Arts & Entertainment
Paul Rudd portrays ‘boring gay man’ Pete Buttigieg on ‘SNL’
The presidential hopeful’s husband Chasten also gets parodied


Kate McKinnon, Paul Rudd and Chris Bennett on ‘Saturday Night Live.’ (Screenshot via YouTube)
Paul Rudd parodied 2020 Democratic presidential hopeful and South Bend Indiana Mayor Pete Buttigieg on the season finale of “Saturday Night Live.”
The skit had Buttigieg (Rudd) appear as a guest on “The View.” Whoopi Goldberg (Leslie Jones), Meghan McCain (Aidy Byrant), Joy Behar (Kate McKinnon), Abby Huntsman (Cecily Strong) and Ana Navarro (Melissa VillaseƱor) welcome Buttigieg who they immediately don’t take seriously.
āI hear when you grow you up you want to be president,ā Goldberg says.
āI may be only 37 years old, but I do feel like I represent everyday Americans. Iām just a Harvard-educated, multilingual war-veteran Rhodes scholar. Iām just like you,” Buttigieg replies. āI do want to say, I wouldnāt be running for president if I didnāt believe America would be ready to accept not only a gay man, but a boring gay man in the public eye.”
After asking Buttigieg to fix her cell phone, Behar questions him, “Look, I gotta ask, because Iām sure itās come up, but you gay?ā
“Thatās not a question,ā he says. āBut I do want to say that I wouldnāt be running for president if I didnāt believe America was ready to accept not only a gay man but a boring gay man in the public eye.ā
Later, the hosts cheer for Buttigieg’s husband Chasten Buttigieg (Chris Bennett) to come out on stage.
Watch below.
Movies
The personal becomes political in explosive āEddingtonā
COVID-era film will challenge your thinking, disrupt your comfort

As the recent conservative blowback over āSupermanā has clearly illustrated, many American moviegoers like to complain that movies have become too political.
The arguments vary; some claim that an overemphasis on social issues has made going to the movies feel like attending a lecture, or that cultural agendas have infiltrated a popular art form that is āsupposedā to provide escapist entertainment. Others see it as a deliberate effort to ābrainwashā audiences into acceptance of certain political ideals, depending on which side of the fence they may be on.
If you can relate, we understand your feelings, and we sympathize ā but, and we hate to break this to you, every movie is inherently political.
For a film to avoid politics is, in itself, a political choice; no matter the intention of the people behind it, every film that is now or ever has been made will always have a political aspect, and to deny that it is there is to be ignorant of the very power that makes cinema perhaps the most influential art form ever created for mainstream consumption ā though itās fair to say that some movies wield it with a more scrupulous sense of neutrality than others.
Such a movie is Ari Asterās new neo-Western āEddington,ā which opened in wide release on July 18 after a (mostly) critically acclaimed debut at Cannes in May. Top-heavy with an A-list cast of principals and seemingly timed by fate to emerge in the midst of our nationās most critical test of sanity to date, itās the kind of microcosmic allegory that translates sweeping and near-abstract principles of political partisanship into the interpersonal dynamics of its characters, while also taking pains to invest us in their intimate concerns ā something that always, inevitably, drives our actions around any given issue that affects us personally.
Set in the early days of the COVID pandemic, it centers on Joe Cross (Joaquin Phoenix), the sheriff of the small (and fictional) New Mexico town of its title. An old-school lawman who sees himself as a protector of decency and freedom, he finds himself at odds with the new mask mandate from the townās progressive mayor, Ted Garcia (Pedro Pascal) ā perhaps more aggressively so due to the latterās alleged former history with his own wife, Lou (Emma Stone), a āmentally unstableā victim of trauma sparked by sexual abuse as a teen. Leveraging his popularity with the townspeople, he decides to run against Garcia in the townās upcoming mayoral election; but what begins as a straightforward competition centered around ācommon senseā arguments about public safety versus freedom of choice soon turns to wider conflict when national protest over the death of George Floyd spreads into the streets of Eddington.
Chafed by accusations of racism within his own police force ā despite the inclusion of Black officer Michael Cole (Micheal Ward), whose father was Crossās own predecessor as sheriff ā and suspicious of Garciaās involvement with a shadowy corporate backer whose effort to build a mysterious AI-training plant in the town has become a divisive issue among the townās citizens, the sheriff tries to diffuse the tension with a level-headed ābusiness as usualā approach which prioritizes the public peace over the ethical concerns of the townās newly-āwokeā youth population; meanwhile, his marriage is starting to unravel as Lou ā coaxed by a youthful online guru (Austin Butler) and in defiance of her conspiracy-theorist mother (Diedre OāConnell) ā becomes more determined to break free from the accepted story of her past, throwing his personal rivalry with Garcia into an uncomfortably uncertain new light. Faced with the prospect of a humiliating loss and the disintegration of his āhappyā home, he decides to take a more aggressive approach to his campaign, sparking a chain of shocking and violent developments that rapidly turn both his town and his life into a powderkeg, as his efforts to avoid its consequences become ever more desperate and irrational.
With a stellar cast of better-and-lesser-known talents performing at their best, and the picturesque New Mexico location lending a distinctly surreal air of grandeur, itās a deliberate thrill ride of a movie, grounded in the contrast between everyday banality and the raging turmoil of inner life; it hinges on false narratives, whether taught us by others or conjured by ourselves, and the dangers, both personal and public, of embracing them; and though it sometimes feels over-long and occasionally relies on contrivances that feel too convenient to be believed, its writer/director crafts it with enough clarity of vision ā not to mention self-assurance ā to make it all work.
Aster ā whose two breakthrough films (āHereditaryā and āMidsommarā) turned him into one of Hollywoodās āyoung directors to watchā toward the end of the last decade ā rose to A-lister prominence as a maker of āelevatedā horror, and while āEddingtonā furthers the departure that began with his last movie (the acclaimed-but-little-seen āBeau is Afraid,ā also starring Phoenix), it is nevertheless driven with the kind of mounting slow-burn suspense ā as well as the devious twists, turns, and sudden shocks ā that draws a clear lineage from the genre which inspired him to become a filmmaker in the first place. Perhaps unsurprisingly, these tactics serve him well, ramping up the underlying tension until viewers are mentally begging for it to explode; and, truth be told, it might easily be argued ā from a certain point of view, at least ā that āEddington,ā despite its self-identification as a āsatirical black comedyā and a narrative that reads more like an action-driven crime thriller than a movie about arcane evil or otherworldly threats, is very much its own kind of horror film, depicting a real-life terror that feels particularly ominous in the ācultural momentā we currently live in.
