Canadian professional wrestler “Speedball” Mike Bailey may be a regular fixture on national TV as a key member of All Elite Wrestling’s expansive roster, but their path to wrestling stardom is anything but conventional. Nicknamed “Speedball” for his high-velocity, gravity-defying work in the ring, Bailey (who identifies as nonbinary) has spent more than 20 years traveling the globe as a star of the international independent wrestling scene, holding titles in TNA, DDT, and the IWS. 

Thanks in large part to a 5-year travel ban incurred in 2016 that prevented him from working in the United States, Bailey’s international career flourished, and after years of globetrotting as a freelancer (and a stint in TNA), Speedball officially signed with AEW in January of 2025. On the road to AEW’s largest annual pay-per-view, AEW: All In, The Blade had the opportunity to talk to Speedball about connecting with fans, representation in wrestling, and how/why the industry can become more inclusive. 

Between your YouTube vlogs and your Twitch streams, you’ve cultivated a very deliberate digital presence. What inspired you to start vlogging/streaming, and why is it important for you to maintain those channels now that you’re signed to AEW? 

There are a lot of facets to the answer to that question, but the main one is that I believe that in 2026, wrestling is and should be an immersive experience – that’s how it’s going to grow. I think the days of people playing characters that were only able to exist on television in 15-minute weekly increments, because they’re some kind of undead creature that can’t really have a conversation, are not what the wrestling world needs anymore. As is Kayfabe, the whole secrecy behind wrestling.  I think these days, if you look at social media, you will see that being open and honest and cultivating an audience that knows you well is the way to go. For professional wrestling, to have the best matches, what I want is an audience who can connect with me and who understands what I’m going through on an emotional level; so that’s one aspect of it. 

But there’s a lot more – the reason I started the vlog is pretty much the same reason I started Twitch streaming, which was that during the pandemic, when the world was shut down, I was unable to travel, unable to engage with my audience, unable to see a lot of the friends I’d made around the world of professional wrestling. To try to re-form that connection, I decided I would try to leverage the internet to make up for the fact that I couldn’t be there in person, which is kind of what I’ve had to do my entire career. 

If you’re familiar with my story, I was unable to enter the US for five years. During those five years, my focus was on growing my skill set as a professional wrestler, but also my brand, and trying to get as much global recognition as I could. Those five years really highlighted to me the importance of putting yourself out there as much as possible. 

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Historically, depictions of LGBTQ+ people in professional wrestling have been either negative or non-existent. Could you talk about the importance of AEW not just as an alternative promotion to the mainstream, but as a platform for queer talent? 

If you’re familiar with pro wrestling, you’re familiar with its history in this century: where you basically had one promotion that had the monopoly on professional wrestling, and that promotion really was only one person’s vision being put on screen. Over the years, in the early 2010s, social media came about, and it became possible for independent promotions to actually advertise their shows, to build an audience, and to distribute their shows online.

 Independent wrestling is intrinsically connected to the audience, right?  It’s smaller shows for smaller audiences: if your crowd doesn’t like something, you will find out very, very quickly. So independent wrestling grew to the point that there was a giant hole in the wrestling market between what was presented on TV and what was happening at an independent level, which is so much closer to the audience. Tony Khan saw that gap in the market, and that’s what led him to create AEW. But I think the key here is that in order to be successful and continue to grow, pro wrestling needed to listen to its audience. 

It became very, very clear that the homogeneous, uniform professional wrestler that was presented on TV was not representative of the audience who wanted to see professional wrestling anymore. The world is diverse. If people want to see that same diversity reflected in their professional wrestling, there is no reason for it to be reserved for only one kind of person. That is absurd. People want to see queer people. People want to see all kinds of stuff that doesn’t fit the historical mold of what a professional wrestler should be. 

Were there any early LGBTQ+ wrestling trailblazers who inspired you?

It’s funny – no, not really, because there kind of weren’t any. But I remember finding a box of Manami Toyota tapes –  I think someone had gifted them to my sister when she wanted to be a professional wrestler as well. But I remember watching those tapes of women’s wrestling in Japan, and seeing these women perform in front of a sold-out Tokyo Dome in the early 90s, and getting the sense that “Hmm, I think the way that women are treated on American televised wrestling is ridiculous. Clearly, they’ve drawn a crowd, and they’re able to put on a great show.” Seeing someone like Aja Kong, who is an absolute icon and the exact opposite of what was presented on televised pro wrestling for women at the time, really blew my mind. 

Aja Kong is one of the greatest professional wrestlers of all time, and she doesn’t get nearly enough credit, just by getting a ton of credit. But we’re talking about the early 90s here, and this is a mixed-race queer woman who was selling out the Tokyo Dome. Seeing that really opened up possibilities for me. The fact that Aja Kong and Meiko Satomura are routinely ignored in the ‘greatest wrestler of all time’ conversations just shows you how heteronormative pro wrestling historians are, the fact that their careers are largely ignored. 

Meiko Satomura, to me, is one of the top five greatest professional wrestlers of all time. Not just because of how good she is in the ring, but because of how her career has transcended decades, what she’s done through her own promotions, and the other wrestlers she’s trained. I think that’s completely incredible, and the fact that they get so little credit is very indicative of how things need to change regarding the way professional wrestling is viewed historically. 

As someone who has been wrestling for 20 years, how and when did you know it was the right time to come out publicly? 

So I never really ‘came out ’; I never declared anything. In fact, it was quite the opposite. I just rejected the theory of gender, if that makes sense – specifically, by design, there was no declaration. There was just a changing of my vocabulary, the words I used and how I described myself, especially within pro-wrestling, where that kind of thing is very relevant. Baked into the scripts, in the words of pro-wrestlers, there is so much talk of ‘manliness,’ and none of that ever resonated with me. I’m very lucky to have a platform such as pro-wrestling, which is stereotypically hyper-masculine, through which I can show people you don’t have to abide by those standards. 

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You mentioned the lack of LGBTQ+ wrestling influences you had early in your career – how does it feel to know that the next generation of wrestlers are going to have the likes of Nyla Rose, VENY, and Speedball Mike Bailey to look up to? 

