Whether it be iconic crashouts or jaw-dropping moments of drama, reality television has always had a tremendous impact on queer culture — but few shows have done as much in the fight for global liberation as Sparks Camp. 

This series has awed since its premiere, with U.S. audiences discovering Sparks Camp when the first episode dropped for free on YouTube back in 2023. Focusing on a group of “Campers” who participate in romance-themed challenges while exchanging the titular “sparks of love,” the program made history as the Phillipines’ first ever gay dating show. It was a landmark production for a country that still struggles with widespread prejudice against the LGBTQ+ community. Yet with each season comes increasing viewership and more people (both within the country and across the world) learning from the love on display and the many messages of queer self-acceptance featured in each episode. The Los Angeles Blade sat down with the cast and creatives behind this series as they wrap up their third season, with the Sparks Camp team breaking down what this groundbreaking show has done for LGBTQ+ representation in the Philippines  — and how they plan to do even more going forward. 

“The journey [to] Sparks camp hasn’t been easy,” said Creative Head Hyro Aguinaldo, as he spoke to the Blade alongside Director Theodore Boborol. The pair detailed the many difficulties they faced in getting greenlit by ABS-CBN — one of the Phillipine’s biggest TV networks — and their fight against an entertainment industry that had never given LGBTQ+ stories the platform they deserve. “Most queer individuals here in the Philippines are tolerated, but not accepted,” explained Boborol. “Queer people are usually only relegated to [comic relief], never [portrayed] in any serious way…and that includes, of course, reality shows.” He describes how impossible it once seemed that they’d actually get to create the program and, now that they’re wrapping up its third season, how heartwarming it’s been to see LGBTQ+ audiences fall in love with the project. It’s not always a great experience, as the series has been the victim of countless discriminatory attacks online. But it’s undeniable that Sparks Camp has become one of the most educational, authentic portrayals of what it truly means to be LGBTQ+ in the Philippines today…but what is it like to actually be on the show?

While reality series can skyrocket contestants to internet fame, none elevate their cast to international icon status like Sparks Camp does for its ensemble. Season 3 stars Andrew, Kim, and Edward spoke about how thrilling it felt to have their attempts at romance get filmed on camera, with Kim saying, “Being there in the camp with nine other strangers, where I have to be as vulnerable as I can!? It was very challenging!” From half-naked mud wrestling tournaments to discussions about healing from trauma, the experience is intense enough on its own, yet it wasn’t until their installment began airing that the men realized just how influential these moments would be in the Philippines’ ongoing fight for queer rights. These were narratives that the heterosexual members of their audience (a demographic that has steadily increased since season one) weren’t used to, with Andrew detailing, “One of the reasons why a lot of people are unaware [about LGBTQ+ issues] is because we’ve been restricted from talking about these very normal topics.” They all explained how mainstream Filipino culture often discourages discussions about sexual safety and LGBTQ+ romance, meaning not only are people disallowed from learning about these identities, but young queer folk aren’t able to see themselves represented onscreen. “Moving forward,” said Edward. “I want queer boys and girls to see their stories reflected in ours.” 

Representing your community on such a large scale can be daunting, but these campers take pride in using every scene to show their audience what it means to be gay in the Philippines today. It’s a heavy responsibility for many, but luckily, this show is hosted by someone who truly knows what it means to fight for your found family:  “Mother Sparker” herself, Mela Habijan.

When she isn’t advocating for transgender rights or winning international pageants, Habijan acts as the host of Sparks Camp, moderating the series and imbuing each episode with her unique brand of self-love. It’s a role she does not take lightly, emphasizing, “Whenever I spend time with [the campers], there’s an assurance that their stories are safe, that this isn’t just a mere reality show about finding love— it’s [a space] for them to find value in themselves.” It’s an assurance that shows through the screen; whether it’s witty banter at challenges or reminding Campers to love themselves above all else, she brings a level of care to her role unusual for your typical reality host. She describes how this kind of openness is sadly missing in the Philippines, with the country’s deep roots in Catholicism meaning anti-LGBTQ+ discrimination is the norm in many areas and that there are few laws safeguarding queer rights. It’s because of this that she recognizes just what a huge impact Sparks Camp has on their local communities, saying, “I take pride in being ‘Mother Sparker’ because once a young trans person [watches the show], they can say: my future can be in front of the camera.” Habijan, who’d spent her entire career fighting to make easier pathways for other trans artists, emphasized how essential it is for people to see her and her campers being their truest selves onscreen. “The future is bright for [young people], because if they see more and more people who reflect [their] same experiences, then they’ll gain the courage [they need].”

Sparks Camp stands out not only for its historical impact, but because it does something that few reality shows are able to: it offers an amazing show, with an even better message. As each of the team expressed in their interviews with the Los Angeles Blade, this program and the few others like it are bringing LGBTQ+ stories to the Philippines like the country has never seen before. It’s helping to not only start vital conversations surrounding the respect and rights of queer communities, but fosters a kind of inclusive, love-filled influence that any viewer, no matter what country they’re watching from, can benefit from. In the last few moments of her interview, Mela Habijan perfectly encapsulated the core of what Sparks Camp is truly about.

“The value of their being queer…that’s what matters most. When you create and enrich the love that [the Campers] have within [them] — even if they don’t find the spark at the end of the series — they will end their journey at Sparks Camp with so much pride in themself.”

It’s a pride that LGBTQ+ people worldwide can use now more than ever, and luckily for all, it’s a pride that anyone can watch three seasons of for free online right now. 

John Waters lives on the road for most of the year, and he likes it that way.

The iconic GLAAD-award winning filmmaker behind cult classics like Serial Mom and Female Trouble (just to name a few!) has already done 51 live shows this year, and next he is appearing at the Unleashed LGBTQ+ festival in Dallas, Texas on Sept. 19 for a conversation with Brad Pritchett at the Warwick Melrose, which will allow for audience participation. Waters will also be receiving the Unleashed LGBTQ+ Lifetime Achievement Award.