Swirling with the absurdities of American public opinion, pointedly and painfully magnified by its small town setting, Asterās ambitious opus hinges on all the paradoxical logic of our time; from the murky behind-the-scenes manipulations of big-money tech interests and the insecurity of white male āincels,ā to the paranoid and half-baked misinformation of online influencers and the blatantly self-serving lies of our public officials, āEddingtonā makes sure to touch on all the existential crises which haunt our collective lives in the here and now and undermine our understanding of ātruthā itself. Yes, it draws ludicrous caricatures of current events, and it roots itself in a filmmaking trope (think āThe Godfatherā) that symbolically links American identity with a tendency toward the violence, corruption, and amorality of criminal behavior, with side servings of toxic masculinity and colonialism; but just because it plays those things for laughs (albeit mostly the wry, inner variety) doesnāt mean they arenāt terrifyingly relevant to our real world existence.
Indeed, in the end, Asterās movie is chillingly unsettling, leading us through a labyrinth of cause-and-effect inevitabilities and delivering us, finally, to a place that feels both disconcertingly unresolved and alarmingly familiar; to say more would be a spoiler, but weāll venture to add that, whichever side of the political fence youāre on, itās a film that will challenge your thinking and disrupt your comfort.
In 2025, what better recommendation could we give for a film than that?
a&e features
Sasha Colbyās ‘Stripped II Tour’ is more than a showāitās a movement
The ādrag queenās drag queenā is just getting started

Sasha Colby didnāt set out to become āyour favorite drag queenās favorite drag queen.ā It just kind of happened.
āYou know, I was so stoned,ā she admitted with a laugh, recalling the filming of her āMeet the Queensā promo. āWe were about to sit down for the interview, and they were like, āOh, just think of something, like a catchphrase you want to say.āā What came out was a now-iconic phrase that captured the truth: Colby is the queenās queen, beloved by legends, adored by fans, and deeply respected in her craft. āIt came out of the deep crevices in here,ā she said, pointing to her head.
She thinks RuPaul might have planted the seed: āRu had said on the main stage once, āYouāre a drag queenās drag queenāyouāre what drag queens watch.ā And maybe that stuck in my head and just kind of ⦠word association.ā
And sheās only getting started.
After making history as the first out trans winner of āRuPaulās Drag Raceā to headline a Live Nation tour, Colby is hitting the road again this fall. Her āStripped IIā tour kicks off Sept. 16 in Seattle and wraps up in Hawaii, where sheāll bring her artistry full circle back home. This time, itās bigger, bolder, and deeply personal, just like Sasha herself.
āIām really excited to be going back on the road,ā she told the Blade. āWeāre doing a lot more cities. I think we did 23 last year, and this year weāre doing 30.ā But the expansion isnāt just about scale, itās about purpose. āThe last tour was more about my journey to āDrag Race.ā This oneās about having fun, having some escapism, and magic. Thatās so desperately needed in the world right now.ā
The show is shaped by themes of resilience, joy, and gender freedom. Itās not just entertainment, itās a protest in lipstick and lace.
āFor me, doing drag is a protest,ā Sasha said. āThe most accessible way I can create change is through art and storytelling.ā That means celebrating her Native Hawaiian heritage, honoring trans and queer ancestors, and centering the experiences mainstream media still too often ignores. āI love talking about how Native Hawaiians used to live and how they revered and had a space for trans people, for nonbinary people,ā she said. āThose two thingsāthe cultural and the queerāthey overlap a lot. Thatās my safe space to create from.ā
The show will include Easter eggs for fans, references to cultural pride, sex and body positivity, and, of course, a healthy dose of gender fuckery. āJust really bending the mind,ā she said, āand hopefully allowing us to get more comfortable with what we see as sexy or queer ā or even straight, you know?ā
Itās no surprise that Sashaās rise to icon status has made her a beacon of trans joy and resilience. But sheās honest about the weight of that visibility.
āI actually try not to think about being someone everyone looks up to,ā she confessed. āIām definitely far from a perfect example of always having my shit together.ā What grounds her, though, is openness. āI think thatās the real point of strength in vulnerabilityābeing OK to show yourself, flaws and all.ā
Itās a reminder that behind every perfectly executed performance is a full human being with trauma, imposter syndrome, and insecurities, just like the rest of us. And yet, she shows up anyway. āIt comes and goes. It comes in waves. Work in progress.ā
Digital spaces, she says, have been crucial for building community when in-person organizing isnāt always possible. āSometimes when we canāt be there in person, all we have is community online.ā But that connection comes with responsibility. āWhat we post matters. A lot of people look to us as their news source. So I try to be mindful of that.ā
Her activism, like her art, feels instinctive. āI think maybe just my upbringingābeing Native Hawaiian, living with injustice on an occupied island nationāIāve always just been interested in speaking truth,ā she said. āIām trying to do this mantra where I donāt have to be right, I just have to be happy. Unfortunately, being right makes me happy.ā
Same, Sasha. Same.
Her connection to her roots runs deep: not just culturally, but queerly. āBeing queer, being trans got me connected with my Hawaiian side,ā she explained. āThereās a long history of trans hula dancers and singers. They were the ones who taught me about Miss Continental, the Glades, the Carousel ā all these places I was drawn to as a performer.ā
One concept she carries with her is the Hawaiian idea that kana (your purpose in life) is tied to kulana (your responsibility to community). āOnce you know your purpose, then thatās easy to understand your part in your community ā whether it be your trans community, local community, or global community.ā
As for the future? āSkyās the limit,ā she said, beaming. āI see myself telling stories in different waysādrag, film, music, stage. I just love telling stories.ā And she hopes that trans and queer people everywhere keep doing the same. āKeep on existing, because itās making everybody so upset. Itās wildābut weāre not going to stop.ā
Before we wrapped, I asked Sasha what she would say to her younger selfābefore the wigs, before the titles, before she became everyone’s favorite drag queenās favorite drag queen. āOh, baby girl,ā she said tenderly, āeven though it feels like youāre trapped in your body, in your house, in your familyājust stick with it. Youāre one stubborn little gal. And donāt forget, youāve always taken care of yourself. You got you.ā
And what is she most proud of? Itās not the crown, or the titles, or the sold-out shows. āIām proud that after working as a gig worker, living off tips for 30 years, I can finally pay my bills on autopay,ā she said. āItās an amazing thing for trans women of color to be able to do that. So, thank you, drag.ā
Yes. Thank you, drag. And thank you, Sasha Colby, for reminding us that joy is revolutionary, art is healing, and we shouldnāt just āprotect the dolls,ā we should also pay the dolls.
