Members of the journalism industry gathered together this last weekend to celebrate the nominees and winners for three inaugural journalism awards for Southern California journalists and newsrooms who championed LGBTQ+ stories in 2024. The Los Angeles Chapter of NLGJA: The Association of LGBTQ+ Journalists presented this Press Pride Prom inaugural event.

Over 200 attendees gathered in Glendale at the historic Grand Central Air Terminal to celebrate. The evening was presented by ABC7 and hosted by award-winning journalist Tracy Gilchrist. The ceremony also included a moving performance by the Trans Chorus of Los Angeles and a hilarious appearance by drag king Charles Galin King.

The Los Angeles Blade took home the first award of the evening, the Excellence in LGBTQ+ Reporting Newsroom Award. The award recognizes 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+ Journalists’ mission to advance fair and
accurate coverage of LGBTQ+ communities and issues. The other nominees were LAist and Variety. Team members of the Blade took to the stage, including publisher Alexander Rodriguez, writers Rose Montoya, Rob Salerno, and Joel Medina, and former editor Gisselle Palomera to accept the award.

The evening also included 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. This year’s winner was “She Was Supposed to Be at Pulse Nightclub — And Club Q. Now She’s Fighting To Keep LGBTQ+ People Safe” by Lil Kalish for HuffPost.

Another special moment for the Blade took place in the presentation of The Troy Masters Legacy Award for Visionaries in Media, presented in collaboration with the Blade and LA NLGJA, 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. The award is named in honor of Troy Masters, veteran
queer journalist and former publisher of the Los Angeles Blade, who passed away last year.
This year’s winner was John Griffiths, founder of GALECA: The Society of LGBTQ
Entertainment Critics and Dorian Awards.

The final presentation was presented by the office of State Assemblymember Rick Chavez Zbur, for District 51. Joshua Marin-Mora gave a moving speech and delivered proclamations to each of the winners.

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We are honored by our win and extend our congratulations to the LA NLGJA for a successful and important evening. A big thank you to our readers, who continue to support our efforts.

When “Taxi zum Klo” was released 45 years ago, it’s doubtful that anyone realized the extent to which the time and place in history it was capturing would someday be iconic — but watching it today, in a new 4K restoration which begins a multi-city “roadshow” tour in New York City this weekend, the world and the lifestyle it shows us feel not only familiar, but woven inextricably into the DNA of gay culture as we know it.

An underground sensation in West Germany upon its initial release, it made its U.S. premiere at the New York Film Festival in 1981, and was given a theatrical release in America that same year. It quickly achieved cult status, becoming a hit with queer audiences even as it became a flashpoint of controversy and a target of censorship in the repressive sociopolitical atmosphere of the Reagan era. Poised between the heady “golden years” between the rise of Gay Liberation and the nightmare of the AIDS epidemic, it offered a then-shockingly explicit, inherently transgressive inside look at the “secret” world of gay Berlin, in all its promiscuous, leather-clad, gender-bent, unapologetic glory.

Written, directed, and starring Frank Ripploh, it’s a semi-autobiographical and deeply transgressive exploration of gay German life through the experiences of a schoolteacher (Ripploh), popular with his students and well-liked (though gossiped about) by his colleagues, who leads a double life in the streets of Berlin on a quest for anonymous sex with other men. One such playmate (Bernd Broaderup) becomes his lover, and they move in together, enjoying the pleasures of domestic life even as Frank continues to pursue his hedonistic obsessions; Bernd, who longs for a simpler, quieter life in the country, grows increasingly dissatisfied, but Frank, despite his genuine affection for his partner and need for the centering emotional connection their relationship provides, cannot imagine a life without the thrill of his sexual adventures, bringing him to a crossroads where he must contemplate a choice between two lives — neither of which he feels can ever deliver the complete fulfillment he desires.

Produced on a shoestring budget, with Ripploh and his cast of non-professional actors playing characters who share their real names and a cinematic style that seems equal part candid documentary and absurd comedy of manners, “Taxi zum Klo” feels thrillingly authentic to anyone who has ever participated in gay “hook-up” culture — though the lifestyle it presents might also feel like a far cry from its modern equivalent, in which “dating” apps like Grindr and Sniffies have largely replaced the non-virtual sex clubs and porno theatres of a grungier and less impersonal time. There’s no exchange of “dick pics” here, no convenient listing of stats, likes, preferences or pronouns — just the unpredictable and potentially risky rituals of in-person connection. For those too young to remember when such things were the way of the gay world, the behavior of Frank and his various fellow “sex-plorers” might well seem just as scandalous as it would have been to the homophobic prudes of its day.