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“I like the attitude of that title, and I think we need to be more unleashed today,” Waters tells the Blade. “I’m excited that I continue to be in touch with my audience. It seems to get younger and younger, which is just amazing to me. It’s like being a politician. You know, you always tour, you always meet your audience, and that always gives me the reason to keep going and making new stuff.”

While Waters has long been recognized as an unfiltered legend within the LGBTQ+ community, he admires that labels have fallen away: “The new generation — they’re not even queer, they’re all new everything. They’re not that limiting. They’re gay, or straight or just everything … It’s a new world out there. But I survived the first sexual revolution. Now I’m going through a new one, which is even more surprising.”

Waters’ first feature film starring Divine, Mondo Trasho, released back in 1969, so he’s seen “half a century” of different audiences connect with his work. “I think the key was I was never mean spirited, that I made fun of the rules that liberals live by, not our parents,” he reflects. “I made fun of hippie rules and then punk rules and politically correct rules. And now there’s more rules in that world that my parents had that I rebelled from. So I’ve always made fun of things I love, and I think that has been the key to my longevity.”

Just last year, the Academy Museum dedicated an entire exhibit to Waters’ filmography, appropriately titled Pope of Trash. “That gives hope to anybody that anything can happen,” Waters says. “For those movies that were universally hated when they first came out by critics — not by audiences — and to end up at the Academy Awards, giving me nine rooms, it’s just amazing. [And] a gift shop that sold T-shirts that said, ‘He’ll make you sick.’ You know, how did that ever happen? I don’t know.”

Outrageous humor and political satire are key to Waters’ filmography, and it’s that same sense of humor he sees as key to winning today’s many fights.

“Let’s pick our battles and win them and use humor,” Waters says. “Don’t preach to people. Don’t tell people they’re stupid, even if they are. You got to make them think that they’re smart and listen to you … You have to use politics. Humor is politics. Freud even wrote a book about the psychoanalysis of jokes. Humor is how we win, and we have to pick our battles. And I don’t think we did last time.”

The Los Angeles Blade will be on site for Unleashed LGBTQ SEPTEMBER 19-21, 2025 | DALLAS, TX Get your tickets here

CinePride’s inaugural year kicks off with a fresh erotic short titled Queerbait, executive produced by Cate Blanchett and written and directed by one of Hollywood’s most exciting up-and-coming talents, Nate Gualtieri (Desire Lines, Gotham Knights).

Queerbait features a new spin on the professor-student dynamic. Sydney Mae Diaz plays a trans student who has recently undergone top surgery and is drawn into the world of his classics professor, played by Matthew Floyd Miller, who sees great potential in his talented pupil. But the line between professor and student soon blurs, and tensions build up as the two get stuck together during a major rainstorm.

Gualtieri discusses with the Blade how Queerbait has developed throughout multiple fellowship programs, what he wants to see more of from trans storytelling, and his hopes for a festival like CinePride to rebuild the queer creative community in Los Angeles. (This interview has been edited and condensed for clarity.)

I’m really excited to chat with you today. I know Queerbait went through a proof of concept program, and Cate Blanchett is attached as an executive producer. I’d love to hear how that whole process has been because I believe your goal is to turn this into a feature-length project.

We’re in the middle of financing the feature version right now. But just to go back to where it all started was actually a bit earlier. I was in the Film Independent Project Involve Fellowship, and that interestingly reoriented my career toward film. When I was in that program, I actually met one of my now producers, Jesus Garcia, and he was the first person I ever pitched this project to. Originally just as a short for their program, and they didn’t select it, but I really liked this idea and kept working on it. And so we submitted to this Proof of Concept Fellowship, it’s the first year of the program, and Netflix financed a bunch of short films at $30,000 each. Cate Blanchett’s company Dirty Films was then attached as producers, and they helped guide the projects along.

The whole point of that program was to support women, trans and non-binary directors. The USC Annenberg School of Communication was also involved because they put out numbers every year on how many female directors are working, how many trans films are getting made — which, sometimes there’s zero. To apply to that program, we also had to have a feature script ready, so that was always the intention for us. Regardless if we had gotten into the program, I really wanted to do a proof of concept that was the basis for a feature script or film. The biggest thing I got out of Film Independent was that so many collaborators and people in my cohort ended up working on this film. It just feels like I’ve met people where I’m like, “I hope we can do every film together!”

We shot in October 2024 and a few weeks after that, we applied to the Sundance Screenwriting Lab with the same feature and got in. That happened in March 2025, so that was all virtual. Andrew Ahn and Laura Moss ended up being my mentors, and they’re still very invested in how I’m doing, which is lovely. The script’s gone through a couple revisions since then, and now we’re ready to take it out to market. We’re going to the Gotham Project Market at the end of September, and that’s going to be some of the first steps of financing. Right now, I really do feel it’s a question of when it happens and not if.

That’s all super exciting. Talking more about cinematic inspirations and representation, I saw very few trans films in high school and middle school.

There are some great trans films that I wouldn’t say are touchstones for this piece at all, but I really want to build on that lexicon of what a great trans film is and can be. I really tend to shy away from the coming out narrative. I’ve written pieces like that before, but I think we can do something more intriguing and more interesting. My real goal is to bridge that gap between seeing a film with trans people as niche, and particularly what we’re doing with Queerbait is leaning into that erotic thriller genre and playing off films like Dressed to Kill or The Crying Game, where the trans woman is the murderer. I think there’s an interesting flipping we’re doing where the trans person is the victim, but they can also be the perpetrator as well. 

With the premise of this project featuring trans chasers, what void in trans/queer storytelling are you hoping Queerbait might fill?