Check out the full interview:
Ā Stripped II runs from SeptemberāÆ16 to NovemberāÆ15, 2025, with 30 confirmed North American dates, including Los Angeles on SeptemberāÆ26 and a grand finale in Honolulu, bringing Stripped IIās powerful celebration of trans joy and storytelling to a wider audience than ever.
Travel
Pacific Grove gets its first LGBTQ+ boutique hotel, The Charles, and ocean visiting just got a bit more glamorous
After 30 years away, internationally renowned designer Charles Gruwell returned to his hometown to create his most personal property to date

This last Pride month, The Charles, an exquisitely stylish bed and breakfast, opened its doors, making it Pacific Groveās first LGBTQ+ boutique hotel. It isnāt just a place to stay; it is a place to belong, boasting an environment of inclusivity. This is a welcome sanctuary of coastal beauty and classic design that is both stylish and warm. Bringing over four decades of global influence and experience to the creation of the property is internationally celebrated designer Charles Gruwell, who, after 30 years away, returned home to Pacific Grove to establish this most personal location.
Gruwell has over 45 years of experience in design. He has designed acclaimed properties that span from the Monterey Peninsula, Los Angeles, Las Vegas, Indonesia, and the list goes on. He has earned a name as one of the top names in outstanding design and innovation.
His work ranges from designing over 40 one-of-a-kind boutique hotels and resorts to exclusive residential properties, restaurants, country clubs, and retail spaces ā all boasting his signature flair and aesthetic. Gruwell has been featured in a long list of top industry publications that include Architectural Digest, Interior Design Magazine, and Metropolitan Home.

Gruwell was born and raised in Pacific Grove, which is located on the southern edge of Monterey Bay, and has become a popular tourist location because of its charm and location. His journey to become one of the industryās leading names started off with a unique twist. After attending Fresno State College, he came back to Pacific Grove to work as a high school teacher for four years. It was during his teaching that we would meet his lifelong friend, interior designer Johna Ball. He would shadow her on her residential projects in Pebble Beach, and his passion for design came full force.
He went on to work for Hirsch Bedner, the largest hotel design firm in the world, at their location in Santa Monica. From then on, he spent his career away from Pacific Grove, starting his own business and traveling the globe, earning his place in the design world. His hometown was always close to his heart, and he fondly told the Blade about his first-ever professional gig ā designing his nieceās hair salon in Pacific Grove.
Gruwell shared with the Blade what he thinks sets his work apart, āEvery (designer) has their own talents and they all are in their own lane doing whatever they’re doing. But I have a really diverse background.ā Gruwellās first mentor was Marlene Grant, who had a very classical approach to interior design. He then worked for Michael Bedner, namesake of Hirsch Bedner, who trained him in hospitality design. His really big break came when he went to work with Anita Brooks, and together, they would design the Four Seasons and Mandalay Bay Resorts as well as the multi-million dollar residences of the casino owners. They also received a commission for Disney’s Animal Kingdom Lodge in Orlando, Florida. Gruwell continues, āAll of those add up to life experiences that some designers never get. I have really diverse influences from different high-end design professionals in both the residential and hospitality marketplaces. I think what makes me a little more special.ā
After years of travel and design, Gruwellās mother fell ill and eventually passed away at 103. His friends encouraged him to come home, to leave the rat race and enjoy his time where he grew up. He returned to Pacific Grove and turned his motherās lot into his new, customized home, close to the Ocean.
āI came back here because I wanted to be back to my roots. When I was growing up, I didn’t realize that I lived in the most beautiful place in the world. Now, at 73 years old, I know.ā
Donāt think Gruwell is retiring or taking it easy. Since returning home, he has designed major hotels and a number of residences in Pebble Beach. But it was a call from a client that really spoke to him.
āDon (and Jay) Desai gave me the opportunity to design The Charles Pacific Grove. He said, āLet’s give you a namesake property, and let’s have you design it any way you want to. And let’s invite the LGBTQ community to a stylish and inclusive hotel.ā And so that brought me full circle.ā
Though all of Gruwellās properties have his signature style, The Charles is completely his, from start to finish. The building itself is part of his life; it is a Victorian-style home built by Frank Buck in 1904. Gruwell remembers being fascinated by the building as early as he can remember, passing by it constantly growing up. It turned into a boarding home, back to a residence, and then to a bed and breakfast. The building is listed on the National Register of Historic Places.
āThe house itself is what spoke to me. The actual architecture of the Victorian House spoke to me and said, āMake me a beautiful, luxury, London-inspired residence.ā So, because of the architecture and all the woodworking on the inside, it just had this whole feeling of a grand home; the building is what guided me to do the design.ā
Making The Charles truly his own also meant making it inclusive.
āIn all my travels, I’ve gone to different hotels and no one ever really talks about them being inclusive, inviting the LGBTQ community to be seen and welcomed, and celebrated. They nod to it, but no one ever really makes a declaration about it. So, don’t we create a stylish, elegant interior and invite the LGBTQ+ community so they know they can come to Pacific Grove and stay in a stylish and inclusive hotel environment where they don’t have to make any explanations about who they are or what their preferences are. They can just come and feel welcome, they can be celebrated, and they can be the individuals that they are in our hotel.ā
With queer travel on the decline because of changes and uncertainty in safety and being welcomed, The Charles is a stylish breath of fresh air that is at the center of an oceanside oasis where you can walk the from Lover’s Point into Monterey to Cannery Row. Cannery Row is home to the world-class Monterey Bay Aquarium. Restaurants, shopping, kayaking, surfing, paddle boarding, wine tasting, art galleries, and beachside rest are all must-dos when visiting. Carmel By the Sea, just five miles away, boasts one of the most beautiful white sand beaches around. Or you can just spend your time in any one of The Charlesā 16 luxury rooms.