I haven’t thought about it too much. I’m glad that I resonate with people, but I feel like there are so many other ways people can resonate with me. Whether it’s non-binary, or trans, or through any other way, what I want people to take away is that you can still succeed if you don’t fit the mold. That is a huge hurdle I think professional wrestling, as an art form and a community, needs to overcome. 

I always make extra time for anyone who is part of a queer or any marginalized community, or who otherwise doesn’t fit the mold, to give them advice and help however I can. There needs to be more of a conversation to be had about people who enter the pro wrestling space who have disabilities, and how there is space for those people, and that they belong just as much as anyone else. 

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If you’ve been to an event in Los Angeles, then there’s a good chance you’ve had the pleasure of seeing Andy Lalwani’s work firsthand. 

The gay reporter has spent almost a decade bouncing around the city’s hottest venues for some of today’s biggest publications. Whether it’s Grindr or Disney — yes, the man has recently done work for both companies — Andy has become known for not only his fantastic carpet interviews, but the engaging social content that he always produces afterward. He offers a simultaneously relaxed yet engaged approach to these moments, with his videos being filled with intriguing conversation from huge stars and a shocking amount of casual laughs.

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Pair this constant presence with an engaged social media audience of more than 30,000 followers, and it’s safe to say Andy Lalwani is a true star in LA’s bustling reporting scene. It’s why so many folks across the city were excited when he announced his newest project: the Culture Shock podcast.

“It is so fun to show up to a studio and just have no idea what you’re about to get into,” laughed Lalwani, reminiscing on the past few months since Culture Shock debuted in March 2026. “I want every guest to feel like this is just a great time, to be sitting across from somebody and just getting on. I think the world needs to laugh a little bit more, and that’s what this whole podcast is about.” Culture Shock sees the reporter go from the carpet to the recording studio as he sits down with some of LA’s biggest cultural changemakers. Whether it be musicians like Icona Pop, comedians like Matt Rogers, or even Leland of RuPaul’s Drag Race fame, the podcast has quickly gained an audience who love Andy’s intriguing conversations with each personality.  

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The host has been overwhelmed with the response from his audience, saying how happy he’s been to see folks enjoying this project — especially because Culture Shock wasn’t created in the best of circumstances. Candidly speaking about what led him to make this show, Andy stated, “I started my podcast when I got laid off from my job.”

“It definitely has a lot of highs and lows when you’re trying to work and break into the [media]…it’s been really hard for LGBT people to be involved in news whatsoever because of the landscape.” It’s an issue that affected thousands of folks in this community, with many queer journalists from big publications — including ones catered to the LGBTQ+ community — being laid off in recent months. But Andy stressed that after years of trying to prove himself to others, it actually felt inspiring to finally get the chance to create something completely unique to him. “Seeing gay people-of-color is hard in the media — behind and in front of the camera — and so being an Indian guy…there’s not a ton of us who do what I do,” he explained. “So once I got laid off, I was like, ‘I just want to own something myself for a change, and not have to report to anyone else.’”

And own it he does, with Andy offering his trademark style of interviewing into each episode of Culture Shock. He was quick to emphasize, though, that the show’s success can’t all be owed to himself. Andy thanked his entire team at Spotify by saying, “Spotify has been really supportive with this endeavor,” describing how they’ve helped him fight through the early nerves of this process. Made up of professionals from around LA, he offered immense gratitude to the many folks in both production and promotion, with the podcast even being featured in the platform’s June spotlight on LGBTQ+ creators.

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Lalwani spoke proudly about all that he’s accomplished with Culture Shock, but when asked about the future of the podcast, he calmly stated that he wasn’t sure what would come next — and that was on purpose. 

“When you work in media, you think you have it all laid out for you. But for me, if you asked me five years ago where I thought I’d be now: completely different,” he laughed. “But I’m in the prime seat, and I want to keep that going. Maybe expand it even more! I can’t tell you where the next thing is going to be, but it’s…it is just such a joyous, rewarding process to say I’ve taken every skill — production, reporting, on-camera experience — and just like housed it into one. That’s it…it’s just a nice home for myself.”

An earned sense of optimism from a person who’s worked to master the skills audiences hear in every Culture Shock episode. Though while he’s keeping his options open, one thing is for sure: Andy Lalwani is prepared for the many big and bright things that are certainly in his future. And now that he has access to his very own studio at Spotify, he’s excited to ensure audiences listen in on these new adventures every step of the way. 

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When you think of Tiffany, you might be instantly transported to the 80s and remember the mall girl who made a name for herself with the hit “I Think We’re Alone Now.”  Maybe you remember her from her countless reality television appearances or even as Judy Jetson from The Jetsons Movie. She’s really done it all. 

If you see her now, she retains her rocker spirit and bubbly energy but also has a brassy mom vibe with big Melissa Schemment from Abbot Elementary energy. She’s done it all, from acting to singing, and her run on the Food Network series Rachael vs. Guy: Celebrity Cook-Off helped ignite an excitement for the kitchen. 

Now she’s got a new cookbook, Pop Life: The Ultimate 80s Kitchen Encore, along with a cooking club called Let’s Food with Tiffany. She also continues to perform and is still touring. She took some time from her busy schedule to chat with us about her past, what inspired her new book, and all things mall culture. 

Why do you think you have such a big gay following?

 I’ve always just tried to be real with my life, the good, the bad, honest. I mean, I love a little bit of glamour, but then I’m also very, very real. I’m very down to earth. Sometimes maybe too down to earth. You’ve just got to live who you are, and I’m a little bit of all of it. I think my gay fan base sees that, like they really allow me to be who I am. And I love that, you know?

Do you have a message for your LGBTQ fans? 

I love you guys so much. And thank you for being a part of my world all these years. Thank you for loving my songs. I love the chance to have these meet-and-greets with fans. When people tell me, “Girl, your music means everything to me, it really helped comfort me,” or “It gave me the courage to, or it gave me the strength.” I don’t take it lightly.

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What do you like about engaging with your LGBTQ fans?

