When “Brokeback Mountain” was released in 2005, the world was a very different place.

Now, as it returns to the big screen (beginning June 20) in celebration of its 20th anniversary, it’s impossible not to look at it with a different pair of eyes. Since its release, marriage equality has become the law of the land; queer visibility has gained enough ground in our popular culture to allow for diverse queer stories to be told; openly queer actors are cast in blockbuster movies and ‘must-see’ TV, sometimes even playing queer characters. Yet, at the same time, the world in which the movie’s two “star-crossed” lovers live – a rural, unflinchingly conservative America that has neither place nor tolerance for any kind of love outside the conventional norm – once felt like a place that most of us wanted to believe was long gone; now, in a cultural atmosphere of resurgent, Trump-amplified stigma around all things diverse, it feels uncomfortably like a vision of things to come.

For those who have not yet seen it (and yes, there are many, but we’re not judging), it’s the epic-but-intimate tale of two down-on-their-luck cowboys – Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhall) – who, in 1963 Wyoming, take a job herding sheep on the titular mountain. There’s an unmistakable spark between them, and during their months-long shared isolation in the beautiful-but-harsh wilderness, they become lovers. They part ways when the job ends and go on about their lives; Ennis resolutely settles into a hardscrabble life with a wife (Michelle Williams) and kids, while Jack struggles to make ends meet as a rodeo rider until eventually marrying the daughter (Anne Hathaway) of a wealthy Texas businessman. Yet even as they struggle to maintain their separate lives, they reconnect, escaping together for “fishing trips” to continue their forbidden affair across two decades, even as the inevitable pressures and consequences of living a double life begin to take their toll.

Adapted from a novella by Annie Proulx, (in an Oscar-winning screenplay by co-producer Diana Ossana and acclaimed  novelist Larry McMurtry), and helmed by gifted Taiwanese filmmaker Ang Lee (also an Oscar winner), the acclaim it earned two decades ago seems as well-deserved as ever, if not more so. With Lee bringing an “outsider’s eye” to both its neo-western setting and its distinctly American story of stolen romance and cultural repression, “Brokeback” maintains an observational distance, uninfluenced by cultural assumptions, political narratives, or traditional biases. We experience Ennis and Jack’s relationship on their terms, with the purely visceral urgency of instinct; there are no labels, neither of them identifies as “queer” – in fact, they both deny it, though we know it’s likely a feint – nor do they ever mention words like “acceptance, “equality,” or “pride.” Indeed, they have no real vocabulary to describe what they are to each other, only a feeling they dare not name but cannot deny.

In the sweeping, pastoral, elegiac lens of Lee’s perceptive vision, that feeling becomes palpable. It informs everything that happens between them, and extends beyond them to impact the lives they are forced to maintain apart from each other. It’s a feeling that’s frequently tormented, sometimes violent, and always passionate; and while they never speak the word to each other, the movie’s famous advertising tagline defines it well enough: “Love is a force of nature.”

Yet to call “Brokeback” a love story is to ignore its shadow side, which is essential to its lasting power. Just as we see love flowing through the events and relationships we observe, we also witness the resistant force that opposes it, working in the shadows to twisting love against itself, compelling these men to hide themselves in fear and shame behind the safety of heterosexual marriage, wreaking emotional devastation on their wives, and eventually driving a wedge between them that will bring their story to a (spoiler alert, if one is required for a 20-year-old film) heartbreaking conclusion. That force, of course, is homophobia, and it’s the hidden – though far from invisible – villain of the story. Just as with Romeo and Juliet, it’s not love that creates the problem; it’s hate.

As for that ending, it’s undeniably a downer, and there are many gay men who have resisted watching the movie precisely because they fear its famously tragic outcome will hit a little too close to home. We can’t say we blame them. 

For those who can take it, however, it’s a film of incandescent beauty, rendered not just through the breathtaking visual splendor of Rodrigo Prieto’s cinematography, but through the synthesis of all its elements – especially the deceptively terse screenplay, which reveals vast chasms of feeling in the gaps between its homespun words, and the effectiveness of its cast in delivering it to performance. Doubtless the closeness between most of its principal players was a factor in their chemistry – Ledger and Gyllenhall were already friends, and Ledger and Williams began a romantic relationship during filming which would lead to the birth of their daughter. Both Williams and Hathaway bring out the truth of their characters, each of them earning our empathy and driving home the point that they are victims of homophobia, too. 

As for the two stars, their chemistry is deservedly legendary. Ledger’s tightly strung, near-inarticulate Ennis is a masterclass in method acting on the screen, with Gyllenhall’s brighter, more open-hearted Jack serving in perfectly balanced contrast. They are yin and yang to each other, and when they finally consummate their desires in that infamous and visceral tent scene, what we remember is the intensity of their passion, not the prurient details of their coupling – which are, in truth, more suggested than shown. Later, when growing comfort allows them to be tender with each other, it feels just as authentic. Though neither Ledger nor Gyllenhall identified as gay or bisexual, their comfort and openness to the emotional truth of the love story they were cast to play is evident in every moment they spend on the screen, and it’s impossible to think of the movie being more perfect with anyone else but them.

What made “Brokeback” a milestone, apart from the integrity and commitment of its artistry, was that it emerged as a challenge to accepted Hollywood norms, simply by telling a sympathetic story about same-sex love without judgment, stereotype, identity politics, or any agenda beyond simple humanistic compassion. It was the most critically acclaimed film of the year, and one of the most financially successful; though it lost the Oscar for Best Picture (to “Crash,” widely regarded as one of the Academy’s most egregious errors), it hardly mattered. The precedent had been set, and the gates had been opened, and the history of queer cinema in mainstream Hollywood was forevermore divided into two eras – before and after “Brokeback Mountain.”

Still, its “importance” is not really the reason to revisit it all these years later. The reason is that, two decades later, it’s still a beautiful, deeply felt and emotionally authentic piece of cinema, and no matter how good you thought it was the first time, it’s even better than you remember it.

It’s just that kind of movie.

You’ve done your share of marching.

You’re determined to wring every rainbow-hued thing out of this month. The last of the parties hasn’t arrived yet, neither have the biggest celebrations and you’re primed but – OK, you need a minute. So pull up a chair, take a deep breath, and read these great books on gay history, movies, and more.

You probably don’t need to be told that harassment and discrimination was a daily occurrence for gay people in the past (as now!), but “American Scare: Florida’s Hidden Cold War on Black and Queer Lives” by Robert W. Fieseler (Dutton, $34) tells a story that runs deeper than you may know. Here, you’ll read a historical expose with documented, newly released evidence of a systemic effort to ruin the lives of two groups of people that were perceived as a threat to a legislature full of white men.

