To most of us today, folk music is just another genre. We might have some general knowledge that it originated as rustic traditional songs handed down across generations, but few of us likely think much about it beyond that.

If we did, we might recognize how much human experience, with all its joys and sorrows, was wrapped inside those traditional tunes, and how many private emotions are refracted in them through each link in the human chain that passes them down – and that is what “The History of Sound” (Oliver Hermanus’ new film, starring Paul Mescal and Josh O’Connor) tries to convey. It’s an esoteric idea, to be sure, but the South African director (whose film “Beauty,” won the Queer Palm at Cannes in 2011) has a sophisticated cinematic vocabulary capable of getting it across, and it certainly helps that he uses a sexy and passionate queer love story as the vehicle to take us there.

Set in the years around World War I, it’s the story of Lionel (Mescal) and David (O’Connor), two music students who meet at college in 1917; Lionel comes from humble origins, growing up in the farmlands of Maine before his musical interests offered an escape, while David is a young man of status and means, yet it’s as close to love at first sight as you can get. They strike a spark together that only grows brighter as their passion for music bonds them deeper. Of course, it’s 1917, and history is about to get in the way. War is declared, the college is closed, and David is called to active service in the field, while Lionel returns home to a farm that’s declining along with his family’s already meager fortunes.

After the war, David returns, affected by his time in the trenches but eager to get back to his musical studies – and to Lionel, whom he asks to accompany him on a trip through rural Maine to collect local folk songs by recording them on wax cylinders for study and for posterity. Their journey together is idyllic, though David’s war experiences have had an impact; they connect deeply with the music – and the people – they encounter and record along the way, and enjoy their love for each other without reservation. When it ends, however, they go their separate ways.

From there, the story leaps ahead, following Lionel as his academic career takes him to Europe and a life he never dreamt of – all the while haunted by memories of David. Eventually, fate provides a thread that might bring them together once more – leading him to hidden secrets that cast a whole new light on their love for each other, and that add yet another layer of personal meaning to the folk songs that once brought them together.

It would be easy to play up the sex appeal of the lead couple Hermanus scored to enact his heartfelt opus about love, music, and an eternal thread of shared human experience – indeed, the press around this buzzy movie, which was a favorite at this year’s Cannes festival (though it failed to win the Queer Palm, for which it was nominated), has focused most of its attention on the chemistry between its two “It-Boy” stars, neither of whom publicly identifies as queer but who have both established themselves firmly as dedicated to the authentic portrayal of queer human experience. 

That chemistry, unsurprisingly, is epic. Mescal, whose irresistibly masculine appeal is deepened by the sensitivity and vulnerability he brings to his characters, both here and in previous films (such as the haunting “All of Us Strangers”), melts our hearts and wins our respect with a performance that feels almost sacred in its stubborn refusal to abandon queer hope; O’Connor, who so searingly welded us to his struggle to overcome homophobic self-loathing in “God’s Own Country” long before his stint as Prince Charles on “The Crown” or his bisexual-teasing turn in “Challengers,” provides a tantalizingly opaque portrait of “prudently” compliant queer identity, coupled with an implied-but-essential element of “don’t ask, don’t tell” which lends the whole thing a tragic air of compromised resignation. Yet the combination somehow evokes our own deepest fantasies, our true-romance daydreams of finding a queer “eye of the hurricane” in which it is possible to live as our authentic selves, regardless of the strictures imposed by the larger society.

Inevitably, there are comparisons to be made with “Brokeback Mountain,” the quintessential tragic gay love story that shares its contrast of pastoral bliss and societal obligation and mirrors the star-crossed romance which drives it; and while we’ll be the first to say that we wish we no longer had to see bittersweet onscreen queer love thwarted by tragedy, timing, and social convention, we can’t deny that it’s important to be reminded of the reality that has made that trope so eternally relevant – especially in a time when any advances we may have made toward living an open life have been critically endangered by a political climate that seems bent on rolling us all back into the closet,

In any case, it hardly matters. “The History of Sound” might move a bit too slowly for some tastes, or indulge in its fascination with music –- as a vehicle for shared human truth – a little too deeply to suit those who are just there for the love story, but it ultimately succeeds in making us identify with both Lionel and David, feeling the boldness to embrace our lives fully, regardless of the cost, while simultaneously maintaining the prudent pretences that protect us from the oppression and contempt that might otherwise be heaped upon us. It’s the tightrope of living in a homophobic society, rendered vividly in Hermanus’ leisurely-paced, deeply compassionate, and utterly heart-stirring period narrative – which, to bestow proper credit, emerges from the screenplay by Ben Shattuck, adapted for the screen from two of his own short stories – and left in our laps to contemplate as the final credits roll.