Likewise, there’s something about the film’s unabashed graphic nudity and sexual content that seems more “obscene” than the raunchiest OnlyFans content; Ripploh’s fearless choice to show male nudity, complete with erect penises and un-simulated sex, brings a visceral (and vaguely unsanitary) reaction that’s as inflammatory as it is erotic.

Still, Ripploh’s movie cannot help but arouse us; its raw and un-romanticized prurience makes it somehow easier for us to imagine ourselves as a participant despite (or perhaps because of) the voyeurism it evokes, and the effect is both lascivious and liberating, inviting us to embrace our sexuality as a visceral part of our queer identity — a concrete and gloriously queer touchstone of natural human experience that feels validated by the instinctual response it evokes in our physical being, defying any construct of “appropriate” behavior through its undeniable ability to turn us on.

Ripploh, who passed away from cancer in 2002, was in real life both an actual secondary school teacher and a popular drag performance artist known as Peggy von Schnottgenberg, made “Taxi zum Klo” while he was on probation from his job, a disciplinary action imposed by school authorities after coming out as gay on the cover of Stern Magazine in 1978. In a later interview, he said of the film: “I was not pursuing any political goals, but rather realizing purely private interests: my career as a teacher was ruined. And the film fulfilled a very simple desire for revenge, along the lines of ‘I’ll get back at you’.”

He also claimed it was not intended as a “gay movie” at all. Rather, he described it as “a sad film that expresses the longing for a relationship and its impossibility, despite all the humor… I definitely wanted to confront two dead ends: a bourgeois dead end where someone suffocates in pillows, coffee and cake, and a dead end of pseudo-free gay sexuality where you use drugs to blur boundaries but not eliminate them.”

Although his film was made decades ago, it’s those same conflicts, as much as any “shock value” or sex-positive embrace of our libido, that resonate with us now. While we may thrill at recognizing ourselves in its seminal portrait of liberated gay sexuality, it’s the still-potent longing to reconcile our conflicted impulses that speaks to us most urgently.

In a time when we face a struggle to keep ourselves from being shoved back into the shadows, it offers a powerful — yet still defiantly joyful — reminder that our real human struggle toward happiness on our own terms transcends all the irrelevant differences of sexual identity for which we have been continually persecuted, and inspires us to say, yet again, “we’re here, we’re queer, get used to it.”

‘Passionate Outlier: Gay Writers and Allies on Their Work’
By Frank Pizzoli
c.2025, Rebel Satori Press
$18.95/246 pages

“Passionate Outlier” is a collection of 20 interviews and book reviews by freelance journalist Frank Pizzoli, covering gay authors, with one lesbian and one ally. Ranging from 2007 to 2019, Pizzoli talks with authors like Edmund White, Frank Rechy, Daniel Mendelsohn, and Salman Rushdie, and covers books about Gore Vidal and Christopher Isherwood. He captures great writers speaking about literature, politics, and gay life, while providing all necessary background on them.

Sadly, two of Pizzoli’s subjects, Edmund White and Felice Picano, have passed away since the book’s publication. Both writers were part of the “Violet Quill” a group of New York gay authors that met in the early ‘80s. Pizzoli interviews the then three surviving members, White, Picano, and Andrew Holleran. They speak at length about the history of the group and its myth. They only met eight times from 1980 to 1981, divvying up subject matter among them, and as they mention, writing is mainly a solitary activity. Yet the idea of the group endures as helping shape gay literature as a serious genre, not just “pornography” as it was previously considered. They also discuss White’s passionate argument with a critic over the very idea of gay literature; White believed in it, while the critic fiercely thought it was impossible. White also mentions that the harshest reviews of his work came from other gay men. Indeed, he responds to criticism from other authors included in this book, such as Daniel Mendelsohn and Christopher Bram. This back and forth throughout makes the book feel like an extended conversation between several writers.

Gore Vidal also serves as a connecting thread. Although he died before Pizzoli could interview him, his presence is greatly felt in many pieces. A review of Michael Mewshaw’s memoir of his friendship with Vidal, and an interview with Vidal’s official biographer Jay Parini show Vidal’s “thin skin,” drunken conversations, and litigiousness; he threatened to sue White over a play that imagined conversations between a Vidal-like figure and Oklahoma City bomber Timothy McVeigh. Christopher Bram, author of “Eminent Outlaws,” a history of gay writers, discusses Vidal’s intense rivalry with Truman Capote. Vidal’s works were deeply researched, but Capote was the more natural writer. Others talk about how his longtime partner Howard Austen was the only one who could get him to “shut up” when he was misbehaving.