And Gruwellās message to the LGBTQ community this Pride season?
āStand tall in your individuality, your diversity, and your equality, and know that you matter and you are relevant. Be true to yourself, and don’t let anyone bring you down.ā
Visit The Charles Pacific Grove / 581 Pine St, Pacific Grove, CA, 93950
a&e features
Youth Poet Laureate Samantha Rios lends her voice to The Fordās multimedia tribute to L.A
Get Lit ā Words Ignite turns youth poetry into a citywide celebration

Los Angeles is loud and crowded ā it is a city overflowing with sound and stories. Yet amid all the noise, it can be surprisingly hard to truly hear one voice. But Samantha āSammyā Rios, poet and performer, cuts through the noise with unmistakable clarity. On August 1st, Rios will take the spotlight at The Ford as part of If I Awaken in Los Angeles, a one-night-only multimedia production that brings the city into sharp, luminous focus.
Presented by youth poetry powerhouse Get Lit ā Words Ignite, in partnership with the LA Philharmonic and directed by Gina Belafonte, the show blends spoken word, music, dance, and immersive film to trace Los Angelesās cultural geography. The show goes in-depth with the communities that define Los Angeles: from its Indigenous origins to Koreatown.
For Rios ā a queer, Chicana poet and the current Los Angeles Youth Poet Laureate ā the opportunity to be part of If I Awaken felt deeply personal. āIāve been working with Get Lit for about three years now, and Iāve cherished every moment,ā she says. āBeing able to share the city, my family, and all the parts of L.A. that I hold so dear to my heart has been an unforgettable experience.ā

While the show’s vignettes stretch across the city ā from Chinatown to South Central to the Canyons, Rios brings a different part of L.A. with her on stage. āI feel especially responsible for bringing the stories of East. L.A. and Boyle Heights to life,ā she says.ā This is particularly meaningful to her because her family was featured in the videos that will be presented when the show discusses East L.A. While working with Get Lit, one moment in particular made Rios emotional: bringing the crew to El Tepeyac, her favorite local restaurant. āIt was something I never pictured happening ā being able to share my family and show people just how special everyone in my little corner of life really is.ā
The multimedia format of the show ā film, live performance, music, and so on ā challenges each poet to think in an interdisciplinary manner. For Rios, that means being mindful of the camera as much as the crowd. āWhen Iām on film, I try to think about how my performance looks on the other side of the camera,ā she says, ābut my writing remains rooted in my own voice.ā Whether the world is overbearing or comfortable, Rios cannot stop writing.
In many ways, her work embodies what Get Lit teaches: that poetry is not just an artform, is civic engagement. It is a form of activism that teaches others about how to embrace the differences in other people. And for Rios, that connection between the political and personal is not theoretical ā it is lived. āAs a Chicana poet, a lot of whatās going on in politics is personal to me,ā she says.
If I Awaken In Los Angeles reimagines the city as a vibrant, creative canvas, where Rios is the artist. āThis show allowed me to go into different communities and meet people personally.ā She leaves the Blade with an endearing note: āWeāre all united in our own special way.ā And in a city too often reduced to freeways and noise that cannot be quieted, that kind of unity is revolutionary.
ā
Event Details:
If I Awaken In Los Angeles Presented by Get Lit ā Words Ignite in partnership with the LA Phil
Venue: The Ford | 2580 Cahuenga Blvd E, Los Angeles, CA 90068
Date: August 1, 2025
Time: Doors open at 6:30 pm/ Show starts at 8pm
Location: The Ford, 2580 Cahuenga Blvd E, Los Angeles, CA 90068
Tickets:https://www.theford.com/events/performances/4068/2025-08-01/if-i-awaken-in-los-angeles
Events
Los Angeles Blade to take special part in NLGJA Los Angeles inaugural journalism awards
Three inaugural journalism awards will honor those who championed LGBTQ+ stories in 2024, including the Troy Masters Legacy Award for Visionaries in Media, in honor and memory of our founding publisher.

On July 26, 2025, at the Grand Central Air Terminal, the Los Angeles chapter of the NLGJA, the Association of LGBTQ+ Journalists, will host Press Pride Prom, a benefit and awards ceremony honoring Southern California journalists and newsrooms. Three inaugural journalism awards will honor those who championed LGBTQ+ stories in 2024.
The Los Angeles Blade, in collaboration with the NLGJA, will present the Troy Masters Legacy Award for Visionaries in Media, honoring a journalist or news media professional whose work reflects a dedication to the craft of journalism and a commitment to setting the stage for the next generation of LGBTQ+ industry leaders. Troy Masters was a veteran, queer journalist, and founding publisher of the Los Angeles Blade who passed away unexpectedly last year.
The inaugural nominees are nominees include Mariah CastaƱeda, co-founder of LA Public Press; veteran journalist LZ Granderson, who currently serves as an OpEd columnist for the Los Angeles Times and an ABC News contributor; and John Griffiths, founder of GALECA: The Society of LGBTQ Entertainment Critics and Dorian Awards.
The Los Angeles Blade is honored to be given this opportunity by the NLGJA to pay homage in such a profound way to Masters and the legacy he created, and that the Blade continues to cultivate, for the queer community.
NLGJA LA co-president Hansen Bursic shared, āWe are honored to present an award this year in honor of beloved Los Angeles publisher and journalist Troy Masters. These nominees embody Masters’ dedication to LGBTQ+ journalism and his passion for community building in Southern California and beyond.ā
The Los Angeles Blade is further honored to be listed as a nominee for the event’s Excellence in LGBTQ+ Reporting Newsroom Award, honoring a news outlet whose coverage of the queer and trans community is well-informed, complex, varied and intersectional, with a track record of promoting The Association of LGBTQ+ Journalistsā mission to advance fair and accurate coverage of LGBTQ+ communities and issues. We are nominated alongside LAist and Variety.