What elevates it beyond that bittersweet validation of queer love, in all its devastating cultural inconvenience, is its profoundly felt embrace of music as an ongoing record of human existence; “The History of Sound” is also a history of hardships and sorrows, of hopes and dreams and inspiration, and by invoking that continuous thread of lived experience, binds it to the long-obscured reality of queer love that has always existed outside the margins, reminding us that we’ve always been a part of an ongoing story that is still being written today.

In all its candid melancholy, it reminds us that we are and have always been a part of the whole, despite the objections of small minds and societal acceptance, and that’s more than enough to justify all the industry buzz that precedes it.

And if you need more encouragement to see it, that spitting scene is pretty hot, too.

The Los Angeles Blade is trading palm trees for cowboy boots as Publisher Alexander Rodriguez heads deep into the heart of Texas for Unleashed LGBTQ+, Dallas’s unapologetically queer answer to your typical business and entertainment conference (queue Chappell Roan’s Pink Pony Club dance remix). Founded by the ever-hustling and ever-bustling Wesley Smoot, Unleashed is where LGBTQ+ thought leaders, disruptors, celebs, and creatives kiki and coalesce to mix strategy with sass, all while redefining what it means to lead and live ever-loud and ever-proud in today’s rather regressive social climate. At a time when queerness is still being legislated, debated, and silenced, Unleashed LGBTQ+ is jacking up the volume full blast. And the Blade is here and queer for it. Let’s get a little unleashed with Wesley Smoot.

Unleashed is quite the queer powerhouse. What was the moment or impetus that birthed the idea to create Unleashed LGBTQ?

I saw so many impressive queer artists and entrepreneurs doing amazing work, and I felt that if there was a platform to amplify all their latest projects, how impactful that would be. It was around 2019, and I was writing a review about a vodka brand, and it hit me – let’s work to feature all these people in one place. We can learn about these projects, products, and ideas, and attendees can connect with one another at the same time.

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How does Unleashed challenge the narrative of what it means to be queer in Texas, especially in a city like Dallas, which has such a unique queer history?

Dallas really does have a history! And I think it’s great to pull people in to see what a vibrant queer history that is. Places like S4 and Round Up Saloon have been around forever! As for Unleashed, many of the people coming into Dallas for the event are not aware that it has the sixth-largest LGBTQ+ population in the nation. When they see the scene, they’re often surprised. When they hear a lot of our stories, I think they’re surprised but also inspired.

You’ve made yourself quite committed to championing underserved communities. How do you incorporate that passion into Unleashed’s programming and partnerships?

We aim to host discussions about things we feel are relevant. I think this can be tough because when it comes to equality, some of these conversations can be depressing. No less, there are issues we need to address and conversations we need to have. Discussions about marketing, media, culture, and entertainment can be educational and entertaining. We always make sure to include non-profit organizations like HRC and The Trevor Project.

Unleashed was created as a virtual event during the pandemic, then became an in-person festival in Dallas in September 2023. What lessons did you learn from that virtual-to-live transition?

I had more experience with live events. I actually had to teach myself how to run the back-end of a virtual event – this was a very intense crash course. Learning many new skills in a very short amount of time was difficult, but it’s funny how much confidence that can give you moving forward. I do think that starting with virtual gave me a much clearer idea of how I wanted to format the programming.

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Half of 2025 ticket revenue is going to the Human Rights Campaign. What motivated this charitable move?

I have always admired the work HRC does. But really, I think when people see that there is a fun, cool event that is benefiting a cause that they believe in, it makes it a lot easier to get their attention and motivate them to join us for a fabulous event.

As we touched on, the Dallas–Fort Worth area has a strong LGBTQ+ history, with roots dating back to early pride parades and growing grassroots activism. How does Unleashed add to or impact the local Queer community and scene?