With a lot of the work that I do it’s like, “Yeah, you could put a cis guy in it.” But there wouldn’t be the same impact. There’s such a specific perspective of masculinity that I bring to the work. In terms of trans films, people are a little afraid to make a movie that’s really complicated and honestly dark, and I want to bridge that gap. We get so caught up in these gentle, indie romances. And I think that’s great, and there’s a place for that too. But what I want to do is something more challenging, where it almost forces you to look at trans people without othering them. I just want the film to be great, and the main character’s trans. There’s not a separation that I’m making in that sense. But I don’t think enough trans films really leave an impression on me, and really have something to say that I haven’t seen before. I think I just want it to be a good film first, but its transness is kind of irremovable from it. It’s called Queerbait, the people know!

It’s a great title! And this is the opening night selection at this year’s CinePride festival. Could you speak about what led you to apply to that festival, which I know is hoping to fill the void left by Outfest.

That’s actually part of why I reached out to CinePride, because the last short I directed played at Outfest. One, they had Outfest and Outfest Fusion, which immediately othered any people of color that submitted, so that was a little bit unusual. They were running on a huge deficit, I want to say a quarter of a million, so anyway, that’s just why they fell apart. So I was really excited when I saw that there was going to be another L.A.-based festival because there really was a void. Outfest was a large event for the community. I’ve also been told we’re the very first film that’s screening at the festival, which is crazy. I’m just really excited to see the turnout and attendance. I hope that this is an opportunity to build something a little bit better. I like being on the ground floor of things I find promising. I don’t think it’s worth waiting to see, “Is this going to be the next big thing?” I appreciate the people who were there from the start.

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As the big day approaches, is there anything else you want to add about Queerbait or anything you’re particularly looking forward to?

It’s an erotic thriller, and we’re really looking to do something commercial, or as commercial as possible. I appreciate you reaching out. It’s always flattering! When I say it’s weird, it’s like, again, not bad, it’s just like, “Wow! This is so crazy. People are watching stuff I put on the internet!”

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

For more information, visit CinePride.org 

Whether it be sultry Frank Ocean performances or Madonna reminding everyone that drag queens run the world, the MTV Video Music Awards (VMAs) have always been an unofficial honoring of the LGBTQ+ community’s contributions to music. Yet many fans were nervous going into the 2025 ceremony; during a time when marginalized voices are being attacked across the country, would there still be a queer presence at this historic award show? Luckily, they weren’t disappointed, as the VMAs quickly reminded everyone of a very important fact: there is no music industry without queer artists.

And with that in mind, let’s take a closer look at the moments that made the 2025 VMAs one of the gayest award shows ever!

Before it even began, the ceremony’s red carpet hosted some of the entertainment industry’s biggest queer stars (and their impeccable fashion choices). Whether it be the eviscerating Law Roach, hilarious comedian Megan Stalter, or renowned drag queens like Lexi Love and Symone, this crimson runway was a space for these icons to strut their stuff.

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The invite list alone made it clear that LGBTQ+ artists would continue being an integral part of the VMAs — a fact that was taken to unimaginable heights when Lady Gaga won the award for ‘Best Artist of the Year!’

Even after countless wins, it can’t be overstated just how important a triumph for Lady Gaga is for the LGBTQ+ community, especially when she’s being awarded for the massive amount of work she’s done this year. Not only has her new album, Mayhem, been the soundtrack for every gay bar, but in the face of rising discrimination, she is constantly speaking up for queer and trans individuals across the country. It was so cathartic for her LGBTQ+ fans to watch Mother Monster accept the award, starting the show with an uplifting, quintessential queer energy that would only get better from there. 

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Not only did numerous LGBTQ+ artists perform — a huge shoutout to Lola Young and Conan Gray — but a portion of the night was focused on rewarding gay trailblazer Ricky Martin with the first-ever Latin Icon Award. He used his speech to encourage unity during this time of division, reminding listeners that music should be what brings us together during a time when people are literally trying to tear us apart. And he wouldn’t be the only LGBTQ+ artist going home with a Moon Man! Stans across the globe cheered when KATSEYE won the VMA for Push Performance of the Year, the inaugural award for a global girl group that is revolutionizing what it means to be an idol today. Not only are they breaking barriers, but with members Lara Raj and Megan Skiendiel, KATSEYE makes history as one of the only idol groups to openly feature two queer women!

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Halfway through the VMAs, this award ceremony was already shaping up to be one of the queerest yet…but someone wanted to bring even more to the stage. Someone who used every moment she had to amplify LGBTQ+ artists and call for the respect these communities deserve. She was already regarded as an icon before the show, but with her performance and acceptance speech, Sabrina Carpenter solidified herself as one of the biggest advocates in music today. 

While every VMAs performer brings a unique concept to their performance, few are as instantly captivating as Carpenter’s performance of “Tears.” The faux-city streets of her stage bring to mind moments from history like the Stonewall Riots, acts of resistance that fueled LGBTQ+ liberation and made the modern music industry possible. Then, as the camera panned out, audiences learned that Carpenter brought queer royalty onstage with her: Drag Race queens Denali, Willam, Symone, Lexi Love, and Laganja Estranja, along with Ballroom legends Dashaun Wesley and Honey Balenciaga. The entire group took part in some visually stunning choreography before each held up a cardboard sign, with their sayings ranging from “Protect trans rights” to “In trans we trust” and “Support local drag.” With this song, Carpenter fought transphobia and called for equity with more bravery than anyone else that night — and she wasn’t done. 

“I do want to say: to my incredible cast and dancers and queens on stage with me tonight…this world, as we all know, can be so full of criticism and discrimination and negativity,” said Carpenter, as she accepted the award for “Best Album.” “So to get to be part of something so often, more than not, that is something that can bring you light, make you smile, make you dance, and make you feel like the world is yours…I am so grateful.” It’s an unfortunate truth that, while many celebrities enjoy featuring queer performers in their acts, too often these folks are treated as props rather than actual artists. Carpenter used every minute onscreen to show her love for these LGBTQ+ artists and grant them the national applause they deserve. It created many jaw-dropping, utterly LGBTQ+ moments throughout the night, and it gave everyone watching an exceptional model for how to be a true ally today. 