Prepared to be shocked, that’s all you need to know.

You’ll also want to read the story inside “The Many Passions of Michael Hardwick: Sex and the Supreme Court in the Age of AIDS” by Martin Padgett (W.W. Norton & Company, $31.99), which sounds like a novel, but it’s not. It’s the story of one man’s fight for a basic right as the AIDS crisis swirls in and out of American gay life and law. Hint: this book isn’t just old history, and it’s not just for gay men.

Maybe you’re ready for some fun and who doesn’t like a movie? You know you do, so you’ll want “Sick and Dirty: Hollywood’s Gay Golden Age and the Making of Modern Queerness” by Michael Koresky (Bloomsbury, $29.99). It’s a great look at the Hays Code and what it allowed audiences to see, but it’s also about the classics that sneaked beneath the code. There are actors, of course, in here, but also directors, writers, and other Hollywood characters you may recognize. Grab the popcorn and settle in.

If you have kids in your life, they’ll want to know more about Pride and you’ll want to look for “Pride: Celebrations & Festivals” by Eric Huang, illustrated by Amy Phelps (Quarto, $14.99), a story of inclusion that ends in a nice fat section of history and explanation, great for kids ages seven-to-fourteen. Also find “Are You a Friend of Dorothy? The True Story of an Imaginary Woman and the Real People She Helped Shape” by Kyle Lukoff, illustrated by Levi Hastings (Simon & Schuster, $19.99), a lively book about a not-often-told secret for kids ages six-to-ten; and “Papa’s Coming Home” by Chasten Buttigieg, illustrated by Dan Taylor (Philomel, $19.99), a sweet family tale for kids ages three-to-five.

Finally, here’s a tween book that you can enjoy, too: “Queer Heroes” by Arabelle Sicardi, illustrated by Sarah Tanat-Jones (Wide Eyed, $14.99), a series of quick-to-read biographies of people you should know about.

Want more Pride books? Then ask your favorite bookseller or librarian for more, because there are so many more things to read. Really, the possibilities are almost endless, so march on in.

There was a time, early in his career, that young filmmaker Wes Anderson’s work was labeled “quirky.” 

To describe his blend of dry humor, deadpan whimsy, and unresolved yearning, along with his flights of theatrical fancy and obsessive attention to detail, it seemed apt at the time. His first films were part of a wave when “quirky” was almost a genre unto itself, constituting a handy-but-undefinable marketing label that inevitably became a dismissive synonym for “played out.”

That, of course, is why every new Wes Anderson film can be expected to elicit criticism simply for being a Wes Anderson film, and the latest entry to his cinematic canon is, predictably, no exception.

“The Phoenician Scheme” – released nationwide on June 6 – is perhaps Anderson’s most “Anderson-y” movie yet. Set in the exact middle of the 20th Century, it’s the tall-tale-ish saga of Anatole “Zsa-Zsa” Korda (Benicio del Toro), a casually amoral arms dealer and business tycoon with a history of surviving assassination attempts. The latest – a bomb-facilitated plane crash – has forced him to recognize that his luck will eventually run out, and he decides to protect his financial empire by turning it over (on a trial basis, at least) to his estranged daughter Liesl (Mia Threapleton), currently a novice nun on the verge of taking her vows. She conditionally agrees, despite the rumors that he murdered her mother, and is drawn into an elaborate geopolitical con game in which he tries to manipulate a loose cadre of “world-building” financiers (Tom Hanks, Bryan Cranston, Riz Ahmed, Mathieu Amalric, and Jeffrey Wright) into funding a massive infrastructure project – already under construction – across the former Phoenician empire.

Joined by his new administrative assistant and tutor, Bjorn (Michael Cera), Korda and Liesl travel the world to meet with his would-be investors, dodging assassination attempts along the way. His plot is disrupted, however, by the clandestine interference of a secret coalition of nations led by an American agent code-named “Excalibur” (Rupert Friend), who seeks to prevent the shift of geopolitical power his project would create. Eventually, he’s forced to target a final “mark” – his ruthless half-brother Nubar (Benedict Cumberbatch), with whom he has played a lifelong game of “who can lick who” – for the money he needs to pull it off, or he’ll lose his fortune, his oligarchic empire, and his slowly improving relationship with his daughter, all at once.

It’s clear from that synopsis that Anderson’s scope has widened far beyond the intimate stories of his earliest works – “Bottle Rocket,” “Rushmore,” “The Royal Tenenbaums,” and others, which mostly dealt with relationships and dynamics among family (or chosen family) – to encompass significantly larger themes. So, too, has his own singular flavor of filmmaking become more fully realized; his exploration of theatrical techniques within a cinematic setting has grown from the inclusion of a few comical set-pieces to a full-blown translation of the real world into a kind of living, efficiently-modular Bauhaus diorama, where the artifice is emphasized rather than suggested, and realism can only be found through the director’s unconventionally-adjusted focus. 

His work is no longer “quirky” – instead, it has grown with him to become something more pithy, an extension of the surreal and absurdist art movements that exploded in the tense days before World War II (an era which bears a far-too-uncomfortable resemblance to our own) and expresses the kind of politically-aware philosophical ideas that helped to build the world which has come since. It is no longer possible to enjoy a Wes Anderson movie on the basis of its surface value alone; it is necessary to read deeper into his now-well-honed cinematic language, which is informed not just by his signature aesthetic but by intellectual curiosity, and by the art, history, and cultural knowledge with which he saturates his work – like pieces of a scattered puzzle, waiting to be picked up and assembled along the way. Like all auteurs, he makes films that are shaped by a personal vision and follow a personal logic; and while he may strive to make them entertaining, he is perhaps more interested in providing insight into the wildly contradictory, often nonsensical, frequently horrifying, and almost always deplorable behavior of human beings. Indeed, the prologue scene in his latest endeavor illustrates each of those things, shockingly and definitively, before the opening credits even begin.

By typical standards, the performances in “Phoenician Scheme” – like those in most of Anderson’s films – feel stylized, distant, even emotionally cold. But within his meticulously stoic milieu, they are infused with a subtle depth that comes as much from the carefully maintained blankness of their delivery as it does from the lines themselves. Both del Toro and Threapleton manage to forge a deeply affecting bond while maintaining the detachment that is part of the director’s established style, and Cera – whose character reveals himself to be more than he appears as part of the story’s progression – begs the question of why he hasn’t become a “Wes Anderson regular” long before this. As always, part of the fun comes from the appearances of so many familiar faces, actors who have become part of an ever-expanding collection of regular players – including most-frequent collaborator Bill Murray, who joins fellow Anderson troupers Willem Dafoe and F. Murray Abraham as part of the “Biblical Troupe” that enact the frequent “near-death” episodes experienced by del Toro’s Korda throughout, and Scarlett Johansson, who shows up as a second cousin that Korda courts for a marriage of financial convenience – and the obvious commitment they bring to the project beside the rest of the cast.