I think we add to it by sparking conversations on live stages through panel discussions. Some of those conversations have a lot to do with LGBTQ+ history, non-profits and the impactful work they do, queer artists and the new projects they want to promote. We bring a lot of these people together, whether local or flying them in or getting the locals involved. Dallas has so many heavy-hitters in the non-profit and entertainment sectors.

Unleashed combines business networking, entertainment, advocacy, and culturally relevant brand activations. Why is it important to have this intersectional space, especially in today’s intense political climate?

I think it’s important to talk about how this political climate is affecting us all, even if we are in different industries. LGBTQ+ is the common thread at Unleashed, and when attendees connect at our events, they can see and share their experiences with each other. I know a lot of people have found business opportunities at Unleashed, but also support systems.

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Queer folks in the South have always had a different kind of resilience. How does Unleashed highlight the Southern queer spirit that often gets overlooked?

I feel like there has been some representation in the media to show the rest of the world about the gay South when you look at Drag Race, True Blood, and other television programs, but I would love to see more. So much of that resilience comes from queer folks who grew up in small towns and had to deal with bullies, their parents’ expectations, or the church. Those experiences stay with us forever. They contribute to making us who we are, for better or worse. I like to think the events we host have plenty of that southern flavor. It’s more important than ever to feel that we have a safe space.

Texas has not always been seen as the most welcoming place for LGBTQ+ folks and yet here we are, throwing a super queer extravaganza in the heart of it. What does that say about where we are as a culture and where we are headed?

That’s a tough one. I got chewed out in the comments section on Linkedin, someone telling me: “How dare you throw this event in Texas with everything going on there?!!” I replied, “Because of everything going on, it’s more important now than ever to host these events in Texas, or Florida, or anywhere else that people may need a safe place to get together and connect.” 

I live in Texas. Should I plan an event of this size in a place I don’t live? Seems counterproductive to me, but we are very proud to host this in Texas. I have met people from all over Texas and the surrounding states. Since we do so much with entertainment, it is great to see the people who come in from New York and LA as well. I hope Unleashed LGBTQ+ can continue to grow as an event and as an organization, and I hope the tolerance and acceptance in the Lone Star State continue to grow with us. We’re not going anywhere.

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

As the Halloween season approaches, many queer horror fans will surely be revisiting The Rocky Horror Picture Show. And given its 50th anniversary, the timing couldn’t be better, with a new restored version in 4K courtesy of Disney, and several events and screenings happening in Los Angeles.

To discuss the many merits of Rocky Horror, you’d be hard pressed to find somebody more passionate than screenwriter, producer and filmmaker Michael Varrati (credits include Christmas with You, The Wrong Stepmother and The Boulet Brothers’ Dragula). He’s also the co-host of the biweekly podcast Midnight Mass alongside Peaches Christ, where they dig into their favorite cult movies and bring on guest stars.

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Varrati sat with the Blade and recalls the first time he watched The Rocky Horror Picture Show in his rural hometown, dishes on the film’s specific impact on the LGBTQ+ community, and explains why 50 years later, we’re still talking about Dr. Frank-N-Furter.

Where did you first discover Rocky Horror, and how did that influence your career and overall taste in film?

When you think of cult fandom, especially in the film space, in the movie space, Rocky Horror is very singular. In so many ways, it led the charge. My first sort of interaction with Rocky was when MTV was doing coverage of one of the anniversaries — I imagine it was probably for the 20th or around that time. I was a teenager living in rural Pennsylvania and I would see this coverage around Halloween, and I was fascinated as much by the movie as I was by the fact that people were dressing up and going to the cinema to participate. And when you’re living in small town America where there are no theaters to be found doing that, there was some sort of sense of the forbidden, or it was just out of reach. But I obsessed about it, so I got a copy of the movie on VHS, and I used to gather friends — probably the theater kids, the drama club, any associated weirdos. And I say this lovingly, because I was one of those weirdos! And we would watch it in friend’s living rooms and in basements, and we would try and do our own version of celebrating the movie in a theater style at home. It wasn’t until I went to college at Kent State University that I started going to the midnight screenings in Cleveland at the Cedar Lee Theatre, and I immediately connected with the vibe of what was going on. I loved that this was more than just a movie to the people who gathered. In many ways, that fundamentally helped me understand that the art we connect to can be so much more than a passive experience.