The evening will also include the presentation of the Queer Beat Award for Excellence in LGBTQ+ Reporting, honoring a single story or series that demonstrates care, skill, and a commitment to fair and accurate reporting of LGBTQ+ themes, issues, and people. The nominees include A Night They Canāt Remember, at One of the Countryās Most Popular LGBTQ+ Bars by Kate Sosin and Steven Blum for The 19th; Banned Rainbows and āForced Outing.ā Will Elections Reshape This Relentless School Board? by Jaweed Kaleem for the Los Angeles Times; and She Was Supposed to Be at Pulse Nightclub ā And Club Q. Now She’s Fighting To Keep LGBTQ+ People Safe by Lil Kalish for HuffPost.
NLGJA LA co-president Katie Karl remarked, āThese nominees represent the diverse and passionate spirit of Southern Californiaās LGBTQ+ journalism community. At a time when queer and trans stories and journalists are under attack, we are proud to uplift a few of the incredibly talented journalists who are speaking truth to power and helping tell our communityās stories.ā
The awards, presented by ABC7, will be hosted by veteran LA-based journalist and GLAAD award winner, Tracy Gilchrist. The ceremony will be held on July 26 from 6 to 9 p.m. in Glendale at the historic Grand Central Air Terminal. The evening will be prom-themed, giving attendees the opportunity to relive high school memories as their authentic selves.
Early bird tickets are on sale now until June 20. Tables and regular tickets will also be available
to purchase through July 18. You can learn more and get tickets here.
Arts & Entertainment
2025 Emmy nominations: āHacksā and āThe Last of Usā bring queer excellence to the table
āHacksā and āThe Last of Usā are two of the most notable LGBTQ+ shows nominated at this yearās Primetime Emmys.

Earlier today, the 2025 Primetime Emmy nominations were announced, and a few of this yearās key frontrunners have particularly resonated with the LGBTQ+ community during a politically turbulent year.
Coming off Season 3ās win for outstanding comedy series, Hacks Season 4 was nominated for 14 awards, with Jean Smart, Hannah Einbinder, Julianne Nicholson, and Robby Hoffman being recognized for their performances. Since the show premiered in 2021, each season has explored the comedy and entertainment industry through the lens of generational differences between queer writer Ava (Einbinder) and the old-school Deborah (Smart).
While Smart has won outstanding lead actress in a comedy series for all three seasons, this year could be the chance for Einbinder, who identifies as bisexual, to finally take home a prize of her own in supporting actress. And if Season 4 nabs the outstanding comedy series crown yet again, itāll be another huge moment for bisexual representation. But it will have to fend off the industry satire The Studio, which received a staggering 23 nominations for its breakout first season.
Another one of this yearās most high-profile contenders, The Last of Us, received 16 nominations for its second season, including non-binary actor Bella Ramsey, lead actor Pedro Pascal, and supporting/guest actors Kaitlyn Dever, Jeffrey Wright, Joe Pantoliano, and Catherine OāHara.
Notably, though, Season 2 has been hit by much more backlash, much of which has been fueled by homophobic anger at the love story between Ellie (Ramsey) and Dina (Isabela Merced). Merced, who identifies as queer, was widely praised for her turn as Dina, but was not nominated for supporting actress. And while Season 1 received 24 nominations, Season 2 lost out on a few, bringing The Last of Us down a notch in its overall standing.
There were other snubs as well. Mid-Century Modern, the gay sitcom starring Nathan Lane, Matt Bomer, Nathan Lee Graham, and Linda Lavin, did not see any of its actors nominated. It also missed out on the Best Comedy Series category, for which it was considered a contender, although it did still receive four below-the-line nominations.
However, other openly queer actors were nominated, even for roles or shows not explicitly exploring queer issues or characters. Those include Colman Domingo for The Four Seasons, Cynthia Erivo for Poker Face, Michael Urie for Shrinking, Cooper Koch for Monsters: The Lyle & Erik Menendez Story, and Bowen Yang for Saturday Night Live.
Of course, it wouldn’t be the Emmys without RuPaul, who became the most-nominated reality host in Emmys history after landing his 10th nomination for RuPaulās Drag Race. Heās also nominated alongside Alan Cumming of The Traitors fame. And in the Outstanding Documentary or Nonfiction special category, the critically acclaimed Will & Harper and Pee-wee as Himself were nominated, and are both considered strong contenders to win.
TV fans can find out which of their favorite queer actors or shows take home top prizes on Sunday, Sept. 14, with Nate Bargatze hosting the 77th annual awards at the Peacock Theater in Los Angeles.
Movies
āSupermanā is here to to save us, despite MAGA backlash
Man of Steel was always a flashpoint for controversy

Anyone who argues that Superman should never be politicized clearly knows nothing about Superman.
The āMan of Steelā has been a flashpoint for controversy almost from the beginning, when he was created by writer Jerry Siegel and artist Joe Shuster ā two Jewish Americans born of immigrant parents, who conceived the character in a world where the economic disparities of the Great Depression, the rise of global fascism, and the threat of impending war were looming large across American life. Theirs was a hero for the time, who used his strength to help the weak instead of to subjugate them, who stood up against the forces of greed, corruption, and insatiable power to prioritize human life above all other considerations. Is it any wonder that his values would become objectionable to conservatives when the moral complacency of postwar prosperity kicked in? In the hawkish American ideology that dominated the Cold War era, such notions became inconvenient.
To be fair, there has been liberal backlash against the character, too; Superman has often been framed as an icon of American āexceptionalismā that served as a jingoistic mask for the deeper ambitions of the capitalist elite. Indeed, the success of the 1978 āSuperman: The Movieā (starring Christopher Reeve in arguably the most beloved big screen iteration of the character) largely hinged on its refutation of jaded disillusionment at a time when America had become too āhipā for wish-fulfillment fantasies about an invincible hero who could save the world.
Since then, of course, Superman has undergone further evolution, mirroring a cultural return to cynicism with a parallel transformation of Kryptonās last son ā in the movies, at least ā into a morally conflicted figure with deep doubts about his mission and crippling regrets over the collateral damage heās caused in the pursuit of ātruth, justice, and the American Way.ā Fans were divided, and this new-and-darker version of āSupeā ā despite the fan appeal of Henry Cavill, who donned the red cape for three films under director Zack Snyder ā failed to generate the kind of enthusiasm that would elevate DC (and parent company Warner Brothers) to the popularity level of Marvelās rival cinematic universe.