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There were so many amazing moments at the 2025 VMAs, it’s unfair to label one as the best! From Eyekons to short n’ sweet activists, the award ceremony was stacked with reminders to everyone that queer people built the music industry they love — and that we’re not going anywhere. But, while each of these resonated with different fans for different reasons, there was a single instant that touched every queer person watching. 

When Ariana Grande accepted her award for “Video of the Year,” she succinctly surmised her appreciation for the LGBTQ+ community in a way that truly anyone can understand: “Thank you to my therapists, and gay people. I love you.”

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As part of CinePride’s inaugural year, filmmaker Alicia Coppola brings a deeply emotional and heartfelt short film, And You Are?, to the spotlight. The film explores the intersection of queerness, memory, and identity through the lens of a trans man and a loved one battling with dementia. Drawing from her own family experiences, Coppola crafts a narrative that is both intimate and universally resonant, challenging mainstream portrayals of aging, gender, and familial acceptance. And You Are? stands as a powerful testament to the kinds of stories CinePride seeks to share with the world – authentic, complex, and unapologetically human.

What prompted you to create such an intimate story about experiencing the queerness of a loved one through the lens of dementia in your short film And You Are?

The film is really a love letter to two of my family members. I found it so interesting that one of them, despite struggling with memory loss, completely and totally accepted the other  without hesitation. She never once misgendered her, not even once. Meanwhile, everyone else, occasionally including myself even, did at some point. But she never did. And I just found that remarkable. She couldn’t remember what she had for breakfast, but that stuck.

Misgendering happens more often than we’d like to admit, so that kind of unwavering respect is deeply moving. And your film is part of the inaugural CinePride Film Festival in Los Angeles. How does it feel to be part of CinePride’s inaugural year?

I’m beyond honored to be part of CinePride’s first year. I think this will be the beginning of many, many years to come. It’s time. Personally, I believe we shouldn’t have to silo these stories into their own festivals. I get why we do. It’s to ensure they’re seen, but it’s also sad that a separate space is still necessary. Why do I have to be labeled a “woman filmmaker”? I’m a filmmaker. Why is a trans person labeled first and foremost as trans? They’re a person. We don’t say “my gay daughter,” we just say “my daughter.” Why do some people need a preamble while others don’t?

That leads into another question, how do you feel labels affect creators in the entertainment industry?

Until we come up with something better, we have to keep saying: people are people. I’m a woman, yes, but I’m also just a filmmaker, an actor, and a damn good one. Why do we never hear “male doctor” or “male filmmaker”? It’s always the marginalized who get the descriptor. And that’s part of the problem.

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It’s all based on the assumption that the white, cis, straight male identity is the default.

Exactly. And not to get too political, but I don’t understand why we have old, wealthy white men trying to legislate everything- our bodies, our bedrooms, our kids’ lives. They have no right to dictate the lives of anyone who isn’t just like them.

Back to your film, what was the most emotionally challenging scene for you to write/shoot?

Writing it was hard. I started with one script and ended up with something completely different. I just wasn’t ready. It took three years to finally sit down and say, “This is the story I want to tell.” If I could open someone’s mind, open their heart, maybe we could start a dialogue. As for filming, when I saw Jane Seymour transform on set, especially since we shot in my family member’s actual room, it hit me emotionally. She inhabited that space and role so completely. I was looking at a movie star. I consider myself a good actress, but Jane blew me away. She’s like a storm. You know the moment she enters the room, nothing will be the same.

If your character Max wrote a memoir, what would it be called and what would Nana’s chapter be titled?

The memoir would be See, I Told You My Name Was Jake. Nana’s chapter? I Already Told You That, Nana.

How do you think identity is affected when someone from an older generation forgets – or never quite understood – it?

In our family, the ones who struggled most were the middle generation. People my age couldn’t quite rewire their brains. But kids? They get it instantly. And the elderly? They don’t miss a beat. So the ones stuck in the middle are the most resistant. They’ve already learned a certain language and worldview, and they just can’t, or sometimes even won’t, adjust.

Do you think it’s more about inability or willful ignorance?

Both. There’s fear. People are terrified of the LGBTQ+ community and even more so of the trans community. Much like men fear women because we hold the power of sex and creation. It’s all rooted in ignorance, hypocrisy, and control. Trans people are being scapegoated, but they’re not the reason eggs cost $15. The 1% of the population that’s trans isn’t wrecking the world. The other 1%, the wealthy elite, is.

With legislation regressing across the country, what’s your biggest fear, having a daughter who happens to be gay?

I’m terrified of what happens when healthcare is taken away, especially life-affirming care for LGBTQ+ youth. Denying them that is basically saying, “We’ll choose how your kids die.” Suicide? Fine. School shootings? Fine. Just don’t choose abortion, because that they want to control. My family has felt the impact firsthand. Children’s Hospital L.A. shut down their entire transgender division. It’s reprehensible.

Do you think festivals like CinePride help shift the narrative about whose stories get shared and who controls that narrative?

Every story deserves to be told. Women, men, Black, queer, everyone. CinePride is important because it’s archival. It’s a museum for our children’s children. With people trying to erase history, from the Trans-Atlantic Slave Trade to Stonewall, we need to preserve these stories. I hope one day kids ask, “Why is this film in a special category? Isn’t this just life?”

Your film challenges sanitized portrayals of queerness and aging. How do you think the film community can push for more authentic, complex storytelling?

We need to be brave. Take off the filters. Women age. Show it. Dementia isn’t pretty. Show it. I think we showed the first testosterone shot on film. Zach Barack, our incredible actor, actually saved his T-shot to do it on camera. We didn’t fake it. We showed what it’s really like. And when you show truth, you create empathy. That opens minds, hearts, and hopefully, conversations.

What conversations do you hope this film sparks?