I actually recently graduated from Ithaca College, and they always had midnight screenings around Halloween. I got to go to one of those and it was really fun. I’ve never quite had an experience like that.

They really are one of a kind. Obviously, midnight movies existed before Rocky, and now exist sort of in the wake of Rocky. I believe the original midnight movies were Night of the Living Dead, El Topo, Pink Flamingos. But Rocky was sort of the first time when that programming became a tangible experience. People were going to the movies, they were dressing up as the characters, they were shouting at the screen, and people weren’t getting mad about it. They were shouting too! And it created this interesting economy of celebration that we see a lot of other places and films try and mimic. We’ve seen it kind of rise up for other movies, but it’s never quite caught the way that Rocky did. And I think the reason Rocky is singular is that it was totally organic. You can’t manufacture the experience after the fact. People found the movie and the movie found them.

Especially knowing the iconic place it has within the LGBTQ+ community, and the aspect of people dressing up and going to see these shows in full costume. Could you speak to that?

When I think about the significance of Rocky, I, of course, love the movie. But I think one of the most powerful things about it, especially for a particular moment in time, was that it provided a communal space a lot of people didn’t otherwise have. It’s really easy in the modern era, even in rural places, to use the internet to connect with your community if you know where to look. We know now about queer spaces and platforms and sites, but at a specific time when those were not readily available — and in many places, it was very scary to go looking for those things because you didn’t know how you were going to be met — there were few places that felt like safe harbors. And when Rocky Horror started becoming that space, I think that became really significant to its history because it became a gathering point for LGBTQ+ people. For punks, for goths, for anyone who felt marginalized or othered by society. When you walked through those theater doors, you belonged, and everybody accepted you, and the thing that made you feel like a freak was celebrated. You got to let your freak flag fly, and so I think for so many people of a certain generation, Rocky was the first place where they got to go find chosen family. They got to find and develop a sense of community. Because for so many, it was not a viable option. And to the outside world who maybe didn’t connect with that aspect of the movie, it was a good way to fly under the radar if you didn’t want people to fully know why you were going because you’re just going to a midnight movie. It’s not like you’re going to the gay bar that everyone in town knows or vilifies… you’re just going out with some friends to a movie. But secretly, you’re finding your community.

I think that’s a great way of putting it. The movie is celebrating its 50th anniversary this year, and there’s quite a few events happening, including an Academy Museum screening on the 26th with some of the cast. Could you speak to the legacy of this film over time and why people are still finding so much enjoyment in it?

In so many ways, it is as bold as ever. There are aspects of it, of course, to the modern audience that maybe haven’t aged as well or are problematic. But nonetheless, there are things about the movie that are so celebratory. This movie isn’t just a place where outsiders can celebrate — the movie itself, in the pantheon of film, is sort of an outsider. It is this subversive anomaly. It was a critical failure, and it was kind of a commercial failure, yet somehow it persisted. Its persistence is, in a lot of ways, akin to resistance. The idea that queer joy is an act of resistance. Queer persistence is an act of resistance. By being the strange movie, by thriving in spite of an industry that said it couldn’t, it’s something people really appreciate that history of and continue to gravitate to. But then for newer audiences who see it, the music’s fun, the characters are fun, and it still feels pretty audacious as ever. But also, the message of “Don’t dream it, be it,” is timeless. 

I’m curious to hear about this movie’s relationship to camp, because now I think that word gets overused a lot, and some films try to manufacture it. And as you said, this film was able to capture an experience so organically.

