAM!, we are sharing our jokes, our vocal stims, whatever makes us laugh to build a shared language that we can use to identify who is part of this online community, and who share our values and principles. We create a space for people to find each other!

What are your biggest challenges in being a drag queen in SoCal?

Compared to other cities, I think the SoCal drag scene, particularly in Los Angeles, is uniquely suited to support many different types of drag, thanks to our sprawling geography. From West Hollywood to Downtown, from the Valley to the Inland Empire, there are countless pockets around LA that each celebrate a distinct style of drag. This diversity makes it possible for many people to pursue and succeed in drag.

However, that same strength also presents a challenge: everyone is looking to succeed, and the scene is highly competitive. The geography that fosters diversity also makes it difficult to make a name for yourself across all these different drag communities. Successful drag queens in SoCal know how to navigate between these various pockets. They show up professional, prepared, and with a strong point of view that sustains them over time. It takes patience, tenacity, and a commitment to continually growing your skill set and network. 

You are touring with Taylor Swift Eras Tour: Drag Brunch Version! What Taylor Swift song most speaks to you presently and why?

Yes! I’ve been listening to a lot of her music for our show, and I would say that the song that speaks to me the most… on tough days, it’s “Anti-Hero” from Midnights. I think any artist can relate to the feeling of self-sabotage, and as I get older, I realize I have a lot of learning to do. But on good days – I believe in “Karma” from Midnights. I feel at ease in knowing that the universe is working for me, and what is meant for me will not pass me by. Winning Project Drag has amplified both of those feelings, and I know in my heart that this title was meant for me.

Do you get up to any shenanigans (wink, wink) while on tour?

My PARENTS are going to want to read this article, you FREAK! Lol, I’m kidding – yes, of course, there are plenty of shenanigans, and if you are interested, might I direct you to Season 2 of my podcast SHABLAM! Where, in addition to dissecting Project Drag week-to-week in real time, we discuss my escapades while on the road. Last thing I’ll say is get tested, get on PrEP, remember that undetectable = untransmittable! Mwah!

What kind of legacy do you want to create with your theatre and drag?

I’d like to leave a legacy as a thought leader in the school of theatre and drag. I want to hybridize performance theory, queer history and drag performance to create innovative works that push the limits of how drag can be used in storytelling. I want to be added to the canon of drag artists who are lauded by the global theatre community, and leave in my legacy a collection of dramaturgically astute, advanced works of drag theatre. 

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What is your message to the community this Pride season?

Where do I even begin with all the chaos that has ensued in Los Angeles since the election of our current administration? ICE raids terrorizing our communities and kidnapping our neighbors is a crime beyond comprehension. It has rightfully left many of us feeling scared and hopeless, but I encourage the community to remain firm in our pursuit of justice and to fight back against Facism! Donate, Protest, Educate, Engage – do whatever you can to make it clear to any authoritative power that Los Angeles will not be fucked with! Especially the queer community! Today, we stand on the shoulders of queer ancestors who have endured similar treatment of threats and intimidation, and we have persevered. We will always be here! And no human is illegal on stolen land!

Follow LØRELEI on IG.

In the penultimate episode of the world’s first drag competition show, King of Drag, two contestants would be sent packing with their packers before the big finale. The five fan-favorites had to create original looks from scratch, lip sync to “Good Boy,” and come up with an interpretive dance to earn their spot in the top three of the Revry series.  Unfortunately, two fan favorites didn’t make it past the final hurdle: King Perka $exxx and Big D.

Big D has big P-personality. The one-of-a-kind character actor had never lip-synced before this episode, but judges loved what Big D brought week after week. Of the five weeks he competed on the show, Big D was in the top three times! His background in clowning helped him to bring such vivid and memorable characters to life on King of Drag. On the other hand, King Perka $exxx had a much bumpier road, but throughout that journey, audiences fell in love with the performer we got to know. From his perfect Urkle to his hilarious stand-up routine, Perka $exxx was the heart of King of Drag season 1. To lose them both before the finale was tough for fans. But fingers crossed for an eventual King of Drag All Stars.