Now, with James Gunnās āSupermanā ā the latest reboot of the comic book heroās big screen franchise, which serves as the starting point for a new āDC Cinematic Universeā (DCU) after the last one was tanked by mediocre reviews and disappointing box office receipts ā the tables have been turned once again. In Gunnās āreset,ā the character (played with infectious and unassuming charm by David Corenswet) is a true idealist, embracing a presumed role as protector of Earth without a sense of being burdened, and motivated to make a difference even through the journalistic efforts of alter-ego Clark Kent. For him, itās simple: if innocent people are in danger, he is there to be their champion.
That said, heās still something of a mess. In his imperative to protect mankind, he is at odds with the protocols of the human world order, which donāt always line up with his goals. In fact, when the story begins, Superman is already under fire from the media for his disregard of political procedure and international law, having unilaterally prevented a Central European dictator from invading a neighboring country only weeks before. This diplomatic faux pas has led billionaire tech genius and corporate giant Lex Luthor (Nicholas Hoult) to focus his vast resources on a public smear campaign against him.
Needless to say, Luthor has his own secret agenda, a push for global power that depends on ensuring that Superman is eliminated from the equation. Fortunately for the caped Kryptonian, he has the help of Clark Kentās Daily Planet associates ā girlfriend Lois Lane (a perfectly cast Rachel Brosnahan, best known as āThe Marvelous Mrs. Maiselā) and Jimmy Olsen (Skyler Gisondo, āThe Righteous Gemstonesā) ā and an assortment of fellow āmeta humansā (i.e. superheroes) to keep him on track.
We wonāt spoil the outcome, though itās a safe bet that the good guys will triumph in the end. More important is that Gunnās ambitious reconfiguration of the classic mythos makes the choice to go all-in on the qualities that once made Superman the epitome of an archetype.
Corenswet brings an everyman likability to his larger-than-life character, within which all his nods to ethical purity feel like a triumph instead of a capitulation to comfortable sentiment. He inhabits the role, even in the guise of Clark Kent (who, as we are reminded by recall to a long-forgotten canonical flourish, gets away with his disguise via āhypno-glassesā which mask his obvious resemblance to Superman in the eyes of all who see him), and taps into something that transcends the formulaic conventions of the superhero genre. While he may not bring the effortless charm that Reeve carried into the role, he delivers something equally engaging ā a real sense of trying to do better ā which makes it possible for us, as viewers, to identify with him. Brosnahanās Lane is revelatory, a modern incarnation that emphasizes her integrity as a journalist to make her an equal to her superhuman paramour; their chemistry, highlighted through a classic āscrewball comedyā dynamic in their banter and informed by the active role she plays in the heroics that drive the film, is not only refreshingly equitable but honest.
As for Houltās palpably Musk-ish Luthor, he delivers all the smug arrogance we need from a supervillain while also leaving room for a sliver of compassion. In smaller roles, Gisondoās Olsen is a presence to be taken much more seriously than many of its earlier iterations, while an over-the-top turn from Nathan Fillion as a bro-ishly tacky Green Lantern and the underplayed solidity of Edi Gathegiās no-nonsense Mr. Fantastic effectively contrast Corenswetās optimistic Kal-El.
Yes, itās a little too ābusy,ā and it admittedly suffers from the contemporary genreās rapid-fire flow of information, action, and peripheral characters. Thereās also the gratuitously irresistible presence of Krypto, a āsuperdogā under the temporary care of our hero. Even so, these elements somehow give Gunnās movie a heartwarmingly goofy quality. Itās just that kind of film.
Which brings us to the question of why anyone could see it as anything but a validation of what makes this character so uniquely American. Taken without contemporary real-world context, itās hard to object to Gunnās new vision of Superman unless one has a fundamental problem with the idea that compassion, kindness, and equity are goals worth fighting for.
In the context of Trumpās America, however, the movieās insistence on highlighting these values, along with its emphasis on Supermanās status as an āalienā immigrant and a general sense of inclusiveness among its ensemble cast, feels like a radical notion.
That says more about āthemā than it does about āus,ā frankly, and for our part weāre grateful for a movie that not only breaks the āsuperhero fatigueā that has developed for moviegoers over the last few oversaturated years, but dares to refute MAGA-driven talking points about ātoxic empathyā and the equality of immigrants (after all, Superman has always been an alien) to reinforce a vision of America that feels worth fighting for.
Sports
Hololive and Dodgers create a home for queer fandom
More than just a baseball game, Hololive Night became a joyful convergence of fandom, self-expression, and community, drawing fans from across the globe.

On July 5, 2025, Dodger Stadium transformed into a vibrant cultural celebration as hololive production returned for its second Hololive Night in collaboration with the Los Angeles Dodgers. More than just a baseball game, the event became a joyful convergence of fandom, self-expression, and community, drawing fans from across the globe.
Over two hours before the first pitch, fans packed the dedicated hololive queue, eager to collect exclusive Dodgers x hololive trading cards featuring Ninomae Inaānis, IRyS, and Koseki Bijou. Some fans braved the summer heat for hours, while others traveled from as far as Japan for the event. Dodger Stadium became a colorful showcase of anime-inspired fashion, VTuber cosplay, and unmistakable fan pride.
For Tama, a bisexual streamer, the connection to hololive is personal. āI donāt know if I qualify as a VTuber, but I have a little PNG,ā she shared with a laugh. Fully decked out in Inaānis gearāwig, plushie, and merchāTama has been a dedicated fan since Inaās debut in 2020. āItās because sheās an artist and also because sheās really calm and funny. She streams on YouTube, so I kind of just connect with her a lot. Sheās relatable, comforting, and inspiring.ā
Tama was especially excited to attend her first-ever baseball game and see Motoaki Tanigoāknown affectionately to fans as āYagoo,ā the CEO of COVER Corporationāthrow the ceremonial first pitch. āHe is the most involved CEO youāve ever seen in a company,ā she said.