But no Anderson film is really about the acting, though it’s an integral part of what makes them work – as this one does, magnificently, from the intricately choreographed opening credit sequence to the explosive climax atop an elaborate mechanical model of Korda’s dream project. In the end, it’s Anderson himself who is the star, orchestrating his thoroughly-catalogued vision like a clockwork puzzle until it pays off on a note of surprisingly un-bittersweet hope which reminds us that the importance of family and personal bonds is, in fact, still at the core of his ethos.

That said, and a mostly favorable critical response aside, there are numerous critics and self-identified fans who have been less than charmed by Anderson’s latest opus, finding it a redundant exercise in a style that has grown stale and offers little substance in exchange. Frankly, it’s impossible not to wonder if they have seen the same movie we have.

“The Phoenician Scheme,” like all of its creator’s work, is ultimately an esoteric experience, a film steeped in language and concepts that may only be accessible to those familiar with them – which, far from being a means of shutting out the “unenlightened,” aims instead to entice and encourage them to think, to explore, and, perhaps, to expand their perspective. It might be frustrating, but the payoff is worth it. 

In this case, the shrewd political and economical realities he illuminates behind the romanticized “Hollywood” intrigue and his deceptively eccentric presentation speak so profoundly to the current state of world we live in that, despite its lack of directly queer subject matter, we’re giving it our deepest recommendation.

All photos are credited to Emily Eizen for Los Angeles Blade.

WeHo’s Pride last weekend hit off Pride month for everyone across L.A., bringing major headlining acts to our backyard through the OUTLOUD Concert. Conveniently located a few blocks away from my West Hollywood apartment, every year I would hear performances booming from a distance. This year brought a lighthearted revelry of queer music performed by artists who are a part of or allied to the LGBTQ community. However, having inside access thanks to Los Angeles Blade and my dear friend Laganja Estranja (love you sis), I tapped right into the beating heart of West Hollywood, the queer music scene and a deeper sense of community — during a time when our joy and celebration are being banned and demonized. This year felt different because we are different. We are more empowered, galvanized and out, louder than ever. 

Kim Petras reaches out to fans during her Saturday night set.

Between musical acts and hurried backstage commotion, I found myself dressed in my best finery, with freshly dyed eyebrows and bleached roots to really set it off. While I had my usual pre-show jitters, I actually felt calmer than ever before because I was surrounded by family waiting to be met and connections to be made. Sure enough, with each person I met and asked to capture, a sense of belonging and creativity washed over me. 

DJ Hannah Rad pumps up the crowd between sets.

Friday Night, During the Kickoff, Laganja and I kiki’d with lesbian queen Kori King, the “Legs of New York” Lana Ja’rae, and RuPaul’s Drag Race All Stars 10 star Acid Betty. Not to mention the ever present SLAY of the masters of ceremonies Ryan Mitchell and Arisce Wanzer, who flawlessly ushered us throughout the whole weekend, generously offering an introduction or a quick sesh between acts. Qveen Herby closed out the night, reminding the crowd — and myself — that the world needs our art. 

Qveen Herby lights up Friday Night.

Saturday was a whirlwind, starting with me meeting pop-rock girlie pop Chrissy Chlapecka, who I captured on my fisheye lens. That session something clicked, I decided I was going to get as many fisheye portraits as I could. Not in a “can I take your photo k-thx-bye” kind of way, but in a “I would love to capture your unique and beautiful slay because I see you” kind of way.

Hip Hop duo FLYANABOSS pose wearing @ColtyLeather.

I linked up with the hiphop powerhouses FLYANABOSS, whose charisma practically shattered my camera. During their set I spotted Veondre Mitchell and I snapped a gorgeous photo of her being a barricade baddie as we exchanged compliments. In the artist area, which started to feel like a mini gay Coachella, I met the electrifying Frankie Grande, and met up with one of my best friends, Luna Lovebad, who happens to be the genius behind my new look.

Frankie Grande poses at OUTLOUD festival before performing.

As we hung out by the trailers, Pabllo Vitar emerged in an anime inspired pink butterfly look, with a dozen dancers all dressed in matching pink outfits. She graced me with the opportunity to snap a quick fisheye photo as her team shone the perfect warm lighting for us. Goals.

Luna Lovebad stuns in pink with Labubus to match. 

Lastly, the generous king Ryan Mitchell was talking to the one and only Kim Petras and introduced me. Petras was the sweetest and told me I looked cool. I internally screamed, but played it cool and shot some photos of her that may or may not be my current screensaver. After her performance, I floated home on a cloud to prepare for Sunday.

Kim Petras performed new song “Freak It” at OUTLOUD.

I didn’t know how it could get any better, but Sunday proved to be a culmination of the weekend that I never expected. As I mingled by the trailers and sipped my millionth free Red Bull, talent started walking around filming content for the day. I met Corook by the steps, needing to lens their fun personality and style.

Corook was all smiles backstage before their Sunday set.

Then the world shifted and the ground vibrated with only the energy a mother could bring. Before my very eyes, the queen mother herself, Sasha Colby. I introduced myself and congratulated her on her new cannabis venture, being somewhat of an expert myself. We then talked about my journey from budtender to photographer, and I thanked her for her service (and for existing in our timeline.) Never did I think I’d actually burn one with her. Still processing that. Her performance drew A Listers including the likes of supermodel and activist Cara Delevingne.

Cara Delevingne at Sasha Colby’s performance.

Then I hung out with Kyra Jete, who I met at the OUTLOUD pride kickoff event a few weeks before. Before her “Club Shy” set, I was lucky enough to capture Shygirl, as I felt a tap on my shoulder. I was asked what I was doing tonight, or if I was free to photograph Remi Wolf. The headliner of WeHo Pride’s OUTLOUD concert.

Remi Wolf headlined OUTLOUD on Sunday, June 1st, ending the night with electrifying glitz and glamour.

Did I just get asked to shoot the headliner of the festival? Well, yes! I met with Wolf for some pre-show portraits and then shot her set, which perfectly wrapped up the weekend with rock and roll that touched the spirit of everyone in attendance. 

As I looked through the who’s who of queer musical and drag royalty I had the privilege of capturing during WeHo Pride weekend, it dawned on me that this joy is an act of resistance in itself and I am but an archivist capturing the time I live in.