There is, to some folks, a prevailing idea that you can’t intentionally make camp. But I don’t know that that’s entirely true, because we see people like John Waters — he can intentionally make camp. There are folks who get the DNA of what camp is. But a lot of times, camp happens by accident. Because I think most camp, all camp, in a lot of ways, is born out of earnestness. And I think that’s what happens when people try to manufacture camp and it fails because they’re missing the fundamental element of earnestness. If you look at any of these movies that have become camp classics, they’re not winking at you. They’re not trying to say, “Hey, this is so bad, it’s good!” They’re not trying to make you know that they’re in on the joke. They’re presenting something with their whole chest and they believe in what they’re putting out there, and it just is what it is. And we find the ridiculousness through the heightened presentation. Rocky is really special in that it is truly camp, because it is, in so many ways, an homage to classic monster movies, classics and drive-in cinema. It is through the experience of these two small town people who are sheltered and are now experiencing something that they consider to be so other and overwhelming — but for everybody inside the castle, that’s every day. A really fun way to experience Rocky is understanding that the camp is not necessarily intentional, but also absolutely intentional. It’s sort of a lampooning of the normalcy of the world outside, because the truth is normalcy is the ultimate camp, because it’s a fallacy. Nobody’s normal. What is normal? What’s it mean? Brad and Janet, when they finally get to be themselves, are just as freaky as everybody else inside of the castle. It’s a revealing of truth, and I think part of that revealing of truth is what makes the movie so special to people.

Recently, there was a CBS Sunday Morning Special featuring Tim Curry, but of course not all of the actors are with us to promote the anniversary. What do you think of the cast’s relationship to this film over the years and what performers like Curry are able to do for new generations?

I love that Barry Bostwick, when he speaks about this movie, says there’s no happier place to be than a midnight screening of Rocky Horror. I think that there’s something significant about somebody who made this, who can see that it has gone beyond him, but has created so much love, community and celebration for people. A couple years ago on Midnight Mass, we had Patricia Quinn, who plays Magenta. But of course, when you’re talking to Patricia Quinn, Rocky Horror invariably comes up. From my perspective, it seems that she is constantly amused and grateful for the fact that this movie rings perennial in her life. It is a constant. The cast’s overall embracing of this film has been crucial to its success as well. We often see folks who make these movies that are initially rejected by culture at large (Faye Dunaway and Mommie Dearest is a great example) not get to appreciate the celebration and reappraisal as it’s happening. And so I almost feel bad because they miss out on this thing that has become important and meant so much to so many people. It’s really great to know that so many cast members of Rocky Horror, from the beginning, saw the movie didn’t do super great, and then became a thing within five years, and they just said, “Hey, it’s going to be what it’s going to be, and we’re along for the ride.”

Lastly, as someone who loves film, what are some other projects that you feel have been especially inspired by Rocky Horror and authentically embraced its spirit?

You know what’s funny? I think about the influence of Rocky Horror in the landscape of cinema, especially cult cinema, often because — I think directly or indirectly — we see the film’s impact through the work of people who were probably at one time audience members. For example, Darren Stein, the writer and director of Jawbreaker (which itself is a cult classic) is a huge fan of Rocky Horror, and has spoken openly about Rocky‘s influence on him and how it creeps its way into his work. And when you watch Jawbreaker, Courtney, the character played by Rose McGowan, has an energy akin to Frank-N-Furter, and some of the lines that she delivers are verbatim Frank-N-Furter lines. I’m sure that was intentional on Darren’s part, but there’s so much of that in pop culture. I know that when Richard O’Brien was doing voices on Phineas and Ferb, of all things, something that’s so far from Rocky Horror, when they would do Halloween episodes, the creators — themselves Rocky Horror fans — would include commentary and easter eggs into this Disney show that relate back. And so whether it’s through direct cast involvement or creators, I see the level of influence it’s had. And even in shorthand, I remember talking to someone recently about the movie Showgirls and the comment came up that Elizabeth Berkley’s commitment to performance was a Frank-N-Furter level commitment — that’s become a shorthand for how we describe certain performances. And that, to be clear, was a complimentary comparison. For people who are invested in these kinds of movies, to be compared to something like Rocky Horror with its longevity is maybe one of the greatest compliments of all, because no one’s ever going to make a cult film like Rocky Horror, right?

If you’re reading the Blade right now, you’re probably someone who understands the importance of preserving queer history – especially in an alarming time when the danger of having it erased is uncomfortably real.

That’s why a new, Oscar-qualified documentary short from queer Gen-Z filmmaker Matt Nadel feels incredibly timely.