The LA Blade caught up with Perka $exxx and Big D to talk about their experiences on King of Drag, advice for other kings, and what they would do differently.

Tell me about your first time in drag. 

KPS: My first number was last at my college drag show, and I didn’t wanna wait a year till the next school show, so I went out and hit the city.

BD: Drag was a gradual process for me, from my dad teaching me to do a double Windsor when I was in middle school, to suits, fedoras, pocket watches and worshipping macho-intellectual books and movies in my teens and 20s, to a slow realization that I could BE the thing I secretly worshipped, that I didn’t have to have my face pressed up against manhood’s window anymore. I could do the damn thing. 

What made you decide to be a part of the inaugural season of King of Drag? What do you hope to see differently in future seasons?

KPS: I had half my timeline tagging me in the audition posts, so partly peer pressure. I went back and forth on whether I should do it, but I had to stop thinking and start doing it. I just did the best I could on my tape, and I was myself the entire time, and I always made sure to have fun. I want future seasons to have more episodes and more days off to sleep in. 

BD: Murray was my main motivation. He was the artist who inspired me to really step into drag, and I cheered along as his career grew from clubs and live shows in NYC to TV and film. The chance to connect with him was impossible to pass up. I still pinch myself that I have his number in my phone, and that he let me borrow his Doc Martens for one of the shoot days.

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What surprised you most about your experience on King of Drag?

KPS: That we were able to be competitive, and not be bitches to each other like I’ve seen on other shows. I shouldn’t be surprised though – drag kings are just built differently. 

BD: I was celebrated far more than I thought I would be. I thought I would be read to filth for my lack of polish, but I was more often than not encouraged and deeply seen by my castmates, by production, and by the judges. 

What do you cherish most about your filming experience?

KPS: I cherish the kindness of production and the moments behind the scenes with everyone. 

BD: The connection with my castmates and with the fans of the show. The community that has come together to support this project. Being part of something much larger than myself. 

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

KPS: Drink more water. 

BD: More stillness, more breath. 

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Have you had any especially memorable fan interactions since the show began? 

BD: I want to inspire others to take up more space—and I’ve heard from kings and aspiring kings that I made them feel that they could do the damn thing, regardless of all the little things that can make us stop ourselves from doing the damn thing. If I made people feel that there is a place for their art, or even just a fuller flower of their soul, that’s awesome. 

What do you want aspiring kings to know about the working life of a king?

KPS: Don’t quit your day job or ruin your day life over drag. You, as a human being, are still important, and you have to work twice as hard as queens, because you will have higher standards. When that happens, you need to rise to the occasion and prove the haters wrong 

BD: There are a lot of ways to King: in theater, in comedy, in dance, in role play, in… probably knitting, you know? It isn’t just lip syncing in bars. Take kinging further, take it everywhere it’s needed. 

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

KPS: I’d ask Murray to try one of these challenges. Like, c’mon, 90 minutes on the first day songwriting; I wanna see Murray try to do that. 

BD: Hey, Murray, what size/make were those Doc Martens again? 

Stream the entire season of King of Drag now on Revery.com and followKing Perka $exxx and Big Don social.

Suzie Toot tapped her way into America’s hearts and international drag stardom during her epic run on RuPaul’s Drag Race season 17. The 25-year-old triple threat came in fifth place that year, after winning the talent show, the SNL challenge, and the Lip Sync Lalaparuza Smackdown.

Now that she’s conquered the small screen, Suzie Toot (aka Benjamin Shaevitz) is ready for her close-up. Suzie stars as Mimi Bouvèé-Truvé in Erynn Dalton’s horror comedy Big Easy Queens. The camp thriller follows rival mob bosses set on revenge, and Suzie plays the estranged sister of HBIC, Minnie Bouvèé (played by Eric Swanson). 

The LA Blade caught up with Suzie at home in Brooklyn to discuss creating the project, her love of Rocky Horror, and the highs and lows of life after Drag Race.