Yes, Pride started as and always will be a protest and a riot. It is also our art that lives on beyond our time, shining a light for future generations to see how we celebrated our existence in a world that condemns us for it. My hope is that these photos showcase our beauty when we come together as a community filled with talent, love, and beautiful resistance. 

Follow Emily Eizen on Instagram for more content.

The Trending Up Conference brought together influential digital voices, lawmakers, advocacy organizations and movement leaders to discuss how creators are redefining the political landscape. Last month, over 200 content creators gathered in the nation’s capital, not to chase likes or algorithmic trends, but to take meaningful action in shaping policy.

Through collaborative sessions on topics ranging from the economy and climate change to LGBTQ rights, immigration, reproductive rights, education and disability justice, the conference showcased the powerful role creators play in shaping public discourse. It also provided dedicated spaces for creators and policymakers to work side by side, building connections and strategizing for impactful change.

“The more we collaborate and work together, the more successful we will be in advocating for human rights for everyone,” said Barrett Pall, a life coach and influencer in the queer community.

Rep. Maxwell Frost (FL) the youngest member of Congress, discussed innovative strategies for civic engagement. He emphasized the importance of meeting young voters where they are — through culture, music, and storytelling — to combat political disengagement. Frost, a former organizer and musician himself, has long championed the use of creative platforms to mobilize underrepresented communities and inspire a new generation to participate in the democratic process.

His remarks aligned with a central goal of the conference: to empower creators to drive political awareness and action, particularly among young voters whose turnout in recent elections has been alarmingly low.

Warren emphasized the importance of creators in driving meaningful change.

“You are the people making America’s national conversation. What we’re trying to do here matters, and you’re part of that fight,” urged Sen. Warren, adding that they should recognize their power and responsibility. “If enough of us tell enough stories, we’ve got a real chance to build a country where every kid has a fighting chance.”

She continued by reinforcing the value of our voices.

“This moment is up to you to make the decision,” she said. Warren then asked the audience, “what are you going to do when your country is in real trouble?” Warren’s message was clear: creators are essential in this moment and our voices must be uplifted and leveraged in the fight to reshape the nation for the better. 

“We need to find ways to talk to each other across this nation and that conversation starts with all of you,” she said. 

Former Transportation Secretary Pete Buttigieg also emphasized the importance of reaching audiences across all platforms. 

“Whether it’s going on Fox or going on Flagrant, how can I blame somebody for not embracing the message that I believe in if they haven’t heard it? We’ve gotta be cross-cutting these platforms [or else] no one is persuading anybody,” said Buttigieg. 

He believes in meeting people where they are, spreading progressive messaging in language that resonates, and ensuring that those who might not typically hear his message have access to it.

“Democrats used to think that they were the ones who were digitally savvy,” he added. “The algorithm is not neutral.” A recent study revealed that TikTok’s algorithm during the 2024 presidential race disproportionately recommended conservative content — Republican posts received 11.8% more recommendations than Democratic content. This highlights how platforms themselves can skew the political narrative, further underscoring the necessity for creators to actively push back against these digital biases.

“What we build next has to be different from what we inherited,” Buttigieg said. “You are at the very heart of that — that’s why I’m here today.”

While Buttigieg advocates for engaging across platforms, California Governor Gavin Newsom’s approach has raised concerns. Instead of using his platform to meet a broad spectrum of voters, Newsom has recently chosen to amplify far-right voices. His decision to invite extremist figures like Charlie Kirk and Steve Bannon onto his podcast under the guise of creating a “middle ground” is deeply troubling. At the same time, Newsom — who once championed California as a sanctuary for transgender youth and a defender of inclusive education—has taken a stance against transgender women and girls competing in female sports, calling it “deeply unfair.”

“I think it’s an issue of fairness. I completely agree with you on that. It is an issue of fairness, it’s deeply unfair. We’ve got to own that. We’ve got to acknowledge it,” he told Kirk. This capitulation to conservative talking points doesn’t just undermine his past work—it emboldens those who are trying to dismantle hard-won rights.

At Trending Up, creators pushed back against this political drift by meeting directly with California representatives to discuss urgent social issues — including threats to Medicaid, the pink tax, disability rights and the disproportionate impact of billionaire tax breaks. Across these conversations, one thing was clear: creators are not just influencers. We are educators, mobilizers and trusted voices in out communities, capable of translating policy into stories people care about.

Tiffany Yu reflected that Rep. Sydney Kamlager-Dove’s presence alone spoke volumes: “Her showing up to create content with us meant that she understood we as creators are more than just influencers — we’re mobilizers and educators.” Ashley Nicole echoed this sentiment after meeting with Speaker Nancy Pelosi.

“When people know, they will resist — but they have to know about it,” said Nicole. That quote stuck with me because it highlights how important it is to get information in front of people in a way they can connect with.”

Loren Piretra emphasized the urgency of economic justice: “We talked about the billionaire tax breaks…and how most people don’t realize they’re closer to being unhoused than to being billionaires.” Meanwhile, Nikki Sapiro Vinckier described her conversation with Rep. Ami Bera as a rare moment of digital fluency from an elected official.

“His willingness to engage on camera signals that he sees value in creator-led political communication, which isn’t always the case.”

These interactions underscore the evolving role of content creators as vital conduits between policymakers and the public. By translating political complexity into accessible, engaging content, creators aren’t just informing their audiences — they’re mobilizing them toward meaningful civic engagement.

In a media landscape dominated by far-right outrage and rampant disinformation, creators using their platforms for good are a powerful counterforce—reclaiming truth and championing the issues that matter most. While extremist voices often dominate the conversation, the majority of Americans stand with the progressive causes creators at Trending Up are fighting for: reproductive rights, LGBTQ protections, and climate action. It’s time for elected officials to stop pandering to the far-right and start amplifying the voices of the people driving change.

This moment demands more than political compromise — it calls for bold leadership that empowers creators who are already shaping a better future. Uplifting these voices is not just strategic; it is crucial for protecting democracy and ensuring that progress, not division, is at the heart of our nation’s political discourse.

A lot happened at last weekend’s high school state track and field championship meet in
Clovis, Calif. Parents of cisgender student-athletes booed the one and only transgender
girl competing. Police and security officers showed up in large numbers to keep
protestors apart and safeguard the competitors. Police made an arrest outside the
stadium after a demonstrator brandishing a transgender pride flag allegedly assaulted a
man described as a conservative activist and caused damage to his vehicle.

The trans student — 16-year-old AB Hernandez — finished a winner. But she wasn’t “the” winner.

As CBS News reported, “Hernandez took home first place medals in both high jump and
triple jump and she placed second in the long jump event. Following a rule change by
the California Interscholastic Federation, a co-winner was named in each of the three
events in which Hernandez placed.”

You didn’t misread that. Hernandez shared the podium with “co-winners.”