I hope people leave the film with questions. Maybe even realizations. One character has only the past to prove she exists; the other wants to erase the past because it never reflected who he truly was. How many of us do that? Reinvent ourselves, try to escape something? And how many of us are lucky enough to have support when we do? If this film can create understanding, if even one person watches and thinks, “Oh, I get it now,”  then we’ve done something meaningful. One of my producers said he learned more about Alzheimer’s in the first minute of the film than he ever had before. That meant the world to me.

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

For more information, visit CinePride.org 

‘Mounted: On Horses, Blackness, and Liberation’
By Bitter Kalli
c.2025, Amistad
$22/192 pages

One thousand, two hundred pounds and four legs.

Put that between your knees and you’ll find out what real horsepower is. You’re five feet off the ground, moving as fast as a car on a downtown street, hooves pounding as hard as your heart. Dangerous? Maybe. But as you’ll see in “Mounted” by Bitter Kalli, your ancestors did it and so can you.

When they were a young child, “around the age of six or seven,” someone gave Bitter Kalli a set of “pony books,” the kind that appeal to young girls, mostly white ones. Kalli wasn’t entirely comfortable identifying as a girl then but they adored the books, in part because the stories featured the kinds of friendships and acceptance Kalli wanted. After devouring those stories, they begged their parents for riding lessons from a nearby Brooklyn stable.

Fast forward to 2014, when Kalli was 17 years old, an experienced equestrian, a trans individual, and a protester at college. During that protest, they watched the horses that carried the police, and wondered what those animals saw in the crowd.

For that matter, what did horses see throughout Black history?

In times of slavery, it was not uncommon for fleeing slaves to steal a horse or two to get away faster. Kalli shares heart-pounding tales of escape, sharing examples of how human chattel was often compared to that of equines in newspaper ads, as slaveholders mourned the latter loss much deeper than the former.

Many Americans are unaware of the rich contributions that African Americans made to the settling of the West. Kalli examines a popular movie, deconstructing it and adding real history to the Hollywood tale.

“What we know as the Wild West would not exist without the 182,000 enslaved people living in Texas in 1860…” they say.

Horses are featured in many of the world’s religions. Horsey language lends itself to the erotic. Even, says Kalli, “Black and brown youth in Brooklyn” understood the appeal of a good-looking Polo pony…

Take a good study of the cover of “Mounted.” Appreciate the artwork, notice the design. Then add this book to your “Things I Never Really Thought About” list, because you’ll think about it now. And you’re going to want to read every delicious word.

Horses have been hiding in plain sight in Black history for centuries, but author Bitter Kalli pulls them to the forefront, turning each facet of the subject over for deeper examination and additional thought. Happily, you won’t feel forced to do that; their writing comes across like an invitation to a warm, intimate conversation, the kind you get while casually hanging out with a new group of friends on the patio. What you learn is highly intriguing, and you won’t ever see horses in the same way again.

Beware that this book has one explicit chapter inside, but it fits the narrative and you won’t mind. You’ll be too busy enjoying what you read and wanting more. For horse lovers and history lovers alike, “Mounted” is the perfect ride.

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Los Angeles may be the “City of Angels,” but if there were one man who could claim the title of Angel-in-Chief, it’s Mike Pingel. On Sunday, September 7, Collector’s Call on MeTV spotlights his “heavenly” collection of Charlie’s Angels memorabilia. This is not just a story of a man coming across a few Charlie’s Angels magazines or dolls. Pingel’s collection includes more than 2,000 items spanning from rare scripts and dolls to a pinball machine. If God had a giftshop, Pingel is the one who has the spare key. 

For Pingel – writer, publicist, and lifelong superfan – Charlie’s Angels has always been more than nostalgic TV. It is a culturally iconic masterpiece with deep resonance for LGBTQ+ audiences who saw glamour on-screen. The glamour was undeniable, even though each episode was basically an EPA violation caused by too much hairspray.

“Us queers love our beautiful, strong women, and Charlie’s Angels fits that bill on and off the TV screen,” Pingel tells the Blade. “The world fell in love with Charlie’s Angels as soon as it hit the airwaves on ABC-TV on September 21, 1976.” For Pingel, that love affair was fueled by the cast itself: “Farrah Fawcett, Kate Jackson, Jaclyn Smith, Cheryl Ladd, Shelley Hack, and Tanya Roberts are timeless beauties… The Angels got through it together just like the LGBTQ+ does together as a group, as we have always fought for our rights together – we got each other’s backs!”

The origin story of Pingel’s collection (or should we say addiction?) started with a few allowance dollars burning a hole in his pocket in San Francisco’s Chinatown. “I’ve been collecting since 1977!” Pingel explains, “I think the very first item I bought with my allowance was a few packets of Charlie’s Angels Topps trading cards.”

Since then, Pingel has amassed just about everything you can imagine the Charlie’s Angels series producing – games, puzzles, posters, and personal gifts from the actresses themselves. It’s still a smaller collection than Cher’s wigs, but it’s impressive nonetheless. Out of the thousands of items, Pingel has a favorite:  “The Kris Munroe Business card Cheryl Ladd gave me for my 30th Birthday. She used them in the show as her character. Now that’s pretty cool!”

Mike Pingel & his Angels / Photo courtesy of Mike Pingel

Like many LGBTQ+ kids of the ’70s, Pingel fell in love with one of the lead actresses in Charlie’s Angels, Farrah Fawcett. Unlike most people, he ended up working for her. “Being Farrah’s assistant was something I never thought I would be doing,” he recalls. “She was so sweet but also the smartest businesswoman.” 

As Fawcett’s personal assistant, Pingel tells the Blade something most might not know about her: “One thing people might not know is she liked her cookies more on the burnt side! … Farrah called me on the intercom [picture how Charlie calls the Angels on the show]. She said ‘Mike, can you cook these a bit more – I like them a little burnt!’ It broke my heart a bit but I have to do what an Angel asks!” Only Farrah could make burnt cookies sound glamorous. If Martha Stewart did it, we’d just call it a parole violation.