What’s been your biggest pinch-me moment since Drag Race aired and the world learned your name?

There are so many! There’s something to me about just seeing GIFs of myself and our season in reaction images and in the world. That really does get me. 

I feel like everyone shared your winning tap dancing talent video when that happened. That must have been surreal.

It was really, really cool. I forget sometimes, because that moment was tied together with the whole rest of everything starting to come out – I mean, 7 million views on Instagram. Oh, that’s major. That one’s a hard one to comprehend, for sure.

@rupaulsdragrace tappin' and tootin'  @suzietoot #dragrace #suzietoot #talent #tapdance #dancer #drag #dragqueen ♬ original sound  – RuPaul’s Drag Race

Who’s been the biggest celeb that slid into your DMS to say they were a fan?

Oh my gosh. I know that it seems obvious that Ru girls would swing by, but the first time, Jinkx Monsoon messaged me, I freaked. I cried. I was in the airport having a very bad day, and I was fully crying. Because beyond the RuPaul’s Drag Race of it, Jinkx’s documentary Drag Becomes Him was one of my favorite watches in high school. I’ve watched it 10-plus times. The journey, and the following a dream that is so specific to such a height. It really inspired me so, so, so much.

Big Easy Queens is set in New Orleans but was filmed in Florida. You’re from the oft-dissed state of Florida.  Right now, what do you love about the state?

Wow. Okay, because I, too, am one of the haters. However, I’m from Florida, so I have the right to hate. But Fort Lauderdale and Wilton Manors totally opened my mind when I first got there. I went to college in Boca, and I went down for an audition. It felt like bizarro land. From discovering my sexuality and discovering a queer community, mostly online, to suddenly being thrust into it. I started Suzie Toot right out of high school, and my first three years of doing drag were in Fort Lauderdale. So she is a Fort Lauderdale-grown diva. I think it’s one of the most beautiful places to just exist because of the people.

I love the way you’re styled in this film. Did you have a hand in Mimi’s look? 

Yeah, even back then, even when I looked a fucking mess, I was very protective of the Suzie Toot character. So Dan Gagnon was the costumer, and he built a lot of dresses, but did not have the faculty to build the entire wardrobe. So he and I did work on some stuff that I pulled from my closet that ended up in the movie that I was so excited about.

How did filming with the blood work? Did you have to be one-take wonders, because there’s no coming back after blood meets drag? 

Exactly, 100%. They built a thing that they called a Blood Sucker in order to fire the blood. They tested it, but we also didn’t have the budget for elaborate testing. And the funniest part, and you can see it in the film, is where the first patch of blood hits not me, but the back of my wig from the side, and fully ejects it from my head. Then they called cut, and everybody involved was on the other side of the camera – people that I had never met before were on the other side to watch the blood thing happen. And then people came up and we all did pictures covered in blood, because it was this big moment. Then, I turn around and I see my wig on the floor, and I did not know that my wig was off during all those pictures. I didn’t notice because I was preoccupied with the blood that was all over. But cover me in blood any day of the week. I loved it. Loved it!

Who’s your favorite scream queen?

Oh, you can’t do this to me! I’m a huge Scream fan. So, Drew [Barrymore]. It’s so good. I love when drag queens do that audio. Drew is so magnetic. And in the only five minutes she has in that series, it’s so incredible! 

Back to Drag Race for a moment. Having watched your season play out, if you could go back and redo one moment, what would you like to redo?

Oh my god, before the Lalaparuza ever happened, this question would haunt me forever. And the thing is, we didn’t know that that’s how [the season] was gonna end. We didn’t film [the Lalaparuza] til much later. So for the longest time, I was settled on the fact that I had a really great start and a kind of poor ending, and that’s okay. So the Lalaparuza kind of answered that question of, “what could I have done better?” 

What is the best advice you’ve received from another Drag Race girl about life after the show?