I love chit-chatting. I love getting all this fashion scoop as well. Sometimes they’re a little too honest, but I really do love performing at Prides. Everybody comes ready to rock. You know, it’s one of the best, best, best audiences because everybody is present and engaging and just ready to have a good time.

Why do you think people resonate so much with your music? 

I had a very turbulent childhood; I would often go in my bedroom and play Stevie Nicks

and just pretend I was someplace else, and that wasn’t happening outside my door. And it would soothe me because I was just a kid and my household could get a little crazy. I think some of my songs, even though the pop songs were pop, there was some grit there. Some of the ballads were deep for a young person to be singing them. 

Like, what?

Songs like “Could Have Been.” The label didn’t want me to record them. They were like, this is too adult for you. And I was like, “Have you ever seen a 14-year-old in love or heartbroken?” You’re never gonna find anybody else; that’s it. That is the one. And if they break your heart, God forbid, you’re never going to recover, and it’s magnified by a zillion when you’re young.  

I really fought to have “Could Have Been” on the album, because it showed I could sing, but I disagreed that it was too adult for me. And, you know, it’s on the album, became number one, and it really is an anthem song for me. It’s my favorite song that I sing.

Do you sing it on tour?

It is the highlight of the show. It’s the one moment we’ve kind of drawn it out a little bit and extended it, so we have the fan moments; everybody sings along. But I think there’s maybe something to the music, and then maybe something to me.

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Can you tell me a bit about the progression of your music from then to now?

Learning to stand up for myself, learning to become a songwriter, you know, in the earlier albums I didn’t write and no one really wanted to help encourage that, or develop that. It was happening anyway, so I took some time and just started working with my band members. I’m a big advocate of if one door closes, there’s another door. If you want something, go and get it. And it doesn’t mean that it will happen on a massive level. 

Do you have any advice for fans?

If you’re happy with what you’re doing and you feel like you’re growing as a person, and you feel like you’re living what you thought would be the design of your life on any level, that to me is great. It’s great for mental health. It’s great for the spirit. That’s kind of what I’ve done in my life. 

Can you tell me about your life now?

I wanted to become a songwriter. I wanted to be a mom. I wanted to move to Nashville and be a hippie dippy doo, you know, and have time off. I live part-time in the UK now. I’m getting really into the culinary world there. I take the train into London; I’ve got my coffee and my dew and all my stuff.  But then when I go home to Nashville, I literally kick off my flip-flops, hair in a ponytail, and I’m grounded in the earth. I’m planting stuff. I have an orchard.

When you said my coffee and my dew, did you mean Mountain Dew?

Oh, no, I mean like my sausage rolls or my pasties or whatever else I’m grabbing on the go. I love my M&S, and I always have my cappuccino…it’s called a cup of personality for me. Like, that’s how we start the day.

Can you tell me a bit more about your love of food? Where did that start?

I started traveling when I was so young; I always wanted to go where the locals went. I wanted to shop local. I never took it for granted that I was going to come back to these places because I didn’t know. All of a sudden, I’m in, like, Thailand and India and the UK; I never knew if I was coming back

I was like, I want to go eat where the locals are. So I was always dragging my band because I was so young. I had to have people with me, and I’d be like, it’s adventure time. Let’s go. And I think that’s where, you know, I started to kind of talk to my fans about, “Where’s a good place to eat?” It became a dialogue. And so many people, as you travel the world, are really excited about their food and their music. And they light up when you ask them about it, to be honest with you, so it just became something that I did. 

You have a cooking club; how did that start? 

During Covid, I had this deep, deep, deep sadness of missing my mom and my grandmother, my dad, and I just started cooking my grandma’s recipes, because it made me happy. I thought, well, I’m gonna show this to my fans, because I think they’re doing the same thing. 

So that’s when I started a cooking club, Let’s Food with Tiffany. It was just me in the kitchen hanging out, but talking like this. And it became a weekly thing, and I think it was more than just cooking; it really was a friendship. And once COVID kind of went away

I started traveling again. I just decided I don’t want to give this up. 

So after that, I started developing my spice blends: Rockstar Za’atar, Hip Hop Harissa, and Let’s Taco Taco Taco.

I want to do what’s called TIFF takeovers, where I go into restaurants from mom and pop places to high-end places. They’re ticketed events. They get an appetizer, maybe an entree, maybe one of my poptails, don’t know, but whatever I work with the venue on their level. And a Q&A. And then we rock it out. We do a little acoustic show.

Can you tell me about the book? 

The cookbook with Chef Alicia [Shevetone]. I met her just as a friend first. A friend connected and said, I think you guys would be girlfriends And sure enough, we were instant girlfriends. And then the creative came. And so many of my records have been like that. So many of my other projects have been like that, where you know you meet people, and you’re like, everybody’s like, oh, you should do something together.

I’m not a chef. I’m a foodie. I’m a newbie, and I think that also makes people feel comfortable. It’s like we’re going on this adventure together; let’s see what we get into. And I literally, that’s, I mean, that’s part of my life in the UK. I am now being exposed to the bigger, broader culinary world, which I love.

I can’t let you go without asking you about malls.

We need fun back. I wish we had the malls back. I’m a big fan of small business myself, and it’s so necessary for people to make different incomes nowadays, and you get those unique, one-of-a-kind pieces in that. But the mall represented gathering. It was a safe place to go. You’d go and pick up something and try something on, and you know, if you had kids, you would drop them off there. They could be in the arcade, the music shop, whatever. It was just a culture. 

You walked around; even if you had no money in your pocket, you got dressed up, and you kind of walked around, and you saw other kids from other schools or your school, whatever it was, it was a destination. We don’t have places like that anymore

And it’s very sad, you know, I mean, a lot of the malls are dying all over wherever I go. And, you know, being part of the mall tour was brilliant.

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You’re also touring! 

I do, so I’m going to Chile, to the Philippines, and then I’m doing Kim Wilde’s The Singles tour in the UK early 2027. Meanwhile, I have the All This Time tour that I’m doing now, which is pure retro. And I have all my pop life parties, so I’m pretty busy right now. You know, just wearing all hats, about to head to New Mexico for a book signing convention, so lots of book signing conventions in my future. 