Nadel, a 26-year-old journalist and filmmaker whose work focuses on justice, survival, and untold queer histories, has had his films distributed by The New Yorker, The New York Times, and PBS; his short “CANS Can’t Stand” premiered at Cannes as part of the festival’s Emerging Filmmaker Showcase, and earned a nomination for a 2024 GLAAD Media Award after winning audience awards at Outfest and NewFest. Now, with “Cashing Out,” he follows an unlikely thread in his family history to unearth an almost-forgotten chapter in the saga of the AIDS crisis.

Centering its focus on a group of AIDS-era survivors and witnesses, “Cashing Out” explores the origins of the viatical settlement industry – in which a terminally ill person may sell their life insurance policy to a third party investor, who can then cash in on the policy at the time of the seller’s death – through their individual stories. There’s Scott, who facilitated such an arrangement for his dying partner and inspired a widespread movement within the gay community to follow suit; Sean, who sold his policy but survived to become a pioneering queer activist, publisher, and entrepreneur; Dee Dee, a trans woman of color who was one of the millions of lower-income AIDS patients had no life insurance policy to sell; and Nadel himself, whose own father invested in the purchase of policies from terminal AIDS patients.

It may seem like a macabre way to make a profit – indeed, as the film makes clear, it was characterized that way in the media at the time, and perceived by many as “profiteering” which exploited an epidemic of death. Likewise, as Sean’s story illustrates, breakthroughs in treatment allowed many of the policy holders to survive, and with a diagnosis no longer equating to a death sentence, investors could no longer rely on getting their payout. Yet it was also an opportunity for men who would otherwise spend their last months suffering in poverty to instead live what was left of their lives in comfort, free from the inevitable financial disaster of forced unemployment and expensive medical bills; decades later, the industry is going strong, to the benefit of millions of elderly and terminally ill people as well as their investors.

In “Cashing Out,” each of its participants traces their connection to the viatical settlement movement of those dark days to illuminate how it has shaped their own evolution into queer advocacy and activism; beyond that, the film explores the oppression and hardship of the AIDS-era queer community in the context of what we face today.

Nadel says: “I had never heard about this industry until I discovered a few years ago that I had an unnerving personal connection to it. Making this film allowed me not only to reckon with something personal, but also to connect AIDS history to timely questions around care, equity, and the cost of dignity in this country. Right now, those questions could not be more relevant.”

Part of the award-winning New Yorker Documentary series, and executive produced by Matt Bomer, Angeria Paris VanMichaeld, and Oscar-nominated filmmaker Julie Cohen, the film also marks a milestone partnership with the National AIDS Memorial, which has launched a new intergenerational storytelling campaign called “The Quilt Can Be A Comforter.” In addition, The Life Insurance Settlement Association (LISA) joined the campaign as the presenting sponsor.

John Cunningham, executive director of the National AIDS Memorial says: “The National AIDS Memorial is committed to sharing the story of the AIDS crisis and the lessons that can be learned from it. As a man who lived through the darkest days of the AIDS crisis, I remember firsthand the struggle many faced and how the viatical process presented both challenges and opportunities.”

Bryan Nicholson, executive director of LISA, comments: “Cashing Out” shines a light on a profoundly human chapter in the life settlement industry, when people with AIDS faced impossible choices. For LISA, supporting this film was essential—not only to honor the origins of our industry, but to ensure those stories are told with compassion and dignity.”

Highlighting the fragility of progress, Nadel’s 40-minute documentary illustrates how the same social prejudices and systemic inequities that cost so many their lives in the ‘80s and ‘90s are still very much with us today – especially with political threats jeopardizing our continued access to HIV treatment and prevention. In the words of its press release, it’s “both a memorial and a call to action, urging us to safeguard care, preserve funding, and ensure that no community is left behind.

It’s also an important reminder of how much queer history matters, and how important it is for queer voices to be involved in preserving it.

You can watch “Cashing Out” for free at cashingoutmovie.com.

When “Severance” star Tramell Tillman became the first gay Black man to win for Best Supporting Actor in a Drama at the 77th Primetime Emmy Awards, the first person he thanked was his mother.

“Mama, you were there for me when no one else was and no one else would show up,” the first-time winner said onstage, during his acceptance speech.

 “Your loving kindness stays with me, and this is for you. Thank you to the Academy. I am full. I am humbled. I am honored. And as my mama would say, ‘Whew. Look at God.’ Thank you.”