When asked if he considers himself a preserver of LGBTQ+ pop culture as well as TV history, Pingel laughs: “I never thought of it that way! I guess I am!” He tells the Blade that everyone is an expert in something. “I just happen to be that for Charlie’s Angels.” And he’s not shy about sharing it. “If you’re in the West Hollywood area, hit me up. I love sharing my Charlie’s Angels collection.” As of now, this is officially the gayest Airbnb listing in recorded history.

Pingel speaks of filming for Collector’s Call – the episode which will be released on September 7th. “One thing that did surprise me was once they arrived at 7am (they were a bit early) in the morning. I did not have time to shower or shave for the show! They were here and boom right into production.” And then came the surreal moment: the host, Lisa Whelchel – the actress who played Blair Warner from The Facts of Life – getting her makeup and hair done in his bathroom. “I could not believe Blair Warner was in my apartment! Now that was some Facts of Life!”

Collector’s Call team / Photo: MeTV

Though Charlie’s Angels first appeared in the 70’s, with a few movie sequels in recent years, it is easy to assume that Charlie’s Angels might be too dated. But with a new Brazilian Charlie’s Angels series on the way, Pingel is confident the Angels’ mission is eternal. Specifically, the mission being independence for all: “Girl Power. Outside the glamour and adventure lies the power of women. Charlie’s Angels showed how woman can do anything without the help of men.”

Before you dismiss Pingel’s Charlie’s Angels as just another quirky collection, remember what it really preserves: a world where beauty, camp, and solidarity gave LGBTQ+ kids the courage to see themselves differently. Pingel leaves the Blade with a final comment: “Together we can conquer anything and that includes all of us LGBTQ+ Angels!”

Mike Pingel’s episode of Collector’s Call airs Sunday, September 7, at 6:30/5:30c p.m. on MeTV.

It’s often forgotten how integral cannabis culture has been to Queer liberation, a little-known aspect of our LGBTQ+ history that August 28th’s Loud and Proud event worked hard to spotlight. 

Co-sponsored by the Los Angeles Blade, Culture Machine, and Last Prisoner’s Project, this evening of discussion brought vital knowledge to West Hollywood’s The Abbey. Beyond an invigorating ambience — due largely to stellar performances by Maris and S.I.A.T. — the event was something that most attendees didn’t expect: a call to action. Loud and Proud’s goal was to do more than just inform them about what the marijuana industry looks like in LA. It charted the intricate ways that the advancement of cannabis has been tied to the fight for LGBTQ+ rights. And, by helping fight for its decriminalization, folks can assist thousands of unjustly imprisoned people all across this country. 

“Our history as queer people is directly tied to the cannabis industry,” explained West Hollywood City Councilman John Erickson, a member of the event’s all-star panel (moderated by LA Blade publisher Alexander Rodriguez). In tandem with fellow cannabis advocates Maha Haq and Andrés Rigal, the speakers explained how not only has marijuana been used globally for centuries, but in the U.S., it was vital in helping survivors during the AIDS crisis. This time saw the earliest instances of weed being used medically, helping those struggling with the nausea of HIV treatment actually want to eat the food their bodies needed to heal. It proved integral in abetting the suffering of countless patients — so what made politicians decide to launch entire media wars against its usage? Along with the corporate greed of billionaires, Erickson clarified exactly why so many lawmakers were scared of queer folk using marijuana: “Cannabis [always broke] through the ‘medical glass ceiling’ — and it was criminalized because you fear the things that you can’t control.”

Loud and Proud attendees were lucky to hear from Steven Post of Last Prisoner’s Project (TLPP), a nonprofit dedicated to freeing the people still incarcerated due to marijuana in the U.S. “This is something that has been going on for over 50 years,” said Post, when breaking down how Ronald Reagan — a President whose discriminatory policies prolonged the lethal AIDS crisis — escalated the “war on drugs” as an excuse to increase policing against Black and Brown communities. He describes how, even though cannabis has not only been legalized in many states but is now a booming industry, there are still thousands of folks in prison for these crimes that are no longer illegal in the U.S. This is a criminalization that has disproportionately targeted queer and Black communities, leaving the populations that revolutionized this drug to suffer while primarily White, cisgender owners profit through their own dispensaries. But though this history is extremely disappointing, Post reminds guests, “There’s a lot of work that still needs to be done….anything you can do, whether it’s sharing a social media post, donating or taking action in your own community, [anything you can do] is really important.” Organizations like TLPP are fighting every single day to free folks imprisoned for cannabis and make it legal for all, a fight that the panelists remind everyone they can join right now. 

Cannabis has always been utilized not only to help queer folks but give them the wellness tools they need in the ongoing fight for liberation. It’s a usage that isn’t often discussed, but these panelists raise awareness of through their work. “We’re showing consumers that there’s a beautiful, conscious way to understand cannabis,” said Vanessa Oliver, whose company Cloud9 Studios works to inform people about the benefits of cannabis in a wellness-focused, educational way. Along with Luke Anderson, creator of the innovative cannabis company Cann, they emphasize that guests shouldn’t be defeated by the many ways cannabis criminalization is used against their communities. Rather, they should learn from cannabis pioneers like Dennis Peron and Brownie Mary — those who recognized the benefits of this drug and how it could help bring health equity to the communities that so often are denied this human right. 

The Loud and Proud panelists made it clear: the fight for queer liberation through cannabis is still alive and strong. Whether it be through nonprofits like The Last Prisoners Project or inclusive business models, these advocates work to free those in prisons and ensure there won’t be any others who face unjust policing due to cannabis.  “We’re building off of these stepping stones because we believe this is compassionate care,” clarified Oliver. She and the rest of the panel encourage everyone listening to spread this message, to get involved in the local politics that often determine cannabis laws, and help create a culture where people can benefit from its use safely. 

Rousing finale by S.I.A.T. / Photo: Culture Machine

And, most of all, whether it be through community events like Loud and Proud or other ways of community education, to learn about how marijuana usage has always been essential in the fight for queer rights. Because once people understand that, they’ll realize that by fighting to uplift queer Cannabis culture, they’ll be fighting to uplift the entire LGBTQ+ community today. 