You can read all about Tiffany’s projects, including her tour, on her website. You can also purchase POP LIFE: The Ultimate 80s Kitchen Encore.

Music has always been a tool for culture. 

Whether it be singing, dancing, or the countless other ways that people bring it into the world, music serves as a way for communities to express their cultural pride beyond simple words. It’s also proven to be a channel for rebellion; repressive forces throughout history have attempted to eradicate the musical practices they know bring oppressed classes hope. But despite their best efforts, a part of that music always lived on. Continuing to give voice to cultures that too many people want to silence and offers the authentic freedom that so many groups still fight for today. 

Many shows try to capture the cultural power that music has always held. And at this year’s Hollywood Fringe Festival, audiences got to see that power come to life in Leopold Nunan’s dazzling show: Leo from Rio: Latin Icons.

A one-man affair, Leo from Rio sees Nunan don many glamorous outfits and perform as some of Latin culture’s biggest musical icons. From Violeta Parra to Sérgio Mendes, this combination of concert and performance art honors these trailblazing voices who still influence modern Latin music. Leopold sings these legends’ songs — all while dressed impeccably as them — while educating audiences on their cultural impact.

Leo from Rio premiered at this year’s Hollywood Fringe Festival to city-wide acclaim, with critics raving about the expert costume design and the passionate musicality that fills every second of its runtime. Leopold has been overwhelmed with this positive response and credits the show’s success to the many stars who inspired it, saying, “These artists gave us a language before we even knew we needed one. Some of these songs make you think of your mother, your childhood, a country you left…then you perform them in Los Angeles, and suddenly a room full of people from completely different places understands exactly what you’re talking about.”

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The only negativity that local critics have aimed at Leo from Rio is that the show had far too short a tenure at this year’s Fringe Festival — well, luckily for them, the show is coming back. And to the delight of returning audience members and intrigued locals alike, this encore performance will be happening in the unlikeliest of places: the West Hollywood City Council Chambers.

“I am an independent Latin queer artist. No major label. No giant machine behind me. And the City of West Hollywood looked at my work and said, ‘We believe in this. Come do it here,’” said Leopold, growing emotional as he discussed the upcoming show. Because on Friday, August 21st at 7 pm, Leo from Rio: Latin Icons will be making its West Hollywood debut by flooding the City Council Chambers with more Latin dancing and music than this municipal building has ever seen. 

The performer excitedly discussed how honored he is to be invited into such a powerful space and how ready he is to share this ode to Latin culture with everyone in attendance. It’s something he knows so many people need right now; Leopold is a WeHo local and has seen the bigoted attacks the city’s Latin communities have suffered through in recent years. His status as a Brazilian immigrant has given him a firsthand look at the atrocities people all over LA are facing, recounting, “Right here in West Hollywood, a fellow Brazilian resident, Alex Pereira-Alves, was recently detained by ICE during a routine immigration check-in. The government was preparing to send him to Guyana — a country he has never even visited!” A federal judge has temporarily blocked Pereira-Alves’ deportation, but Nunan stressed how this case is one of countless others that highlight why we need shows like Leo from Rio more than ever. 

“When you have a microphone, sometimes you have to use it for more than singing,” he continued. “Celebrating our culture matters right now. We cannot allow our communities to be defined only by struggle…we are incredible artists. We are rhythm. We are creativity. We are JOY.”

This is why the performer sees his upcoming performance as more than just a show. Because beyond the costume changes and singing, every second of Leo from Rio is filled with a deep love for the Latin legacy, one that fights back from the attempted erasure so many are facing today. And to have that love be brought into such an official building, with the support of the local government, makes Leopold confident that this evening will be a reminder of how beautiful Latin culture is. The strength that can be found in honoring this culture, and why locals should celebrate it as loudly as they can — especially in the face of those who want them silent. 

“I hope they see what happens when a city actually invests in its artists,” said Nunan, on what he hopes the Los Angeles government takes away from this performance. “You give an independent artist an opportunity, and suddenly that opportunity becomes work for musicians, collaboration, community, culture — and a room full of people sharing something together. That is what supporting the arts can do.”

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An inspiring precedent that not only opens up the door for many other artists but also grants Latin locals a night of nonstop community love. All of this packaged into a show filled with costume changes, musical numbers, and dancing? It’s no wonder why Leo from Rio: Latin Icons is loved by the WeHo government, and why it continues to inspire Latin Angelinos today.

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Micheal Ighodaro is a true global advocate, a title the man doesn’t take lightly. 

He’s spent his life fighting for his many communities; Micheal escaped violent discrimination in Nigeria as a young gay man, eventually finding asylum in the United States. Since then, he’s committed his life to activism, traveling the world uplifting LGBTQ+ individuals and spreading awareness of the HIV resources he’s helped make possible today. Whether it’s creating Global Black Gay Men Connect (GBGMC) or serving as President of Global Black Pride, Ighodaro is recognized as one of today’s foremost HIV advocates, with his work even earning him the title of ‘Champion for Change’ from former President Barack Obama.

Micheal’s activism has taken on many forms as he’s tried to serve LGBTQ+ populations from all over the world. He’s determined to do whatever it takes to get these people the resources they need, with his newest project being one of the advocates’ most ambitious: Red Light Diaries, an anthology series focused on how HIV prevention shows up across the globe today. 

“We needed to find ways to reach people,” explained Ighodaro, when discussing what drove him to create the show. “Sometimes, we are in our bubble when we speak about public health or human rights work…I wanted to find a different way to reach [people] in a way that we are not used to.” It’s a fact that becomes more evident every year; while there’ve been massive developments in HIV treatment and prevention, ongoing stigma makes it difficult for many LGBTQ+ populations to learn about these resources. Micheal and his team at GBGMC wanted a way to truly connect with individuals, to not only educate them but to show how beautifully massive their queer community is today. And, inspired by a certain trailblazing TV show about ballroom culture in the 1980s, Ighodaro created Red Light Diaries, describing the new series as, “Think Pose, but global.”