As the Blade reported last week, the CIF introduced a new “pilot entry process” that for
the first time, allowed judges to score trans athletes separately from cisgender
competitors, so there were three winners in every event: a cisgender male winner, a
cisgender female winner and a trans student-athlete winner.

The new policy was announced hours after President Donald Trump threatened to pull
“large scale federal funding” from the state if officials allowed trans athletes to compete
according to their gender identity.

Despite the policy change, the U.S. Department of Justice announced on social
media it was investigating State Attorney General Rob Bonta, State Superintendent of
Public Instruction Tony Thurmond, the Jurupa Unified School District, and the CIF for
potential violations of Title IX, as the Blade reported.

So what happens now? As KXTV reported, President Trump issued another threat to
pull funding on Monday in a post to his Truth Social account, not naming Hernandez but
labeling her “a biological male” and using his favorite derogatory nickname for
California’s Democratic Gov. Gavin Newsom.

“A Biological Male competed in California Girls State Finals, WINNING BIG, despite the
fact that they were warned by me not to do so. As Governor Gavin Newscum fully
understands, large scale fines will be imposed!!!”

Now, the pundits are weighing-in. Sara Pequeño wrote in USA Today how she was
encouraged to see Hernandez share the 2nd place podium with Brooke White and “put
their arms around each other.”

“They’re setting an example for how all of us should treat our trans neighbors, i.e.,
treating them like human beings, not enemies,” she wrote.

As Pequeño noted, Save Women’s Sports, an anti-trans advocacy group, could only
identify five trans students in the entire United States who were competing on girls’
teams from kindergarten through grade 12 in 2023. “That group’s entire existence is to
hate trans athletes, and they found very little to hate,” she wrote.

According to the president of the NCAA, there are fewer than 10 student-athletes
who publicly identify as transgender out of the more than 500,000 competing at the
collegiate level.

Pequeño was not alone in finding joy in the rules change that brought cisgender and
transgender girls together on a podium, each of them a “co-winner.” So did self-
proclaimed “trans advocate” Cyd Zeigler.

He’s one of the co-founders of the LGBTQ+ sports site Outsports, who in 2023
infamously came close to endorsing Florida Republican Gov. Ron DeSantis for
president, only to offer his regrets, following a backlash from readers. Zeigler penned an
op-ed Wednesday originally titled “California trans athlete policy is something everyone
can embrace.”

“Everyone?” Not this sports editor.

He called the new CIF policy “the best possible path in 2025 to trans participation in
sports.”

In celebrating this change, Zeigler also trashed “goal-post-moving trans advocates” and
policies in California and Connecticut that allow “a trans girl to run in boys track meets
and, without a medical transition, later compete in girls meets,” meaning high school
competitions. “That’s bad policy,” declared Zeigler without evidence.

That policy in Connecticut has stood since 2011 and is enshrined in state law, and so far
has withstood legal challenges once again being heard in federal court.

Outsports at some point changed the headline of his screed to “New California trans
athlete policy is something we can embrace” and apparently made another significant
choice: Despite quoting the outlet’s one and only remaining transgender contributor,
Karleigh Webb, who opposes the rules change, Zeigler did not mention her by name.
Why?

In an article published before the championship, Webb wrote: “If AB Hernandez wins,
why should she have to share the spoils with someone else if’s not a tie? That’s what
professional transphobes like Jennifer Sey and Riley Gaines try to sell. Awarding a
duplicate medal gives their nonsense credence to the detriment of the sport and the
athletes.”
Webb is right. Zeigler and the CIF and Gov. Newsom are wrong. You either win, or you
lose, or if you prefer, you come in second, third, whatever. But “co-winners?”

That’s a crock.

Imagine if the Dodgers and Yankees shared the World Series trophy. Why shouldn’t the
49ers also win the Super Bowl alongside the Chiefs? Maybe Kamala Harris should be
declared a “co-winner” of last November’s election?

Personally, I’m glad to see Hernandez embraced by her cisgender peers. I’m relieved to
know that crowds cheering these amazing girls last weekend drowned out the hecklers
who showed up to boo a child. I’m encouraged that even if she had to share the win,
Hernandez was given her rightful place among the teens competing and proved she
was not only worthy of competing but did not win in every event.

So, she’s hardly “unbeatable.” Most trans athletes actually lose, as Zeigler wrote almost
six years ago, back before he started echoing anti-trans inclusion activists Martina Navratilova, Renee Richards and Nancy Hogshead-Makar.

If he really thinks the CIF “co-winners” rule is going to silence anti-trans forces, I think
he’s going to be very surprised by Riley Gaines and her crowd.

While it’s easy for Zeigler to concede public opinion has shifted, he should know
better than to blame those who pushed for inclusion, when it’s clear that conservative
voices in media and politicians, like his, are the ones responsible for influencing that
move to reject trans women’s right to compete in women’s sports. It’s a pendulum swing
that in time will undoubtedly swing back, once the science proves that trans women and
girls don’t always win. In fact, researchers have already proven some trans athletes are
at a disadvantage compared to their cisgender competitors.

Just as Parker Molloy reported that a Republican-commissioned study on gender
affirming care in Utah actually found “that youth who received care before age 18 had
better outcomes, especially around depression, anxiety and suicidality. Hormonal
treatments were associated with positive mental health and psychosocial functioning
outcomes.”

I believe the science is on the side of transgender Americans. Americans love a
winner. Not a “co-winner.”

Summer is upon us, and so is Pride month, which means a whole crop of queer-flavored movies and shows are ready to blossom onto our nearest screen over the next few weeks; and as always, the Blade is here with a handy guide to help you fill out your watchlist.

I Don’t Understand You

First up is this pitch-black horror comedy starring Nick Kroll and Andrew Rannells as a gay American couple (and soon-to-be-adoptive-daddies) celebrating their 10th anniversary with a trip to Italy. Unfortunately, neither of them speaks Italian, and the resulting language barrier creates a series of mishaps and misunderstandings that turns their dream vacation into a farcical traveler’s nightmare. Co-created by real-life gay couple Brian Crano and David Joseph Craig (who also directed), it’s got an authentic queer voice behind it, and a pair of talented and funny lead actors to make it work; it’s also got a nice collection of good reviews behind it from its debut at 2024’s SXSW and other festivals, which makes it a strong opener for your summertime slate. 6/6, in theaters