A special thank you to the staff and event team at The Abbey for hosting us, our presenting sponsor, Emerald Village, and contributors TreeXLines and BEBOE.

Since the Coen Brothers began pursuing their individual projects following the Oscar-nominated The Ballad of Buster Scruggs, director Ethan Coen has quickly made his priorities clear with Drive-Away Dolls and now Honey Don’t! — unserious, laid-back neo-noir crime movies with a dose of queer love.

Margaret Qualley once again leads the cast, and in Honey Don’t! she plays Honey O’Donahue, a private investigator trying to piece together a string of murders in Bakersfield, Calif. with her tried and true methods. The most troubling figure in this town appears to be Reverend Drew Devlin (a hilarious Chris Evans), the priest who spends all his time having sex with unnamed women. This web of clues includes a dead body in a car that opens the film, a lover (Billy Eichner) who finds out his partner is cheating on him, a grisly shootout, a girl afraid of a homeless man, and just one cop Honey does come to trust and fall for: MG Falcone, played by a surprisingly self-serious Aubrey Plaza.

However, don’t be mistaken: Coen and Tricia Cooke’s (his real life partner) script is not really interested in building out a mystery at all. All the individual puzzle pieces never come together, leaving a thin breadcrumb of loose ends in this western conservative town. Every moment feels like it’s meant to be enjoyed on a scene-to-scene basis, and this is all intentional.

That would be fine — welcome, even, for a brainless night at the movies! — if the individual pieces were actually fun to watch. But the characters are so one-note and stiff, and the humor lacks any real bite, leaving the proceedings feeling drier and drier as the runtime slugs along at a mere 89 minutes.

Qualley is delightful to watch as always, and it’s no surprise that Coen and Cooke have made her their muse for this unofficial “lesbian B-movie trilogy.” She’s always commanding to watch as a protagonist, and she says a lot without saying anything. Honey’s relationship with MG is unexpected because both Plaza and Qualley’s characters are much more reserved than their usual characters, and they are enjoyable as a lesbian duo.

Shot on location in Albuquerque, Ari Wagner’s (The Power of the Dog) cinematography highlights the small details in this town, especially in a clever opening scene that intercuts cast and crew names with shop signs. It’s unfortunate that the story never fully takes advantage of this unique setting, leaving many of the film’s biggest moments taking place in tucked-away houses and interiors. This only adds to everything feeling scatterbrained — Bakersfield just never feels like a real place where these characters reside.

Even when the script finally starts to get interesting, with a shocking reveal during the final set-piece, the film can’t fully commit to letting us feel the repercussions or consequences of the danger Honey finds herself in. There’s also an interesting dynamic with Honey’s sister (Kristen Connolly) and her chaotic family that kind of just withers out by the end. Again, all of this low-stakes energy would be enjoyable if the film made it worth a while and gave the actors more to play with. As a film without much of a plot anchor, it all comes down to how much Coen and Cooke’s broad sense of humor works on you.

Fans of Drive-Away Dolls will find more of the same here, but even in the world of this unofficial trilogy, Honey Don’t! is a notable step down in wit, charm, and energy… many of the attributes that used to make Coen Brothers movies tick.

CinePride is more than a film festival, it serves as a reminder that queer storytelling refuses to be put in a box. CinePride celebrates creators who color outside the lines and push stories to the emotional edge. It’s the type of platform where visibility becomes prioritized and where chosen family sits front row. And among the standouts: a sibling story that checks all of the following boxes – hilarious, heartbreaking, and (w)holly unhinged.

We (heart emoji)  Wee Willie Winky, the wickedly sharp short film from writer-director Mark A. Dahl, which playfully untangles family dysfunction with a cocktail in one hand and a raised eyebrow in the other. When two estranged siblings discover their allegedly long-passed father is actually recently deceased, chaos and comedy are not far behind the news. Think The Royal Tenenbaums meets John Waters on a psilocybin trip through the Hollywood Hills. 

With biting wit, a tickle of trauma, and a mother who can easily outdo the entire Real Housewives franchise and then some, Dahl delivers a proof-of-concept that demands more. Preferably a full series. Fingers (and toes) crossed…

Let’s start with the basics. For those who haven’t seen your short film Wee Willie Winky yet, can you describe it for us in one sentence?

Two pretty horrible kids go visit their mother when they find out their father died, who they thought died twenty-five years earlier, to find out what the hell actually happened.

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Speaking of Daddy, uh, there’s clearly some pointed and also playful daddy issues at play with this film. Is this theme personal?

That’s a really interesting question. You know, my sister and I, we both have daddy issues. . My dad died when I was six. She was estranged from her father as well. And I think that’s kind of a common thread with the LGBT community, especially gay men. I don’t wanna speak for anyone else. I am a gay man. There’s a lot of family with this piece that I found really cool. 

In the film we have some conniving siblings, a twice dead father and a mother standing in their way. What drew you to explore this kind of dysfunctional family dynamic? And were there any specific films or creators that influenced your tone here?

I’ve always been a really big fan of dark humor in all of its forms. I love dark comedy, and I would say the House of Yes is a very big influence. I don’t know if you’ve ever seen it with Parker Posey. It’s twisted, twisted, twisted, and we love Parker. And that’s definitely a big influence on the writing. And then what was the other half?

I’m a huge fan of John Waters, and that was always massive family dysfunction, which I always found hilarious. You know, every movie of his, the kids are screaming at the parents. And there’s just nothing more fun than a f*cked up family to watch. There really isn’t.

On your Instagram, I may have peaked at the John Waters Walk of Fame Star on there…

Yes. I went to see him get his star. That was so cool, because I remember seeing Hairspray in the eighties in the movie theater in the West Village. I remember it was pouring rain, and I saw that film. I had seen all the others on videotape, but that was the first one I saw in a movie theater. And I was like, these can be in movie theaters! These kinds of crazy stories can be in movie theaters! 