Each episode of this six-part program focuses on a different person in a different part of the world, with the series actually filming in whatever new location is being featured. Ighodaro emphasized that they wanted to spotlight the reality of being queer in these different spaces, saying, “What makes a black trans person in Atlanta? What makes a sex worker in Nigeria? What makes a bisexual man in London? Who are they — and what does HIV have to do with that?” 

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Each story showcases these characters’ unique experiences with queer survival, how they navigate their daily lives, and what HIV prevention means to them. Micheal promised that amazing information about HIV access will be packaged within each story — but also, that these lessons aren’t the sole reason for Red Light Diaries’ existence. He didn’t want to just educate folks on facts about queer healthcare. He stated, “[We] want this to be about the people. Yes, we want to share information about HIV prevention…but there is no prevention without the person.”

The series is centered on these people, individuals who may be separated by thousands of miles but are united in the fight to live authentically today. The cast and crew of Red Light Diaries are amazing at helping viewers understand the global humanity within these episodes. But there’s one aspect of this storytelling that Micheal knew would help audiences understand the show’s core themes: the music. 

Working with Black queer artists from around the world, Micheal personally wrote a majority of this series’ soundtrack, making sure that they were not only amazing songs but also spoke to the LGBTQ+ pride happening onscreen. “From track one to track twelve, [these songs] are very related to real experiences from the actual series — but also real experiences from my life, from my friends’ lives, and from the artists who wrote the songs.” 

Whether it be the pop anthem “Own My Night” or the choral “I Won’t Disappear,” each tune comes from Ighodaro’s own experiences as a young gay man in Nigeria, struggling to survive in a setting that wanted the exact opposite for him. Throughout all of this, though, music and his community helped him carry on, with the man remembering, “There was a time I was with my friends under the bridge in Nigeria when I was 17. I was playing Beyoncé and Gaga; me and my friends hadn’t had food for days, but we were dancing, singing our lungs out…because that’s what brought us joy.” 

This kind of radical joy is at the core of Red Light Diaries: the universal fellowship that exists for queer people all over the world. Along with sharing important information about HIV, this series will showcase the joys that LGBTQ+ people find amidst hardship, and why it’s always your community that can help you through these tireless moments. “Because if you’re fighting so much to just exist, then you have to actually exist, right?” Asked Micheal. “Because if you don’t have joy, if you don’t dance, have music…then what are you really fighting for? 

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While Red Light Diaries has not yet premiered — Ighodaro teases that information about the series’ premiere will drop very soon — the soundtrack recently debuted, showing people not only the great songs but also heartfelt themes that will fill this series. Micheal has many expectations for this groundbreaking program, but for the music especially, he hopes it will help individuals feel more connected with the other LGBTQ+ people just like them all over the world.

A reminder that we are a part of a universal community. And that no matter how alone you may feel, there are always going to be queer people ready to dance and help you find the joy necessary to make it through the hard times today. 

You can listen to the full Red Light Diaries soundtrack wherever you stream music. 

The best way to describe Leonardo Nam, who plays villain Maddox Hatter in Descendants: Wicked Wonderland, is joyfully chaotic. From the jump, he’s sweet, charming, and upbeat. A South Korean born in Argentina and raised in Australia, he’s got a delicious accent and an even better demeanor.

He’s an LA resident, actor, and producer with credits including HBO’s Westworld, Marvel’s Werewolf by Night, Netflix’s Yes Day, The Sisterhood of the Traveling Pants franchise, and The Fast and the Furious: Tokyo Drift. He’s also a husband and father. 

His character of Maddox goes from fan favorite to villain and returns as the antagonist in Descendants: Wicked Wonderland. He joins other queer icons who have played villains in the franchise, including Kristen Chenoweth, Cheyenne Jackson, Kathy Najimy and Jamal Sims.

Nam took some time to discuss everything from parenting to Disney to his current villain status.  

How do you feel about rejoining the franchise?

LN: Oh, my goodness, I am absolutely loving being part of this franchise again. You know, from the very get-go, I was so grateful that I got to play in the sandbox with Disney and they invited me in. It’s a place where anything goes. Imagination lives here. Then to jump through the rabbit hole into another universe, and to play in Wonderland in this way was just like just delicious, excellent. I loved it

What does it feel like being out, you know, queer person working on a Disney project?

Oh, it feels wonderful to be able to sit here with you right now and to have brought my family to the premiere. That was really important for me. Anyone who’s doing anything in their life that they pour their heart and soul into, it’s really wonderful when you’re able to share that with family, with friends, and with the community.

It was just such a wonderful experience. I’ve got twin boys. My kids are now 9, so they’re kind of right in the pocket of where this hits home for them. I remember when I was 9, watching Disney films and resonating with them, and dreaming about being in this whole new world, and what have you. It’s just so wonderful to share it.

How did it feel to play a villain?

Are you kidding me? That’s just so delicious to play as an actor, you know? When I read a script, and there is a line that references an evil kind of mustache-twirling kind of vibe, everyone is referencing a Disney villain like they’re mocking it, or having fun with it, or being ironic about it. Everyone is referencing an OG Disney villain

Now, to be a Disney villain and to have a villain song is a dream come true. This is so extra for me, and to be able to share this right now in 2026 with my family right now where I am, it feels kind of magical in a way.

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So as a father and playing a father, do you feel like you brought anything from home to the role?

I think you bring some of you to every role. I’m so lucky that I get to play in a world with the work that I do with such imagination and also so much heart. And one thing I love about this franchise is that they really boil things down to love and family. 

So I felt like, as a father, doing this role was kind of unique. Like I said, my kids are in that right age right now, where I find myself, finding ways of having to really love and celebrate them, and trying to make them feel they belong and that they have a reason and a purpose to live even through the hard times. How to still love and cherish the relationships that you have, and that even though there are things in your life that you may not like or right now seem hard, that it’s not where you stay. It’s not where you’re stuck.

And I think that this movie kind of amplifies that. 

On the flip side, was there anything you brought home from your role? 