Loulou

Directed by Noëlle P. Soulier, this thoughtful trans coming-of-age/coming-out story centers on a closeted 17-year-old teen (Kevin Curtis) struggling with her identity while trying to cope with harassment at school and the pressure of living with her strict Catholic parents (Desean Terry and Reiko Aylesworth). Pushed to the church, she finds unexpected solace, encouraging her to start a journey toward self-acceptance – something that includes a new relationship with her own ex-bully (Spencer Belko), who has been struggling with some identity issues of his own. Also starring Patrika Darbo as a sympathetic nun, this gentle story about trans experience seems like a welcome beacon of support at a time when we really need one. 6/6, VOD

Sally

Directed and produced by Cristina Costantini, this documentary from National Geographic explores the life and career of Sally Ride, who became the first American woman to blast off into space. It’s not just the story of her historic achievement, however, but the story of her 27-year romance and relationship with life partner, Tam O’Shaughnessy, who reveals the full personal journey of America’s LGBTQ astronaut for the very first time. 6/16, NatGeo; 6/17, Hulu, Disney+

Brokeback Mountain

No, that’s not a misprint and you’re not having a flashback to 2005, because the game-changing Ang Lee-directed drama about two cowboys in love is returning to theaters for a series of special screenings to celebrate its 20th anniversary. If you’re anything like us, you probably “wish you could quit” this powerful, heartbreaking, and tragically beautiful masterpiece – but we all know we never will. Why not celebrate that special bond by seeing it again on the big screen? Beginning 6/20, in theaters

The Gilded Age (Season 3)

Back for another round of sumptuously costumed, lavishly decorated intrigue among the ostentatiously wealthy high society class of late 19th-century New York (and those entangled in their world), the newest installment of this intrinsically queer period soap opera finds a definite shift in dynamics taking place after last season left the major players of the “old guard” weakened and the social-climbing “new money” crowd poised to take their place at the top of the pecking order. Promising the return of its sprawling cast – which includes queer fan favorites like Christine Baranski, Cynthia Nixon, Carrie Coon, Nathan Lane, and more, not to mention an ever-expanding host of Broadway greats to fill out the supporting cast and guest star roster – as well as the savvy perspective of show creator Julian Fellowes (“Downton Abbey,” which also returns later this year for a swan song on the big screen) to ensure its status as both artful social observation and “guilty pleasure” escapism, it’s probably already on your list if you’re a fan. If you’re not, there’s still time to catch up with the first two seasons before this one drops. 6/22, HBO Max

King of Drag

Move over, RuPaul, because the first major Drag King competition series is making its debut on queer streaming service Revry, where it plans on “serving you bold, brilliant, and unapologetic talent like never before” and celebrating “masculinity in all its forms.” Hosted by legendary trans New York drag king Murray Hill, it will feature regular judges Gottmik, Sasha Velour, Tenderoni, Wang Newton, and Revry co-founder Damian Pelliccione, as well as a list of guest judges that includes Jackie Beat, Cole Escola, Landon Cider, Lisa Rinna, and more. 6/22, Revry

Ironheart

Queer Marvel fans will certainly be on board for this new miniseries from the MCU, which is set after the events of the film “Black Panther: Wakanda Forever” and follows young genius inventor Riri Williams (Dominique Thorne) as she embraces her evolution into the titular superhero in her hometown of Chicago. Reportedly establishing the lead character as bisexual, the series (created by Chinaka Hodge) also continues the Marvel franchise’s efforts toward diversity and inclusion with the introduction of a transgender character and the casting of transmasculine actor Zoe Terakes and “Drag Race” star Shea Couleé in supporting roles. “Hamilton” and “In the Heights” star Anthony Ramos co-stars as Parker Robbins (aka “The Hood”). 6/24, Disney+

The Ultimatum: Queer Love (Season 2)

For fans of reality TV competition, this popular show – a spin-off from “The Ultimatum: Marry or Move On” – returns with a set of six new couples (made up of women and non-binary people), who must put their love to the test by moving in with other partners to determine if they’re ready for marriage — or simply ready for someone else. 6/25, Netflix

Hot Milk

Adapted from the 2016 novel by Deborah Levy, this coming-of-age drama from filmmaker Rebecca Lenkiewicz follows Sofia (Emma Mackey) as she accompanies her domineering, wheelchair-bound mother (Fiona Shaw) to a questionable clinic in Spain in search of treatment. and is tempted by a tantalizing new life in the form of a local seamstress (Vicky Krieps). With a literary pedigree to balance its air of soft-core steaminess, this one appeals to us on the basis of its captivating cast alone. 6/27, limited theaters

M3GAN 2.0

The hot movie ticket this summer is likely to be for this sequel to 2022’s campy comedic cult horror hit, in which a murderous rogue AI-powered doll goes on a rampage after becoming self-aware before being destroyed – or at least, apparently. Three years later, M3GAN’s creator (Allison Williams) is now an advocate for oversight on Artificial Intelligence, but when a new and deadly android (Ivanna Sakhno) is created as a military weapon from her stolen plans, she must risk resurrecting her original invention in order to stop an even greater threat to humanity. Violet McGraw returns as Williams’ now-teenaged niece, as do Amie Donald and Jenna Davis as the title character’s body and voice, respectively. 6/27, in theaters

Ponyboi 

Highly anticipated is this neo-noir thriller from director Esteban Arango, written by and starring intersex actor, filmmaker, and activist River Gallo, which is finally getting a theatrical release nearly a year and a half after its acclaimed debut at the 2024 Sundance Festival. Adapted and expanded from a 2019 short film by Gallo, it follows a young intersex sex worker (Gallo), whose messy personal life – his best friend (Victoria Pedretti) is pregnant, and the father is his own pimp/boyfriend (Dylan O’Brien) – gets even messier when a drug deal gone bad puts him on the run from the mob. Gallo’s performance has earned copious praise, and the fact that it’s a whole movie centered on an intersex person – surely a rarity, if not a first, in commercial American filmmaking – makes it even more of a must-see. 6/27, in theaters

Sorry, Baby

Another Sundance favorite makes its way to theaters in the form of this dark comedy-drama from first-time writer/director/star Eva Victor, who plays Agnes, a woman still recovering from a sexual assault by a trusted figure in her past, who has tried to move on but  realizes how “stuck” she still is after a close friend makes a milestone announcement . Despite the heavy subject matter, it’s earned its acclaim – and the resultant buzz that enticed top flight distributor A24 to snap up the rights – by approaching it with a hefty dose of absurdist humor, as it peels back the onion of the “bad thing” that happened and finally sets Agnes on a course toward healing through a series of five “chapters” in her life. It’s been described as a “trauma-dy” – and frankly, we think that’s enough to make it irresistible. 6/27, in theaters