Yagooās leadership has become part of hololiveās charm. Fans admire how visible and engaged he is, and the companyās approach to events like Hololive Night shows that the fan experience is a priority. This yearās collaboration marked a milestone as the first-ever VTuber livestream both to and from Dodger Stadium. Hololive talents not only cheered on the Dodgers but also led the crowd in a sing-along of āTake Me Out to the Ball Gameā and hosted post-game activities on the field, including an interactive dance segment called āWHOāS got the MOVES?!?!ā
Fans explored hololive-themed photo ops, enjoyed special stadium snacks in event-exclusive packaging, and had better access to merchandise this year thanks to improved in-stadium sales. Last year, many fans missed most of the game due to long lines at a single merch tent. This time, the experience felt smoother and more celebratory.
Owen, a bi-curious fan who is exploring his gender, shared why VTubers resonate so deeply with him. āI like a lot of feminine thingsāclothing, colors, jewelry, accessoriesāa lot of stuff that they donāt give male characters in games. You canāt be a feminine male character in games a lot. Itās really nice to get to just pick the female characters because it feels like me even more than the male characters.ā
Owen has been a hololive fan since 2020 and attended last yearās Dodgers event as well. āI like being a fan of stuff. I like music, gaming, stuff like that.ā He feels especially connected to Inaānis through her music. āShe has a collaboration with a producer I really like, Camellia. One of the things that drew me to her originally was from her debut stream. She mentioned being a fan of Camellia. That was cool to me because heās a sort of niche producer and it was cool to see someone like Ina be into him.ā
For many fans like Owen and Tama, VTubing isnāt just entertainment, itās a safe space to explore identity and express emotions without judgment. āPeople can see it as a mask, but I almost view it as being able to be your true self because you donāt have to have your appearance be the first thing that people see,ā one fan explained.
When I asked Yagoo why VTubing has become such a meaningful and emotionally safe space, he reflected that this was something he realized early on. āThe ability to step away from physical labelsāthings like appearance, race, genderāand to let someoneās creativity stand on its own, whether as an artist or as a performer, is what makes VTubers such a powerful tool.ā
He shared that hololiveās global community includes LGBT fans who find a deep connection through female characters. āIn the initial stages of the business, the idea that it would be a great way for people to express their true selvesātheir preferences and identitiesābecame clear pretty quickly.ā
As hololive continues to grow, especially in the U.S. and cities like Los Angeles, Yagoo said the company is exploring new ways to reach broader audiences. āOriginally, we started by focusing on anime fans and VTubers were quickly embraced by that community. Now, we are trying to create more opportunities through gaming and music as an entry point for people to engage with VTubers.ā
The possibilities are exciting. Fans have already built vibrant, diverse communities, and there is potential for hololive to grow even furtherāthrough partnerships with Pride events, collaborations with queer creators, and deeper connections with LGBTQ+ fans who already see themselves reflected in this world.
As Inaānis playfully joked during the event, āJust think: all of our fans outside their houses! In the real world! In Dodger Stadium! You did it! You went outside and touched grass!ā
For many, Hololive Night was about more than the game. It was about showing up, being seen, and finding joy together, in real life, and across the virtual worlds we continue to build.
a&e features
The art of controlled chaos: Patrick Bristow brings the Puppets to life
As co-creator and host of Puppet Up! Uncensored, a wild, āadults-onlyā improv puppet show developed with Brian Henson of the Jim Henson Company, he combines razor-sharp comedy with next-level puppetry in a way thatās as unpredictable as it is funny.

Whether heās elbow-deep in puppets or stealing scenes on screen, Patrick Bristow knows how to keep things unapologetically unpredictable and rich with comedy. With decades of improv under his belt and a knack for the unexpected, he proves that comedy and puppetry are best when itās uncensored.
For over three decades, actor, director, and improv vet Patrick Bristow has been a familiar face across television and film, from his memorable portrayal of Peter on the groundbreaking sitcom Ellen to scene-stealing appearances on Seinfeld, Curb Your Enthusiasm, and more. But Bristowās creative energy doesnāt stop in front of the camera. As co-creator and host of Puppet Up! Uncensored, a wild, āadults-onlyā improv puppet show developed with Brian Henson of the Jim Henson Company, he combines razor-sharp comedy with next-level puppetry in a way thatās as unpredictable as it is funny. We chatted with Bristow from his home in Joshua Tree to talk about the show’s origins, the lasting lessons of improv, his unique take on fame, and the true essence of Nellydom.
For our readers who are not yet familiar with the excellence that is Patrick Bristow, could you introduce yourself?
Sure! Iām Patrick Bristow. For most of my 30-some odd years career, Iāve worked as an actor in TV and film, lots of small but memorable roles. But today, Iām here to talk about a show I co-created with Brian Henson of the Jim Henson Company called Puppet Up! Uncensored. It combines brilliant Henson puppeteering with improv comedy. I was in the main company at The Groundlings years ago and have been teaching improv ever since. So this show is a perfect blend of those worldsākind of a chocolate and peanut butter situation. And we’ve been doing it, on and off, for nearly 20 years.
Whatās it like collaborating with Brian Henson?
Brian is incredibly talented, legendary in his own right. Working with him is a dream. Weāre both focused on creating the most fun experience possible, both for our audiences and our performers. When we disagree, we figure it out quickly or try both options and go with what works best. Thereās no ego involved, just a shared goal.
How did Puppet Up! Uncensored come to life?
Originally, Brian brought me in to teach improv workshops for his puppeteers. He wanted them to gain some of the benefits of improv trainingāspontaneity, specificity, making bold, immediate choices. We had a group of high-level puppeteersāpeople whose work you’d definitely recognize, even if you donāt know their names. Some had improv experience already, some didnāt, but they were all great.
After the trial period, Brian asked, “Do you want to keep doing this?” And I said, “Absolutely.” It was really exciting for me to teach improv in a new way because puppeteering requires such a different approach. It wasnāt the same as teaching āfleshies,ā as we call human performers in the puppet world.
āFleshiesā?
(Laughsā¦) Yeah, it sounds a little derogatory, and maybe it is, but Iām standing by it.
If you could create a puppet of any celebrity to add to the show, who would it be?
Oh, that changes weekly! But right now? A Pedro Pascal puppet. If the Henson team could make one as hot as the real Pedro, I’d be thrilled.
Puppet Up! is described as improv meets puppetry⦠but for adults. How do you balance the humor?