Oh, that’s a really good question. My number one, ever, ever, ever, is Kylie Sonique Love. The icon, legend, and All Stars winner told me to always have one outfit in your carry-on. You carry one wig, one outfit, and your makeup with you, and your wig on your person on the plane, so that, God forbid, anything happens to the checked luggage, you have one outfit. It’s already saved my life when I went to London. God bless Kylie Sonique Love; she knew what she was talking about.

Final question today. What’s your favorite drag movie? It can be a movie about drag, like The Birdcage, or a movie starring queens, like Big Easy Queens and Girls Will Be Girls.

My number one of all time always will be Rocky Horror Picture Show. That movie is so important to me. Seeing it was so important to my queer and political awakening. That is the blueprint that is the always and forever. Cult classics and cult followings are my special interests, my favorite thing; I’m fascinated by them. It’s the blueprint. Girls Will Be Girls and To Wong Foo are my other answers, but Rocky Horror is number one. 

Stream Big Easy Queens on Hulu, and follow all things Suzie Toot.

From the streets of the Boston projects to fabulous West Hollywood, Michael-Shaun Hennessey’s story is anything but ordinary. He is a man of many markers: a longtime AIDS survivor, mystery show entrepreneur, and former Power Rangers writer, Hennessey is now touring the world with an unlikely performance. Searching for Robert Hennessey is an autobiographical story chronicling his decades-long search for his father.

The show begins its world tour August 9th & 10th at Culver City’s Fanatic Salon Theater. It has already drawn praise from critics for its emotional depth, charismatic storytelling, and a final act twist that critics say feels “scripted by fate.”

“I had been working on the show off and on for the last three years,” Hennessey says, “and then in March, I was getting inspired by many of my friends who were writing and performing their own one-person shows so I decided to just go for it!” Hennessey details the process taking a whole month of nonstop effort where he made it “just in time” for the Hollywood Fringe Festival deadline.

Hennessey’s story is full of laughter, sorrow, and everything in between: escaping a cult, living with AIDS, and yes, kissing John Stamos. The show is not a typical autobiography – it is a full display of integral moments in Hennessey’s life. “I actually wanted to be sure I didn’t put any emotional guardrails up and this allows me to be as raw and connected to my story as possible,” he explains. “And it’s definitely paid off. People have said they’ve never seen a show where someone was so connected – mission accomplished.”

When watching the show, a central question emerges: was Hennessey’s story one of fate? “If I didn’t believe in fate,” Hennessey explains, “I absolutely do now after all the twists, turns, and the perfect people coming onto my pathway at the exact moment they were meant to.”

The mix of openness and drive has defined Hennessey’s creative life. Amidst everything, he founded a “mystery company” for children and hosted “mystery events” where children looked for clues to solve various mysteries. Looking back, he finds something deeper at play. “I absolutely believe that I created my mystery company subconscious because I had a mystery to solve of my own,” he says. “All of the children have absolutely inspired me to find my father because I would see them with their fathers and it would awaken my need to connect with my own.”

But it would be incorrect to say Searching for Robert Hennessey is solely about bloodlines; it is about finding one’s true self. “I believe that we each need to find what works and what doesn’t work for our own journey in our search for meaning and connection,” Hennessey reflects. “The main thing we all need to embrace is [something] we have within ourselves already.”

Hennessey finds these connections with various, seemingly random things. Numerical synchronicities and psychic signs weave throughout the performance. “When I first moved to Los Angeles from Boston, my mentor Dee Wallace recommended all of her students meet with her Reiki Master,” Hennessey tells the Blade,  “I was extremely resistant because I thought it was some kind of witchcraft and as a Born Again Christian queer man, it bothered me.” However, he overcame his previous fears and biases and attributes Reiki as playing a large role in overcoming AIDS. “I became a Reiki Master soon after and have felt beautifully connected ever since,” Hennessey proclaims.

As the show embarks on a world tour – culminating in a run at the Edinburgh Fringe Festival – Hennessey hopes queer audiences see themselves in the performance. “I truly hope my beautiful queer tribe will realize that they have the power within to make anything happen,” Hennessey succinctly states, “It is my hope that NAYsayers will become YAYsayers when they find that hope within themselves or within the circle of people around them. We are never alone.”