Freakier Friday

You might be tempted to say this is the sequel that nobody asked for – but you know you’re going to be there for it. The perennial parent/child identity swap franchise (spawned by a sharp-witted novel from Broadway royalty Mary Rodgers) reinvents itself yet again with the return of Jamie Lee Curtis and Lindsay Lohan as a mother and daughter who, decades after having swapped bodies due to a mystical incident involving a fortune cookie, find themselves once again switching places on the eve of a milestone wedding. We have no idea if there’s any queer-relevant story elements here; we just know most of us will be fully on board, if only for the nostalgia and the undying appeal of its queer-fan favorite stars. 8/8, in theaters

Lurker

Touted as “a screw-turning psychological thriller made for the moment” and directed by Alex Russell (writer/producer of the acclaimed shows “The Bear” and “Beef”), this dark pop cultural commentary focuses on a young LA loner (Théodore Pellerin) who has a chance encounter with a rising pop star (Archie Madekwe) and uses it to infiltrate his “entourage” – only to find himself caught up in an ever-escalating competition for attention, access, and proximity to “fame” that soon becomes “a matter of life and death.” A buzzy, paranoid, and grimly exhilarating exploration of the music industry, fandom, and “our universal search for validation,” this creepy but enticing suspenser scores extra points from us for leaning into a homoerotic subtext and serving up the sweaty wrestling scenes to prove it. 8/22, in theaters, in theaters

Honey Don’t!

The second of a planned “Lesbian B-Movie Trilogy” from filmmaker Ethan Coen and his wife Tricia Cooke (which began with last year’s “Drive Away Dolls”), this neo-noir-ish dark comedy stars Margaret Qualley (“The Substance”) as a lesbian private eye who is led by a case into a series of strange deaths centered around a mysterious church. It’s the kind of movie for which the less you know about it, the better it probably plays, so we won’t say much more – except that its cast includes heavyweights Aubrey Plaza, Billy Eichner, and Chris Evans. We say, “honey, DO.” 8/22, in theaters

Twinless

Coming on the cusp of fall, filmmaker James Sweeney’s eagerly awaited black comedy (do we detect a common thread in this summer’s selection, or is it just us?) is yet another Sundance darling, bolstered even further by the controversial gay sex scenes that were leaked online by fans of teen-heartthrob-turned-A-lister Dylan O’Brien (playing gay again for his second appearance on our list), who co-stars with Sweeney himself in this oddball story about two young queer men who meet in a support group for bereaved twins and form a sexually intense friendship with each other. Praised by critics for its “seamless” integration of queer themes into a compelling (if unusual) narrative, there’s been a lot of delay and reshuffled plans around its official release date – but now it’s officially set to be our final treat for a summer full of queer entertainment. 9/5, in theaters

It is rare to step into a room where the walls ripple with Icelandic wind, hum with the volcanic heat of Hawaii, and pulse with a wide-eyed color of an Amsterdam trip. This June, West Hollywood becomes a gateway to this world with the arrival of Through the Brush, a pop-up solo exhibit by Los Angeles-based painter Andrew Max Modlin.

The show, curated by renowned critic Peter Frank, opens Saturday, June 7, with an artist’s reception from 4 p.m. to 9 p.m. and runs through June 21 in a studio located at 411 N. La Cienaga Blvd.

Expectations are high — featuring large-scale landscapes, a DJ set, libations and above all, the possibility of escape.

The paintings themselves are immersive 60” x 72” dreamscapes that pull directly from Modlin’s travels to Iceland, Hawaii, Mexico and Amsterdam. They serve as both visual memories and portals to another place in the world, inspired by his travels.

“Traveling is one of the most important things to me because it allows you to see outside your bubble and understand how diverse the world really is,” said Modlin.

He considers the places he visits as extensions of home.

“I immerse myself in what palette the location makes me feel and that immediately comes out in my drawings. It’s bringing that experience back to my studio that makes each painting so diverse because it really has the essence of that location in it.” As the show coincides with Amsterdam’s 750-year anniversary, Modlin says many of the works will be grounded in the city’s distinctive atmosphere.

To understand the intention behind Modlin’s paintings, it helps to understand the artist himself. Modlin is an openly queer artist best known as the co-founder and brand designer behind the cannabis dispensary MedMen and Kreation Organic Juicery. Though successful in business, the pull towards painting never left.

“The fact that I wasn’t painting haunted me all those years because I always felt like that was my life calling,” he said. For a change of pace, Modlin made a drastic change and relocated to Amsterdam. “In that time, I developed how I draw digitally on the iPad.”

That iPad plays an essential role in Modlin’s creative process. His digital sketches are more than rough drafts — they are explosive playgrounds.

“The iPad is where I get to be reckless,” said Modlin. “There’s something precious about a blank canvas but that sense of preciousness doesn’t exist on the iPad.” Without the fear of failure, Modlin can “rapidly sketch with colors that would take much longer to mix by hand,” pushing beyond the limits of traditional materials.

Back in Los Angeles, he focused on translation — how to bridge the digital and physical. “Once I move to the canvas,” explained Modlin. “The process shifts. It becomes more about the physicality of the paint and the act of painting itself than the original composition.”

That act is deliberate and cumulative. “My paintings are a slow, layered process where each brushstroke is a response to the one before it,” said Modlin. “The final piece becomes a record of that dialogue between gesture, surface, and duration.” His works aren’t meant to be consumed all at once — they reveal themselves slowly. Up close, hidden details emerge; from afar, emotions stir. “I hope the viewer starts by getting lost within the painting,” stated Modlin.

Modlin doesn’t see painting as a hobby — it’s a deep expression of self as his work resonates with lived experience. “I’ve always believed in the power of starting things within our own community.” That ethos led Modlin to open MedMen in West Hollywood, making him the first queer dispensary owner in the neighborhood. “With my debut solo exhibition,” said Modlin. “It felt just as important to me that it take place in West Hollywood, the community I live in and care deeply about.”

Through the Brush may feel like a breakthrough, but for Modlin, it’s just the beginning. “For me, success now means seeing my work shown around the world, in spaces that elevate and challenge it.” As Modlin imagines his next chapter, the invitation is clear: “I’d love for that visibility to open the door to working even larger on a scale that allows for something deeply expressive and immersive.”

This Pride Month, we’re turning up the volume and the visibility with Loud & Proud — a bold new campaign from Culture Machine in collaboration with Last Prisoner Project, produced by Izzi Cavotta, Kaylen Ng and Merari Chavarría. Featuring beloved drag artists like LaGanja Estranja, Jorgeous, Sabiyana and many others, Loud & Proud celebrates the queer legacy of cannabis activism while demanding a future where no one is incarcerated for a plant and no one is punished for being proud.

At first glance, it might seem that the cannabis legalization movement and the LGBTQ rights movement are two separate struggles. But when you trace the smoke back to its source, you’ll find that queer liberation and cannabis justice have long burned from the same flame.