Singing was something I never thought I was going to do in my life. I was kicked out of choir. I definitely had that trauma, and when I knew I was going to sing this song… my kids were upstairs while I was rehearsing in this office, and they would always say to me, “What are you doing?” 

Now, after filming it and really facing that fear, looking to transform it through creativity and through the actual work, I came back thinking, hey man, I can do scary things. No matter what, I know I tried my absolute best; I gave it my all, and I’m so glad and grateful that I did, you know? It definitely gave me that sense of like, hey, I can do it even if it scares me; I can do it

There’s a lot of queer icons who played villains in Descendants. Why do you think that is?

First of all, massive, massive, massive fan of the franchise as well. They bring in such quality people, so it feels wonderful to be welcomed into this playground with these greats. And I think a villain can be very theatrical and there can be moments of flamboyance and exaggeration and really, you know, diving into something headfirst.

And I think people, perhaps this is what I resonate with, is that they’ve been an outsider, and they’re finding their way into who they are within this journey. I think that there is a lot that people resonate with, with being an outsider and either the redemption arc or some sort of journey to finding themselves. 

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Who’s your favorite Disney villain?

That’s a hard one. I mean, I love Ursula; man, it’s a toss-up between her and Scar

Scar is a character that I really took a lot from. I really learned to fall in love again with The Lion King and Scar.

Do you have any message to any LGBTQ Disney fans?

Thank you. I so love being part of this community and in this Disney world. It’s my first entry into it through this franchise. I just absolutely love, love, love being embraced so warmly. And so, if someone else finds some sort of a wonderful kind of being able to see themselves on screen, you know, reflected back to them, I just am so grateful that it can even exist, and I can be a part of that.

You have a pretty great life. Do you have any encouraging words for our readers? 

Everyone has their own journey, and I never thought in my wildest dreams that this is a reality that I would be living in: happily married, I have kids with my husband, and we live in LA, and I’m doing this film. I never thought something like this would happen. 

I am really grateful that I have continued to say yes to myself and continue to show up even when I am afraid to show up anyway. One thing I know that is true is that together we are stronger. So continue to build community, continue to make friends, continue to link arms with friends and even with strangers, because it’s important that you have a community out there, because when things do get hotter, you are able to rely on these friendships. No one is supposed to figure it out on their own, and I’ve been very lucky and blessed to have such wonderful family and friends and a community that I can rely on and have relied on.

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Is there anything else you’re working on? 

I recently started a production company, and it’s called Good On Ya, and it comes from an Aussie saying, you know, when someone slaps you on the back says Good on ya, I got your back you know, and so this is really my way of having my own back and amplifying the voices and the stories that I see that are important. And so does that mean that every story is going to be me in it? No, but it does mean that I get to have a say in how this world is created or what this character does and how that is truthful to what I know. And so I’m really excited about that journey. I have a show in development, and then I have another film called A Vintage Crime, and it’s about the largest wine heist in FBI history, and it’s a true crime. 

You can check out Leonardo’s performance as Maddox Hatter in Descendants: The Rise of Red and see his turn as a villain in Descendants: Wicked Wonderland, and keep up with him on Instagram.

One week after Jason DePuy (known as Salina EsTitties on RuPaul’s Drag Race) was bullied and eventually evicted from CBS’s Big Brother house, the queer drag performer is still emotionally processing his feelings.

During his 24 days in the reality TV competition, De Puy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.

In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”

Former Big Brother contestant Frankie Grande called his words  ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.

Now that he is out of the house, DePuy has been shocked and deeply touched by the love from Big Brother fans and former contestants. We chatted with DePuy for this Blade exclusive.

“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”

He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”

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Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself. 

“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”

DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain Drag Race moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the Big Brother house was amazing.” 

While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling. 

“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”

He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’” 

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Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.

“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”

One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.

“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”

DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”

DePuy was thrilled to be the very first drag queen to ever be cast on the show. 

“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”

Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.

“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”

If you missed Jason on Big Brother: Unlocked, the episode can be seen on CBS.com. He will be back on the show for the finale.

It’s hard to imagine where LGBTQ+ television would be without Queer Eye for the Straight Guy, the trailblazing reality series that premiered in 2003. 

Each episode of this Emmy-winning show saw a group of gays converge on a struggling man — the titular straight guy — and offer nonstop wit while organizing his endlessly messy life. This program about a group of homosexual helpers took the world by storm, furthering the love of gay television begun by shows like Will and Grace but bringing it into the growing medium of reality TV. Of course, it wasn’t perfect; Queer Eye for the Straight Guy often cast its experts less as multi-faceted queer folks and more as sources of early 2000s gay jokes. But despite these pitfalls, it’s undeniable that the original program explored the realities of being gay in a way audiences had never seen before. It was a monumental piece of LGBTQ+ representation, and its success is largely owed to the man who fought to get this show made: producer David Collins. 

Collins spoke with the LA Blade from his Los Angeles home, where he’s spent the past few years living with his husband and his two daughters. David spoke fondly of his many years in this industry, detailing how it feels to be such a huge part of LGBTQ+ history. He explained, however, that he didn’t initially set out to alter how queer people were seen on television. “I never went out to make gay television,” said the producer. “I went out to tell great stories.”

“I’m a hillbilly from Ohio, and I thought I was going to be an editor,” David laughed, looking back on his career. “I interned at the Cincinnati Film Office, and I showed up to work my very first day, and the film commissioner was like, ‘Get to the airport right now and pick [someone] up. Don’t talk to them.’ Well, I ended up picking up Jodie Foster!” Collins raved about this car ride that changed his life, with the pair becoming friends and Foster pushing him to become a producer who puts their own media out into the world. Eventually, he did just that, and after learning about the wild new genre that was reality TV, he pitched a series to Bravo: Queer Eye for the Straight Guy. 

“I was obsessed with Esquire magazine, and they had five categories: fashion, grooming, interior design, culture, food, and wine. So I gave them each a gay, and the Fab Five were born!” Collins said, describing how viewers quickly fell in love with the concept and earned the program four seasons and an Emmy for Outstanding Reality Program. He spoke about how proud he felt creating a show that centered real gay people, not characters in a story, remembering, “To stand in the middle of Times Square and look up and see this massive billboard with the original Queer Eye guys…it wasn’t even a dream come true, because it wasn’t a dream I had even fathomed.”