We definitely bring the snark and satire. We try not to get political, because we want a wide spectrum of audiences to enjoy the show. But yes, it can get spicy. And sometimes a little too spicy, at which point Iāll step in as the āschoolmarmā and redirect. The audience often gives us wild suggestions, and we run with it, within reason!
Letās rewind for a moment back to the ā90s. You were on Ellen, a show that was way ahead of its time. What was that experience like?
It was thrilling and, at times, scary. There was a bomb threat on set while we were filming the infamous āPuppy Episodeā when Ellen came out. I wasnāt there that day, thankfully, but it was intense.
Later that season, when her coming out was being teased, Iād get recognized and even grabbed by strangers in public with questions. That visibility gave me a little taste of what fame feels like, and I realized it wasnāt for me. I liked being the guy who dodged in and out of scenes without the chaos that comes with full-blown celebrity.
So youād take the work, not the fame?
Exactly. The 18-year-old me wanted to be a TV star. But the 30-something me, and now older, gray-haired me, is content making a living doing what I love. Fame sounds exhausting. Iāll take the bank accounts, though! (laughs)
Speaking of things you love: improv. Whatās one thing from improv that people can apply to their everyday lives?
Listening without pre-planning. Really tuning in to what someone is saying, absorbing it emotionally and imaginatively, and then responding authentically. Improv teaches you to focus, to be present, and to let go of control, especially if, like me, youāre a hyperactive overthinker. Itās been a lifesaver for me.
Between performing, teaching, and directing, what role do you connect with most now?
Teaching. And hosting Puppet Up! Hands down. Both involve spontaneous interaction, deep listening, and applying everything Iāve learned. If teaching paid as well as TV work and came with insurance, Iād do it full time.
How have you seen representation in entertainment evolve over the years?
Itās come a long way. Weāve moved beyond the old stereotypes: the āstraight-passing gay characterā being a compliment to a much richer, more diverse portrayal of identities. I think of people like Titus Burgess, bold, bright, and unapologetically original. When I played Peter on Ellen, my husband said I was āstriking a blow for Nellydom,ā which I was proud of. Thatās me! Iām into Jane Austen, I (try to) play the harp, and I once played Queen Elizabeth I at The Groundlings. If I repped for the Nells, Iām honored.
For readers unfamiliar with the term āNellydom,ā can you enlighten?
Itās the kingdom of femme expression, and unapologetically so. A little swish in your walk, pearls at dinner. Not in-your-face, just not hiding. Thereās strength in that. The Nellys were at the frontlines of Stonewall. So yes, Iāll proudly reclaim Nellydom.
Puppet Up! Uncensored runs July 16 – 27th, 2025 at the Kirk Douglas Theatre: Tickets here
Television
ICYMI: āOvercompensatingā a surprisingly sweet queer treat
A sweet, savvy show about breaking free to embrace your true self

Pride month 2025 is now behind us, and while itās safe to say that this yearās celebrations had a darker edge than usual, itās also true that they came with a particularly rich bounty of new queer movies and shows to entertain us ā so many, in fact, that even if we are facing a lull until the fall for another harvest of fresh content, there are still plenty of titles ā which, for whatever reason, were off your radar ā for you to catch up on in the meantime.
One of the most notable of these āĀ the bingeworthy series āOvercompensatingā (now streaming on Amazon Prime) ā will most definitely have been on the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok; for anyone else, it might have easily slipped through the cracks.
Created and written by Skinner as a loosely autobiographical collegiate comedy, it aims for the kind of raucous, explicitly sexed-up tone one expects from that genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and āgolden boyā at his midwestern high school, heās the picture of idealized youthful masculinity; heās also deep in the closet, struggling to keep his sexuality hidden and maintain his macho “bro” image under the intense scrutiny of the collegeās social scene ā and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.
In the first episode, Bennyās difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home disrupted by tragedy, sheās an outsider who feels like sheās putting on an act, too, and they click ā giving him the convenient cover of female companionship while providing them both with much-needed support and encouragement. Heās also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring up other kinds of feelings faster than you can say “no homo.” Meanwhile, heās being courted by the schoolās āexclusive secret societyā ā headed by his sisterās aggressively āalphaā boyfriend Pete (Adam DiMarco) ā and trying to stay interested in his studies, despite a growing realization that a career in business doesnāt actually appeal to him all that much.
Thatās a lot to juggle for anybody, even an overachiever like Benny ā whose āluckyā life so far has largely been the result of playing a role he is finding increasingly hard to maintain; but as the series goes on through its eight-episode arc, it becomes clear that heās not the only one who is ākeeping up appearances,ā and he is just one of many confused and damaged young people in his orbit, all facing the painful (but often hilarious) process of evolution that is required in order to become truly oneself.
Tailored for appeal to a youthful demographic, āOvercompensatingā is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, itās not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; thereās a nostalgic fun to it, made even more appealing, somehow, by the āpolitical incorrectnessā of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent āAnimal Houseā for the Gen Z crowd.
By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves ā and, as things draw toward a cliffhanger climax, the consequences of maintaining it ā until it achieves a sense of empathy toward them all. Thereās a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the āsexploitativeā teen comedy of its surface into something deeper. Sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the showās āmature YAā appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.
As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an āego project,ā the internet-spawned sensation proves his talents quickly enough to get past such judgy skepticism, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned ālived authenticityā to his winning performance ā after all, heās essentially playing himself in a fictionalized version of his own life ā while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective āclosets,ā too. Itās unavoidable to notice that ā like most of his co-stars ā heās plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, weāve become too engaged by him to care.
The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (āWhite Lotusā) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins to unravel around him. Other standouts include the mononymic Holmes as Carmenās āwild girlā roommate, solidly likable turns as Bennyās parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny āclockedā from the moment they meet. Finally, Lukas Gage makes a deep and tender impression as a former high school teammate at the heart of Bennyās most haunting memory.
Thereās no official word yet on whether āOvercompensatingā will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinnerās large fanbase makes it likely that the story will continue. Even if it doesnāt, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.
As for us, we hope that wonāt happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, itās one of the sweetest, kindest, and most savvy shows weāve seen about breaking free from conformity to embrace your true self ā and thatās a message that applies whether youāre queer, straight, or anywhere in between.
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