Backstage in the pressroom, Tillman said he was “on cloud nine” and “still processing” the historic win.

“I am fortunate to be in the company of such great actors that have gone before me, like Andre Braugher, Ossie Davis, Michael K. Williams, that have done beautiful work, and those that are still with us today, like Giancarlo Esposito and Jeffrey Wright,” he said. 

“These men, I’ve been taken by their work for years, and I borrow from them. So I’m just honored to be in the class.”

Tillman also mentioned the “importance of taking a chance on yourself,” adding he was “told that I would never make it as an actor, that it’s a career that leads to a dead end.”

But after seeing his classmates pursue their dreams, he realized it was time for him to take a chance, “I’ve learned there are no guarantees in life, but you continue to take a chance to see what happens.”

Another first-time LGBTQ winner who was thrilled with her win was “Adolescence’s” Erin Doherty, who won the Emmy for Outstanding Supporting Actress in a Limited or Anthology Series or Movie.

Doherty thanked her girlfriend Sinead Donnelly onstage. “Sinead, thank you for making me the happiest person in the world. I love you with everything I’ve got,” she said lovingly.

In addition, a visibly shocked Jeff Hiller won Outstanding Supporting Actor in a Comedy Series in “Somebody Somewhere.”

Thanking his “sweet husband,” Hiller said: “I feel like I’m going to cry because for the past 25 years, I’ve been, like ‘world, I want to be an actor!’ and the world’s, like, ‘maybe computers.’ I just want to say thank you to HBO for putting a show about sweaty middle-aged people on the same network as the sexy teens of ‘Euphoria!’ Thank you to the Duplass brothers, Carolyn Straus, and Hanna Boss and Paul Thureen who wrote a show about connecting and love, in this time when compassion is seen as a weakness.”

Alan Cumming picked up his second Emmy for hosting Peacock’s brilliant competition show “The Traitors.” 

“Thanks to everyone who watches the show. Thanks to all of the people who have ‘Traitors’ parties and dress up as me. We see you. We love you!” he told the audience onstage.

Cumming is also an executive producer on the competition series. “Thank you to our crazy cast and our crew in Scotland who had to understand the concept of the Scottish summer is sometimes oxymoronic,” he quipped.

He also sent loving words to his hubby. Thanking his husband Grant, “who brings joy into my life every single day,” Cumming acknowledged that this was a difficult time we live in. But “it’s so great that our show brings a little bit of joy into this life.”

In the pressroom, Cumming was asked who he thinks should join the show, Cumming responded, “I’m sure our president would be very good on the show. Having a lot of chaos and sort of turmoil and treachery, so maybe he’d like to come on and be paid for that, probably better than he gets as president.”

At the awards show, Cumming supported trans rights, wearing a decorative pin to the lapel of his dapper tuxedo.

While this next season will be full of celebrities, the following season of “The Traitors” will feature regular people rather than Hollywood types.

Around town, there was a plethora of gifting suites activity, with numerous LGBTQ nominees and vendors. 

“After 25 years of producing the official Grammy’s gift lounge, it feels like a full circle moment to be able to add something as prestigious as the Emmy Awards Giving Suite to our roster,” said organizer Lash Fary.

“To still be expanding our scope after all these years is a testament to how gifts make people feel … something that isn’t simply a trend. I’m incredibly proud of this new relationship and that sharing gifts I love with talented people I respect is something that allows me to live a beautiful life.”

From the 1930s, Palm Springs has been the luxury and private oasis for Hollywood’s elite. Due in part to a clause in most actors’ contracts that they remain within a two-hour driving distance from Los Angeles, the city was also well known for keeping secrets. With a long list of classic stars that include Frank Sinatra, Marilyn Monroe, Elvis Presley, Bob Hope, Lucille Ball, and many more, to modern-day A-listers, Palm Springs remains the “it” location to play.

Part of the city’s Hollywood history is the historic Plaza Theatre, situated right in the heart of town on Palm Canyon Drive. Since 1936, the Plaza Theatre has welcomed Hollywood’s golden age of celebrities. The venue quickly established itself as the place legends were seen when it hosted the world premiere of the Oscar-winning film Camille, with the film’s star, Greta Garbo, reportedly slipping in while the lights dimmed. Bob Hope, Jack Benny, Bing Crosby, Frank Sinatra, and more have graced its stage.