Pizzoli allows the authors to reveal themselves in conversation. John Rechy, famous for his debut novel about male hustlers, “City of Night,” was Mexican-American but light-skinned enough to pass; a teacher changed his name from Jose to John. “City of Night” came from letters he wrote friends, which he sent to a magazine as the beginning of a novel, which forced him to write. He felt like writing the novel was betraying the secrets of the hustlers, prostitutes, and customers he knew so well.

Scholar, playwright, and novelist Martin Duberman discusses the political history of the gay rights movement and its connections with similar struggles, arguing that the Black Movement’s embrace of their difference helped gay people accept that they were not “inferior” to straight people. He wonders if marriage equality will lead to gays accepting government wrongdoing, because protesting would show “ingratitude.”

A surprising interview is Salman Rushdie, whose novel “The Golden House” has a character struggling with gender identity. He carefully researched the subject and spoke with friends to get it right. With thoughtful questions and reflective responses, “Passionate Outlier” shows the talent, diversity, and interconnectedness among gay authors.

The Blade may receive commissions from qualifying purchases made via this post.

As the recent conservative blowback over “Superman” 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 “supposed” to provide escapist entertainment. Others see it as a deliberate effort to “brainwash” 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 – 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 – though it’s fair to say that some movies wield it with a more scrupulous sense of neutrality than others.

Such a movie is Ari Aster’s new neo-Western “Eddington,” 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 nation’s most critical test of sanity to date, it’s 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 – 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 town’s progressive mayor, Ted Garcia (Pedro Pascal) – perhaps more aggressively so due to the latter’s alleged former history with his own wife, Lou (Emma Stone), a “mentally unstable” victim of trauma sparked by sexual abuse as a teen. Leveraging his popularity with the townspeople, he decides to run against Garcia in the town’s upcoming mayoral election; but what begins as a straightforward competition centered around “common sense” 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 – despite the inclusion of Black officer Michael Cole (Micheal Ward), whose father was Cross’s own predecessor as sheriff – and suspicious of Garcia’s 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 locals, the sheriff tries to diffuse the tension with a level-headed “business as usual” approach which prioritizes public peace over the ethical concerns of the town’s newly-”woke” youth population; meanwhile, his marriage is starting to unravel as Lou – coaxed by a youthful online guru (Austin Butler) and in defiance of her conspiracy-theorist mother (Diedre O’Connell) – 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 “happy” 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 home 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, it’s 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 – not to mention self-assurance – to make it all work.

Aster – whose two breakthrough films (“Hereditary” and “Midsommar”) turned him into one of Hollywood’s “young directors to watch” toward the end of the last decade – rose to A-lister prominence as a maker of “elevated” horror, and while “Eddington” furthers the departure that began with his last movie (the acclaimed-but-little-seen “Beau is Afraid,” also starring Phoenix), it is nevertheless driven with the kind of mounting slow-burn suspense – as well as the devious twists, turns, and sudden shocks – 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 – from a certain point of view, at least – that “Eddington,” despite its self-identification as a “satirical black comedy” 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 “cultural moment” we currently live in.

Swirling with the absurdities of American public opinion, pointedly and painfully magnified by its small town setting, Aster’s 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 “incels,” to the paranoid and half-baked misinformation of online influencers and the blatantly self-serving lies of our public officials, “Eddington” makes sure to touch on all the existential crises which haunt our collective lives in the here and now and undermine our understanding of “truth” itself. Yes, it draws ludicrous caricatures of current events, and it roots itself in a filmmaking trope (think “The Godfather”) 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) doesn’t mean they aren’t terrifyingly relevant to our real world existence.

Indeed, in the end, Aster’s 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 we’ll venture to add that, whichever side of the political fence you’re on, it’s a film that will challenge your thinking and disrupt your comfort.

In 2025, what better recommendation could we give for a film than that?

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

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

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

And she’s only getting started.

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

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

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

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

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

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

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

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

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

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

Same, Sasha. Same.

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

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

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

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

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

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

Check out the full interview:

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

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This last Pride month, The Charles, an exquisitely stylish bed and breakfast, opened its doors, making it Pacific Grove’s first LGBTQ+ boutique hotel. It isn’t 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 – 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 industry’s 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 – designing his niece’s hair salon in Pacific Grove.

Gruwell shared with the Blade what he thinks sets his work apart, “Every (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.” Gruwell’s 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, “All 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.”

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After years of travel and design, Gruwell’s 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 mother’s lot into his new, customized home, close to the Ocean.

“I 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.”

Don’t 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.

“Don (and Jay) Desai gave me the opportunity to design The Charles Pacific Grove. He said, ‘Let’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.’ And so that brought me full circle.”

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Though all of Gruwell’s 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.