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With his series, people were watching actual gay men and learning the realities of a queer culture that had always been portrayed as a danger to society. Collins tearfully recounted hearing about queer people using the show as a way to connect with their family, saying, “What I’m most proud of that’s come out of Queer Eye [are] the conversations that that series has allowed to have people around their kitchen tables with little boys in Ohio like me who were scared to death that they were going to burn in hell because their pastor was telling them that they were a sinner.”

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Now, for all of its trailblazing, the program wasn’t wholly positive; the show’s focus on the central ‘straight guy’ meant it rarely delved into the lives of its Fab Five. Collins regretted that lack of depth but understood that earlier audiences weren’t accustomed to such a nuanced look into queerness — that would have to wait til the reboot. 

When Queer Eye came out in 2018, audiences were introduced to not only a new Fab Five, but a whole new format (that didn’t rely on a straight person). Now, the series would assist queer folks and allies alike, spotlighting these individuals as well as the queer experts helping them improve their lives. The show has been applauded for its amazing makeovers, but where it truly stands out is its representation, offering a look into individuals across the country and the struggles — along with the immense joys — of being queer in America today. 

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Fans were disappointed to hear that Queer Eye would be ending after its tenth season, but David stressed that they wouldn’t have to be sad for long. “What I will say to you is this: hang tight,” he teased. “There’s yet another version of Queer Eye to come, and we’re working on that now.” In the meantime, Collins is continuing his work with new shows like the House of Stassi, a series centered on Vanderpump Rules’ prolific waitress. He’s excited about these new projects, but emphasized that his heart will always belong to Queer Eye for the Straight Guy and all that it continues to do for viewers 19 years after its finale. 

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“It’s not about your new outfit or your new couch or your new whatever. It’s about your humanity,” said Collins, speaking about the core lesson he hopes people take away from the Queer Eye franchise. “It’s about seeing yourself. It’s about dignity. It’s about how confidence breeds success.”

A valuable message that queer folks can benefit from even more now than they did in 2003. And, while it’s unclear just what lies ahead for this franchise, one thing is for sure: Queer Eye for the Straight Guy helped people everywhere understand the power that exists within our queerness. It’s a truth that has impacted countless pieces of LGBTQ+ television today, and it’s one that Collins promises to keep alive through whatever hit show he creates next. 

Tello Films is treating July like one long advent calendar, opening the door to a catalog of LGBTQ+ holiday romance. So sit back, drink some hot cocoa, grab a blanket, and visit the world of LGBTQ+ holiday romance.

The enduring LGBTQ+ streaming platform is celebrating “Christmas in July” by revisiting its holiday catalog, with the 2025 sapphic rom-com The Christmas Writer at the forefront. The film follows Noel Robbins, a renowned lesbian Christmas author, who struggles with grief, loss, and writer’s block surrounding the holidays. Along the way, she meets Callie, who helps her rediscover her passion for writing – and for helping her move forward.

For Tello Films founder and CEO Christin Baker, the company’s holiday catalog began with a mission: to address what was missing in seasonal entertainment. “The biggest thing that was missing was lesbian leads,” Baker tells the Blade. “We existed in holiday movies, but we were usually side characters of part of a family ensemble.” 

Baker makes it clear that, although lesbians appeared in holiday films, they remained largely absent from the romantic leads at their center. Drawing from her own experience, she explains to the Blade why this inclusion matters: “Those familiar holiday rom-com tropes are comforting for a reason, and our community deserved to see ourselves in those stories too.”

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The Christmas Writer, however, also explores the difficulty of being boxed into a particular kind of storytelling. For example, the film highlights how Noel feels trapped by the expectation that she must continue writing Christmas romances even as grief prevents her from writing. Baker explains that Noel’s desire to move beyond an established creative identity mirrors her own experiences with Tello. 

“I absolutely love a great lesbian Christmas rom-com, and I’m incredibly proud of what we’ve built at Tello. But I also love thrillers,” Baker said. “I’ve made a few lesbian thrillers that didn’t perform nearly as well as our holiday films, and I’ll admit that was frustrating. It can feel like audiences – and sometimes the industry – want you to stay in the lane you’ve become known for, even when you have other stories you’re passionate about telling.”

The tension may feel familiar to LGBTQ+ audiences accustomed to labels that come with expectations about how they should act or what they should create. Although Baker has found it difficult to move beyond the genre for which Tello is best known, she continues pursuing other creative interests – even when those projects attract smaller audiences. Still, that frustration does not diminish the significance of the holiday catalog she has built.

Tello has developed what it describes as “the largest collection of lesbian holiday films available on any streaming service.” Its catalog includes A Holiday I Do, Christmas at the Ranch, Merry & Gay, The Holiday Club, Last ExMas, and many other seasonal titles.

Part of the appeal of Baker’s films is that their plots do not center on whether others will accept the characters’ identities. LGBTQ+ films are typically associated with stories of rejection and conflict surrounding sexuality. Instead, Baker intentionally creates worlds in which the LGBTQ+ community is already accepted. “The conflict isn’t that someone is lesbian or nonbinary,” Baker says, “Their mom accepts them. Their grandmother accepts them. Their town accepts them… I want audiences to experience what it feels like to be embraced without conditions, even if it’s just for the length of a movie.”

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Tello also expands representation to aspiring writers – even those who have been rejected by studios. According to Baker, all of the platform’s holiday romantic comedies originated with a new writer rather than an established screenwriter with easy access to a studio. “A studio executive may never read their script. At Tello, that’s exactly whose script we want to read.”

Baker is especially proud that Tello has pursued a mission distinct from Hollywood: “One thing I’m incredibly proud of is that Tello has never tried to compete with Hollywood.” The familiar formula remains, but the platform uses it to create opportunities for filmmakers – and for communities the entertainment industry has historically overlooked.

As July gives way to August, Tello’s holiday catalog offers more than a simple escape from the summer heat. It imagines a snowy world in which LGBTQ+ audiences can find representation on screen and opportunities to tell their own stories behind it.