Next steps for Hennessey include Off-Broadway, a potential music version, and possibly a streaming series. In fact, there is even talk of a Grammy as the show could possibly qualify for a spoken word album. In the meantime, however, Hennessey has a goal: “We are seeking out LBTQAI+ theaters around the country that would welcome my story in the coming year.”

Hennessey leaves the readers with a simple, yet profound message: “Don’t stop believing and never ever give up!”

Searching for Robert Hennessey is not a show to miss. You can find tickets here.

When Charles Galin King made his big debut on the world’s first drag competition show, King of Drag, you knew you were taking in a star. He introduced himself as “a Mexican-American Indigenous Wixárika with Ch’ol blood person,” and you couldn’t help but take notice.

His cultural influences are apparent in his drag, serving distinct and memorable looks. He won fans over with his fabulous impression of Nosferatu on The Dong Show and connected with them through his honesty about his mental health struggles. After bringing the black plague to the prom, his time on the Revry series came to an end.

We caught up with Charles Galin King to talk about his experience on King of Drag, what he hopes to see in future seasons, and advice for new drag kings.

Tell us about your first time in drag. 

Back in high school senior year, I decided to wear one of my dad’s black button-up short-sleeved shirts and made a beard and mustache on my face, and wore a fedora hat.  I went out with one of my best friends to this day, Ruben, and we went to Hollywood and went to Jack and the Box. I needed the restroom and went to the women’s, and a guy coming out of the men’s said, “Not that one, this one.” And I felt validated in drag cause I was that convincing of a “man,” jajaaaja. 

What made you decide to be a part of the inaugural season of King of Drag? 

I wanted to try it cause I was looking at the application out of curiosity, and upon reading started feeling fear and nervousness. And said, “I should apply,” to my mother.  Also, l will die one day, might as well go for it and see how it is. I knew I would be a part of the first trial and error cause it’s a first of its kind, so we all learned together what this show is and will be. 

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What do you hope to see differently in future seasons?

More kings on the King’s Court, and more BIPOC judges, and more lip sync songs.

What surprised you most about your experience on King of Drag?

I gained 9 new siblings and felt a beautiful connection to myself in wanting to be a part of this community even more because of them. And due to being a beautifully diverse experience.

What do you cherish most about your filming experience?

I showed what drag means to me and what my drag is. And being able to say thank you to the cast, crew, tech, and owners of the studio where filming was at.

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

Have more money and be able to show my true fear of cutting out a fetus from me and showing myself dying.

Have you had any especially memorable fan interactions since the show began? 

Yes, when people and fans would say thank you for sharing your story about accepting death and suicide.  And them asking me what surprised me most about being on the show.

Do you hear from other kings about the representation the show offers?

Yes, very much. They feel seen and have been wanting this for such a long time, and it’s a breath of fresh air seeing us all work together.. We still feel the hate from those who don’t understand our existence, though I have learned from my kings on the show that with every hate comment, there are ten love comments from the fans.

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What do you want aspiring kings to know about the working life of a king?

Be prepared to be looked at by certain audiences with stares of confusion, and being on their phone when performing or being compared to other kings. Also, since we are still climbing to be accepted in this world, the majority of Drag Race fans still see us as non-existent and trash. Always focus on our drag king audience, for they understand us the most. Always have fun, for if I have fun, then the audience will have fun alongside me. SO many queens support us, and there are still queens who look down on us. Accept that and focus on your music, routines, lyrics, and feeling the vibes of what character you will put on stage.

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

What’s your favorite flavor of ice cream if you eat ice cream? And when can we hang out and look out to the sunset and high-five when it’s time to go home?

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Stream the entire season of King of Drag now on Revry.com and follow Charles Galin King on social.

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

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

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

And she’s only getting started.

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

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

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

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

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

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

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

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

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

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

Same, Sasha. Same.