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“The house itself is what spoke to me. The actual architecture of the Victorian House spoke to me and said, ‘Make me a beautiful, luxury, London-inspired residence.’ 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.”

Making The Charles truly his own also meant making it inclusive.

“In 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.”

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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 Charles’ 16 luxury rooms.

And Gruwell’s message to the LGBTQ community this Pride season?

“Stand 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.”

Visit The Charles Pacific Grove / 581 Pine St, Pacific Grove, CA, 93950

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

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

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

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

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

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

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

—

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

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 Castañeda, 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, “We 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.”

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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+ Journalists’ mission to advance fair and accurate coverage of LGBTQ+ communities and issues. We are nominated alongside LAist and Variety.

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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 Can’t Remember, at One of the Country’s Most Popular LGBTQ+ Bars by Kate Sosin and Steven Blum for The 19th; Banned Rainbows and ‘Forced Outing.’ Will Elections Reshape This Relentless School Board? by Jaweed Kaleem for the Los Angeles Times; and She Was Supposed to Be at Pulse Nightclub — And Club Q. Now She’s Fighting To Keep LGBTQ+ People Safe by Lil Kalish for HuffPost.

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NLGJA LA co-president Katie Karl remarked, “These nominees represent the diverse and passionate spirit of Southern California’s 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 community’s stories.”

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.

Earlier today, the 2025 Primetime Emmy nominations were announced, and a few of this year’s key frontrunners have particularly resonated with the LGBTQ+ community during a politically turbulent year.

Coming off Season 3’s 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, it’ll 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 year’s 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 O’Hara.

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 RuPaul’s Drag Race. He’s 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.

Anyone who argues that Superman should never be politicized clearly knows nothing about Superman.

The “Man of Steel” has been a flashpoint for controversy almost from the beginning, when he was created by writer Jerry Siegel and artist Joe Shuster – 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 “exceptionalism” that served as a jingoistic mask for the deeper ambitions of the capitalist elite. Indeed, the success of the 1978 “Superman: The Movie” (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 “hip” 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 Krypton’s last son – in the movies, at least – into a morally conflicted figure with deep doubts about his mission and crippling regrets over the collateral damage he’s caused in the pursuit of “truth, justice, and the American Way.” Fans were divided, and this new-and-darker version of “Supe” – despite the fan appeal of Henry Cavill, who donned the red cape for three films under director Zack Snyder – failed to generate the kind of enthusiasm that would elevate DC (and parent company Warner Brothers) to the popularity level of Marvel’s rival cinematic universe.

Now, with James Gunn’s “Superman” – the latest reboot of the comic book hero’s big screen franchise, which serves as the starting point for a new “DC Cinematic Universe” (DCU) after the last one was tanked by mediocre reviews and disappointing box office receipts – the tables have been turned once again. In Gunn’s “reset,” 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, it’s simple: if innocent people are in danger, he is there to be their champion.

That said, he’s still something of a mess. In his imperative to protect mankind, he is at odds with the protocols of the human world order, which don’t 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 Kent’s Daily Planet associates – girlfriend Lois Lane (a perfectly cast Rachel Brosnahan, best known as “The Marvelous Mrs. Maisel”) and Jimmy Olsen (Skyler Gisondo, “The Righteous Gemstones”) – and an assortment of fellow “meta humans” (i.e. superheroes) to keep him on track. 

We won’t spoil the outcome, though it’s a safe bet that the good guys will triumph in the end. More important is that Gunn’s 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 “hypno-glasses” 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 – a real sense of trying to do better – which makes it possible for us, as viewers, to identify with him. Brosnahan’s 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 “screwball comedy” 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 Hoult’s 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, Gisondo’s 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 Gathegi’s no-nonsense Mr. Fantastic effectively contrast Corenswet’s optimistic Kal-El.

Yes, it’s a little too “busy,” and it admittedly suffers from the contemporary genre’s rapid-fire flow of information, action, and peripheral characters. There’s also the gratuitously irresistible presence of Krypto, a “superdog” under the temporary care of our hero. Even so, these elements somehow give Gunn’s movie a heartwarmingly goofy quality. It’s 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, it’s hard to object to Gunn’s 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 Trump’s America, however, the movie’s insistence on highlighting these values, along with its emphasis on Superman’s status as an “alien” immigrant and a general sense of inclusiveness among its ensemble cast, feels like a radical notion.

That says more about “them” than it does about “us,” frankly, and for our part we’re grateful for a movie that not only breaks the “superhero fatigue” that has developed for moviegoers over the last few oversaturated years, but dares to refute MAGA-driven talking points about “toxic empathy” and the equality of immigrants (after all, Superman has always been an alien) to reinforce a vision of America that feels worth fighting for.