“That’s what Tello has always been about: giving our community not just representation on screen, but a pathway behind the camera as writers, directors, and filmmakers.”

Check out Christmas in July at www.TelloFilms.com.

It is 40 years since the release of the movie version of the Off-Broadway show, Little Shop of Horrors.  To celebrate the 40^th Anniversary, Ellen Greene, who of course originated the role of Audrey, is embarking on a nationwide tour, arriving in Riverside, CA at the Fox Performing Arts Center on Friday, August 14.  The evening will include a screening of the film preceded by a Q&A with Ms. Greene and a performance of the enduring hit, “Somewhere That’s Green.”

It is not difficult to appreciate why Ellen Greene was the perfect choice for Audrey or why the character has such an enduring appeal to audiences and, maybe more so, LGBTQ+ fans.  It would be easy to underestimate or dismiss Audrey as a simpleton and victim.  Yet, the character is “way more complicated than that,” according to Greene.  “She’s been engaged in life, she’s seen stuff, and she’s not someone who hasn’t been around. She knows what it’s like to be different, to feel shunned and not part of a plural.  So, I guess, you know, like minds attract.  Audrey is seeking love, but life has told her she doesn’t deserve it.  But she’s kind and talented and compassionate and appreciates people for who they are.”  There appears to be a lot of Greene imbued in Audrey.

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Greene has been an active and devoted ally to the LGBTQ+ community for decades.  In fact, I first met her when she agreed to do a benefit for Los Angeles’ LGBTQ+ theatre company, Celebration Theatre, twelve years ago.  When reminded about it, she recalled all the details without hesitation. “Well, doing that was a great memory for me.”  She went on to recall that her support and activism started at the beginning of her career. “My first friend in New York happened to be gay (back in 1972).  And, so many of the people around me from the beginning of my career were gay men.  My first job was a bus and truck (show) where I learned several important things that I am not going to go into!”  She described meeting and working with so many gay men, “all of the gigantic talents, all of these people that nobody knows, but to me they were huge and magnificent.”  And then, in the 1980s, the AIDS crisis emerged and one by one she found herself having to be there for her friends, to care for them, to accompany them, just be there or help them.  “It’s made me aware of how important it is to appreciate, to be kind and be loving and tell and show people who matter to me how much I cherish them.”

 Not many actors have originated a role in an Off-Broadway or Broadway musical, never mind one that also appears on the big screen or endures for 40 years.  In fact, Little Shop of Horrors is currently experiencing another life at the Westside Theatre in NYC.  Ellen shared with us some thoughts and memories about playing Audrey and making the film after so many years.

Tell us about creating Audrey, and did you change anything for the film?

Uh, well, first off, a lot!  I always do instinct first, so it’s how it feels to be the character inside, to create a soul.  It becomes a presence in my body, and so you see what comes out as a result.  Audrey is also a sexual being.  The first Audreyism that comes out in the film is the squeak.  That came out of a rehearsal with my original Seymour when he said something differently, and it came out of me in response.  In the play, Audrey often plays things bigger because she’s performing to the audience.  In the film, she’s playing to Seymour (or the other characters), so this was more revealing and intimate and shows how she reacts to him as a sexual being.  Then, when we did “Somewhere That’s Green,” it goes into her dream of a home and family and what makes a house a home.  You get to see the child inside with the dream of what a happy life looks like for her as a woman.  

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What was it like working with the creative team behind the film?

There was so much British talent behind the scenes!  We filmed it at Pinewood Studios.  Frank (Oz, the Director) was very kind to me.  He let me be there on set, so I got to see things like Levi Stubbs recording.  It created a camaraderie over the 9 months of hard work.  Paul Anglin did my makeup.  He started out trying the usual heroine makeup, but we wound up using the stage makeup because he didn’t feel the usual was playing right.  The crew was just stunning.  A valuable thing I learned in the theatre was leaving your ego at the door.  On a film, you do your little job, and everyone is a cog in a big wheel, so everyone is important.  When you have so much talent, special things happen.  Working with Alan (Menken) and, of course, Howard (Ashman, who died of AIDS-related complications in 1991) was special.  Howard was one of the last “book writers.”  He knew what he did, he did well.  He was a writer, he was a director, and he was a lyricist.  And he was very smart, and he was one of my dearest friends, and one of the wonderful things about this tour and about people loving Little Shop, it’s like that bell rings and you remember he’s an angel and he got his wings.  

The movie has an incredible cast.  Can you share what it was like to be a part of this cast?

Unbelievable!  It helped that I knew many of them.  John Candy.  Oh my God.  I did his last film.  And SCTV.  Rick Moranis, he was wonderful and funny.  And Tichina (Arnold), Tisha (Campbell) and Michelle (Weeks) were all so young. And I took them under my wing, and I love them, and they were so great to sing to.  During “Suddenly Seymour,” I know I’m singing to Rick, but I was also singing to the girls.  Singing in the opening shot was so magical, and they were amazing.  Then there’s Vincent Gardenia, the best Mushnik ever.  He was just the kindest.  He was so great in the role and so great to work with.  All the minor characters, John Candy, Jim Belushi, Steve Martin!  Amazing talents.  Steve and I became great friends.  He’s a brilliant talent. He knew me from before; he saw me in the play when he came with Mary Tyler Moore!

Any last thoughts about the legacy of Little Shop of Horrors as you embark on the 40^th Anniversary Tour and why audiences continue to connect to this story?

It’s really a story that we can all relate to.  We relate to these characters, this mystical, magical world full of whimsy that seems very simple but is complex, and it has deep underpinnings that reflect our own lives.  Yes, it’s larger than life, but these people are real, and we all desire the same things.  We don’t want to be treated badly or abused.  We want to have a place where we feel comfortable and can be our authentic selves.  Be loved and to love and to have a nest that feels like home.

Somewhere That’s Green.

Little Shop of Horrors 40th Anniversary Screening

Fri • Aug 14, 2026 • 7:00 PM Fox Performing Arts Center, Riverside, CA