And to see him get his star was also the same kind of feeling. I was like, wow. Someone like us, someone that demented and twisted could end up on Hollywood Boulevard. That’s incredible. So, it was a really cool day.

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We tackled daddy issues. And now it’s time to discuss mommy. The mother in your film is a knockout character, and her rendition of Gwen Stefani’s “Chala Bread Girl“ was pretty epic. Was this character inspired by anyone from your actual life or pop culture?

100% inspired by Jena’s actual mother in real life. She is a sun-bunny, and even down to the voice and intonation and the way she just says things is 100% inspired by my sister from another, Jena’s mother.

Los Angeles plays a huge role in the tone of your film, with all of its grittiness and glamor. What does LA represent to you and how did you want to capture it visually?

When we first moved here – and I say “we” because my sister and her producers were scouting places for her to live – she was about to shoot a movie she had written, loosely based on her life. Joey King plays her in it, and it’s called Smartass.

They were moving us around different neighborhoods, kind of testing out where she might want to settle. So we spent a month here, a month in WeHo, then a month downtown, and eventually they put us up in the Hills for a month.

That was absolutely mind-blowing. There we were, the two of us, from basically the middle of nowhere, living in this massive, dilapidated, falling-down mansion in the Hollywood Hills. It was owned by a costume designer, and they had rented it from her. The place was packed with antiques and strange old clothes. It felt like stepping into another world.

Every day, I’d be dressing up in turbans, looking out at the city, it honestly felt like a dream. It was that Hollywood dream. That’s actually what inspired the idea for Wee Willy Winkie. We thought, what if these two kids, because that’s really what we were, what if they ended up in Hollywood?

Everything felt so beautiful back then, just looking out over the city and feeling the magic of it. That’s the feeling we wanted to capture. You’d look down the street, see a line of palm trees, and think, Oh my God, I’m really in California. I’m really in Hollywood.

That was the vibe we were chasing, something magical, a little surreal. Visually, we were heavily influenced by The Royal Tenenbaums, that kind of aesthetic really shaped the look and feel we were going for.

On your socials you refer to yourself as a “high school drama queen.” Can you tell us a little bit about your theatrical background and how that bleeds into your filmmaking style?

Actually, that’s a really good question. I think I was on stage for the first time when I was five. I come from a very religious family—I was a church singer growing up. I remember my first play in kindergarten was The Boy Who Cried Wolf, and I played the boy. During the actual performance, the kid opposite me forgot his lines. And I totally lost it—went a little ape, honestly—in front of all the parents.

I said, “I know your lines!” and I just did them for him. I finished the scene while he stood there watching. So I ended up playing both characters. And then I said something like, “I know your lines and my lines—I don’t know why you can’t learn them!” That was probably my first diva fit—my first full-on drama queen moment.

After that, I really leaned into being a drama kid. Even as a young teenager, I was acting in college plays. So my entire foundation for performance came from theater and its visual storytelling.

Eventually, we started our own non-profit film and theater company in Philadelphia, which we ran for 15 years. We just wanted to tell stories. None of us had really made films before. I mean, I had a silent Super 8 camera when I was a kid and a little video camera, but we’d never made a real movie.

So we basically created our own school, we just started doing it. We didn’t know we “weren’t supposed to” or that it wasn’t how things were done. We just wanted to make stuff, so we did. We put on a full season of live shows, and we also made music videos and short films on weekends, gathering everyone we could to help.

How do you think that background influences your storytelling style or your filmmaking approach?

It’s 100% guerrilla filmmaking. Just get it done—by any means necessary. That’s really our style. I don’t know all the technical terminology. I never went to film school. I just wanted to create. We’ve always loved the process, and that’s what kept us doing it.

With your title. Wee Willie Winky, was there any intentional nod to the 1937 Shirley Temple film where she plays a daughter of a widowed mother?

100%. And you know, the Wee Willie Winky is a child’s nursery rhyme in London, so it’s actually a little key into the father’s life. We wrote it actually as a series, a full series. So, and this is the proof of concept sort of for that series about these two estranged kids who end up back together in London, owners of a big antique shop, and then they’re discovering their own lives through their father, who has passed away. So they learn a whole new family and a whole new life about themselves.

Do you think that entertainment has a responsibility to be political? Or do you think it is also a means of escapism from politics? Or can it be both?

It can absolutely be both. Sometimes I go to the movies because I just wanna watch sh*t blow up. I go to the movies at least once a week, and I have for a very long time. It’s my favorite place in the world, and my mind is constantly worried about things in this world. If I could quote that whole Nicole Kidman thing, it’s 100% true. You sit down, the lights go down, the magic happens and you can forget about your life for a while, whatever that was. That thing cracks me up so hard. 

But also sometimes you really want to watch work that is moving you.  It has the power to change people. It has the power to shed light on situations that people don’t know about or have never thought about. And it really has the power to make people think. So 100% it can be both.

The matriarch of our story is no stranger to pina coladas. based on their personality types and respective quirks. What would be Len and Mark’s cocktails of choice?

Well, I think Len would drink anything bubbly. I think Mark would drink anything that was free, a free cocktail. Mark’s favorite cocktail is a free cocktail.

What do you hope audiences walk away with after watching Wee Willie Winky?

I hope they learn to laugh at dark stuff if they haven’t before. I hope they can find humor in pain. And I hope they want to know what happens next, and that someone else wants to know what happens next. Because I certainly want to, Jena and I certainly want to show you what happens next.

We started with one sentence and we’re going to end with one sentence. If you could write a one sentence love letter to queer cinema, what would that one sentence be?

This might make me cry because I remember the first gay movie I saw…  Dear Cinema, thank you for… Hold on. Dear Cinema, thank you for showing me onscreen that I was okay, and that me being in the world was not an abomination, and for showing me that I have a place in the world. Yeah…

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

For more information, visit CinePride.org