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

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

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

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

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

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

Check out the full interview:

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

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

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

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

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

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

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

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

—

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

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

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

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

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

What’s it like collaborating with Brian Henson?

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

How did Puppet Up! Uncensored come to life?

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

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

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“Fleshies”?

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

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

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

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

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

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

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

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

So you’d take the work, not the fame?

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

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

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

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

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

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

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

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

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

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

Three out of ten drag kings who were cast for this first season of King of Drag self-identified as Latinx and after episode two, only one Latinx king remains in the running for the competition. 

Buck Wylde, a king from Dallas, Texas delivered a performance that took inspiration from their Catholic upbringing and Catholic school days to put together this persona. During the episode, they shared that they like to “play with religion.” 

Murray Hill responded by adding, “sometimes we can’t afford to go to therapy for the Catholic guilt, so we do drag.” Buck Wylde says their therapy and their church is drag. 

Buck Wylde, cancer sign, goes by Trigger Mortis when they are outside of drag and present more on the femme side. Along with Big D—another drag king on the series—they are the only two who are more femme outside of their drag persona. 

During this episode, Buck Wylde also spoke about the difficulty of performing drag in a red state. They live in conservative Dallas, so they still struggle to find large-scale acceptance and support in the midst of statewide legislation targeting the LGBTQ community in Texas. 

“Sometimes it doesn’t feel [as] safe as [I] would like it to be. There’s protesters all the time and we don’t have as many spaces to perform as kings there,” they said in the interview. 

Buck Wylde says that for them, the most important thing about drag, is that it is and always has been a protest. 

Living in a conservative state is a challenge to them as a drag king, but they say that it’s important for them to stand their ground and not only bring that representation to these areas, but also intentionally keep it there. 

“So many people leave Texas for their safety and mental health to go to Portland, LA, or Colorado Springs or you know, anywhere but here.” 

During the episode, Buck Wylde also opened up about how their religious background and cultural heritage added an extra layer to their identity issues growing up where they did. Their family wanted them to assimilate and even prevented them from speaking Spanish and they say that through Buck, they are able to re-examine what it means to be a part of that culture. 

Buck Wylde is a third generation Mexican-American and they say that though their Spanish is not fluent, they say they do prefer their horchata without (ICE). 

“I kind of straddled different worlds there, because I was sort of assimilated but I still had my Mexican culture. I always felt like I wasn’t connected enough because of the assimilation and it was through drag that I was able to reclaim my culture.” 

In the first round of competitions for the second episode, the kings broke up into three teams of three for an improv skit where they would have to mansplain a topic and whichever team did it the best—won the group Weenie Challenge.

The winning team included Buck Wylde, Alexander the Great and Henlo Bullfrog. Together they improvised a skit where they mansplained the Amelia Earhart story.  

For the solo show, they dressed up as ‘The Devil’ for the improv solo challenge, cracking a joke about how they are dressed like the person currently living in The White House. 

Dressed as the Devil, sporting a Zoot Suit for the final competition, Buck Wylde improvised a skit with food. 

Buck Wylde says they felt the pressure to perform because along with the other nine kings who were cast, they are the first ten kings to make it to the mainstream and represent king culture. 

“We call ourselves the first ten because whatever happens, we’re responsible for how the kings are viewed and how we move forward together, being the blueprint for what’s to come,” said Buck Wylde in an exclusive interview with Los Angeles Blade. 

Back stage before the solo improv competition, Buck Wylde says they felt their drag persona “crumbling” away. 

They felt like Buck had abandoned them prior to their big moments to prove to the judges that they should stay in the running for the competition. They went up against Perka $exxx, who gave a king-based Dave Chappell performance. 

In the end, it was Perka $exxx who received a 4-1 vote from the judges. 

Buck Wylde left the show with some advice for the kings and the audience: “No matter what life throws at you, always remember who the Buck you are.”

King of Drag is now available to stream on RevryTV, an LGBTQ streaming platform for queer movies, TV shows, music and more — all for free. New King of Drag episodes will premiere weekly on Sundays.