Before California became the first state to legalize medical marijuana in 1996 through Prop 215, its roots of resistance began with queer activists who were already leading the charge. Prop 215 would not have passed without the efforts of HIV/AIDS activists, many of them queer, who demanded compassionate access to cannabis as medicine. Dennis Peron, a gay man who lost his partner to AIDS, co-authored Prop 215. His earlier work on San Francisco’s Prop P in 1991 helped pave the way, allowing doctors to recommend cannabis for medical purposes.

But the history runs deeper. In 1978, Harvey Milk — California’s first openly gay elected official — pushed a ballot initiative urging the San Francisco District Attorney to stop prosecuting marijuana possession. This was decades before either movement found mainstream support, but Milk and Peron knew what too many still forget: the systems that criminalize queerness and cannabis use are one and the same.

Today, more than 575 pieces of anti-LGBTQ legislation are circulating in statehouses across the country. And while cannabis is legal in some form in most U.S. states, the criminalization of the plant still ensnares marginalized communities — especially queer and trans people.

LGBTQ folks have always had to navigate systems that criminalize their survival. Often shut out of traditional employment and housing due to stigma and discrimination, many have turned to criminalized economies — including cannabis — for community, income and healing. As a result, they’ve been disproportionately policed, prosecuted and punished.

According to the Prison Policy Initiative, in 2019 gay, lesbian, and bisexual individuals were more than twice as likely to be arrested as their straight peers. One in five trans women has been incarcerated. Nearly half of all Black trans people have faced imprisonment. And while hard data on cannabis-specific charges is limited (a data gap that speaks volumes), we know anecdotally and statistically that LGBTQ folks are overrepresented in the system.

To this day, mainstream cannabis rhetoric rarely accounts for these intersectional realities. And when queer folks are included, it’s often in tokenized marketing — not in leadership, policy spaces, or commutation campaigns.

The Loud & Proud campaign isn’t just about rainbow-wrapped pre-rolls and glittery photo ops (though we love those, too). It’s about honoring the queer elders, like Brownie Mary, who fought for our rights to exist and medicate. It’s about amplifying the voices of those still behind bars. And it’s about claiming space — in the streets, on the stage, and in the industry — for those who’ve been systematically shut out.

From drag stages to protest marches, from poetry to policy, our community has always used creativity as a form of resistance. This campaign is no different. Together, we’re using joy as protest. We’re using glamour as grit. And yes, we’re putting our lighters up — for every queer person who’s ever been arrested for weed, every trans woman locked away for surviving, and every drag artist who uses cannabis as both healing and defiance.

Cannabis companies: if you’re profiting off Pride or cannabis, you need to be funding queer liberation and cannabis clemency work. Consumers: ask who’s on the board, who’s in leadership and who’s still in prison. And to everyone: show up, not just during Pride month, but all year long.

As we celebrate how far we’ve come, we must remember who helped get us here — and who’s still waiting for their freedom.

This Pride, let’s be LOUD & PROUD. Let’s put our lighters up in their honor. Let’s fight for their release. Let’s demand justice, together.

Stephen Post is a Strategic Communications Manager at the Last Prisoner Project (LPP), a national, nonpartisan nonprofit dedicated to freeing everyone still incarcerated for cannabis and helping them rebuild their lives. He also serves the City of West Hollywood as a Public Safety Commissioner.

If queer culture itself had a Mount Rushmore, Grace Jones would be carved in obsidian, glowing like a disco ball, with cheekbones sharp enough to slice through time. She is no mere performer — she is a provocation, a movement, a fierce force to be reckoned with. This June 15, at the iconic Hollywood Bowl, Miss Jones takes the stage once more — not as a nostalgia act, but as a living, breathing beacon of artistry, abounding soul and queer defiance.

It’s only appropriate that Jones headlines the Blue Note Jazz Festival, a space known for legends and nonconformists alike. Because that’s what she’s always done: bend genre, bend gender and bend the very idea of identity. Long before the mainstream caught up with conversations about fluidity and expression, Jones was already there, prowling through Studio 54 in Issey Miyake couture, turning disco into performance art, queering fashion and queering music simply by refusing to be anything but herself.

In the late 70s, New York nightlife was church and Jones was its high priestess that the disciples of disco and dance bowed down to. Her early hits like I Need a Man and La Vie en Rose weren’t just dance floor anthems to get down to — they were declarations of an unapologetic presence. She became the face of a new sect of glamour — androgynous, untamed and transcendent. With her sleek flat-top and surreal persona, she turned herself into a living sculpture — black, bold and utterly uncategorizable. While others played roles, Jones crafted her own mythos.

Without a doubt, the queer community took notice of her magnetism. Not just because she radiated. Not just because she could command a stage in heels taller than their dreams. They took notice because she embodied the purest form of liberation. She was dangerous, defiant, and divine. The kind of icon you didn’t just admire but you emulated. To be queer in the shadow of Jones was to know that defiance could be not just sexy but sacred, that identity could be art.

Her influence transcends both decades and genres. Nightclubbing, Warm Leatherette and Living My Life didn’t just experiment — they shattered expectations. She sang Joy Division like a glistening goddess and made Sting’s Demolition Man sound like a god damned prophecy. Songs like Pull Up to the Bumper weren’t just hits, but cultural cataclysms. Even now, Beyoncé’s invitation to Grace on Renaissance resonated less like a feature and more as a coronation.

The most inspiring aspect about Jones is that she’s never been part of the machine. She is the machine. A postmodern construct of fashion and fearlessness in the funkiest of forms. Her 2008 album, Hurricane and her 2014 memoir, I’ll Never Write My Memoirs, unearthed a soul as deep as her basslines. She told the world how she turned religious repression into self-made divinity. Jones danced with Leary, painted with Warhol and eviscerated the boundaries of possibility.

And now with her show at the Hollywood Bowl, Jones arrives not as a relic, but as a reckoning. For queer folks, especially our Black queer queens, kings and all of that royalty in between, Jones represents more than just music. She is the liberation incarnate. She is proof that our futures can be as extravagantly ungovernable and as radiant as we want to make it. Jones is not the past nor the future. She exists beyond our mere three dimensions and linear concept of time. She is pure unfiltered prophecy.

When she steps onto that stage lit like the Phoenix that she is, we won’t just be witnessing a performance. We’ll be honoring Queer legacy. And, if we are lucky, we will get a taste of whatever the next version of Jones is evolving into. She evolves, reinvents, reclaims — and in doing so, reminds us that we can, too.

Grace Jones will headline The Blue Note Jazz Festival on Sunday, June 15 at The Hollywood Bowl. Click here for tickets.