This writer remembers sitting with anticipation as the star-lit ceiling twinkled, and the heavy velvet curtain rose to feature a cast of vaudeville and screen veterans, all aged 55 or more, for the famed The Fabulous Palm Springs Follies, which took residency at the Plaza for 23 years.

Sadly, the Plaza closed in 2014. The building has remained empty, with rumors of bringing it back. Well, the rumors are now fact. Under renovation for the last year, the Plaza Theatre will reopen this December, under management by Oak View Group in partnership with the Palm Springs Plaza Theatre Foundation and the City of Palm Springs.

The majority of the funding for the renovation and reopening has come from the community, with donors contributing amounts ranging from $50 to millions of dollars; a true testament to the community coming together to celebrate the Plaza’s legacy. Getting the ball rolling was a $5 million donation from the co-creator of Wings and Frasier, David Lee.

One of the leaders of the renovation is John Bolton. Bolton, a Senior Vice President for Oak View Group, was brought to the Coachella Valley to oversee the $300+ million Acrisure Arena project and the launch of the Coachella Valley Firebirds hockey team. He has since gotten involved with the Palm Springs Chamber of Commerce and Visit Greater Palm Springs, on a mission to support the community’s growth and local business development.

For Bolton, the Plaza Theatre project isn’t just about business; it has become personal. He shared with the Blade, “I love and adore Palm Springs. For me, getting the opportunity to be involved in this project is so meaningful. It’s so exciting and wonderful to have had this opportunity within a short amount of years to have such a great impact on the entertainment options for the entire Coachella Valley. I got involved in the Plaza project because our company, Oak View Group, donated a million dollars to their capital campaign. I got involved and got on the board and started doing fundraising, and it just kind of evolved from there.”

Bolton will now serve as Senior Vice President and General Manager of the Plaza Theatre. With a keen business sense and passion for the business community, he knows the importance the venue will have when it comes to the region’s economy.

“When you think about Palm Springs and the number of tourists that come here, people are really looking for things to do. This really adds to the tourism aspect of Palm Springs and really having things to do in the evening, which has always been something that I think all of our people involved in tourism have been looking to expand upon and have more opportunities.”

The venue is projected to welcome 135,000 attendees per year, estimated to provide more than $4 million in direct economic impact to the city through sales and transient occupancy taxes. The reopening will have a major positive impact on local small businesses, hotels, and restaurants. The Plaza will also host education programs for students of all ages, as well as community outreach events, engaging with underserved communities.

The renovation is extensive. It isn’t just changing the carpeting and slapping on a new coat of paint. It has been a meticulous process that involves preservation while adding cutting-edge innovations for patrons. They have uncovered a 1936 decorative stenciling around the stage and restored it; the Plaza has also added a new cooling system, expanded seating, modern dressing rooms, and a museum area featuring items from Hollywood’s past. But at the heart of all of the renovations has been the mission to keep the venue’s soul intact.

While paying homage to the venue’s past, the Plaza’s programming definitely reflects present-day Palm Springs. The venue’s first week of performances includes Lily Tomlin, Billy Porter, John Waters, and Fortune Feimster; clearly celebrating a certain aesthetic.

Bolton expands, “The demographic of Palm Springs is very LGBTQ-centric. I think that reflects a lot of our programming, but if you look over the vast majority of our shows, it appeals to, we think, everyone. But certainly, those are very popular among LGBTQ audiences for sure.”

On behalf of the Plaza Theatre, what is Bolton’s message to the community?

 For me, it’s gratitude. Gratitude for the community stepping up and saying that this is a priority to restore this historic gem and get it reopened. It really is gratitude to everyone who has made this a reality. And then gratitude for those who will be supporting the theater going forward, either through continued donations or buying tickets.

The Plaza Theatre is set to reopen with a full lineup, starting the first week of December. For events and tickets, click here.

Sandra Bernhard knows there’s nothing quite like the power of live performance. And with her upcoming Sept. 29 stop at Oscar’s in Palm Springs on her Shapes & Forms tour, she knows she has plenty of material to work with, given the current state of the world.

“It’s that fine line and balance between really entertaining people, bringing them up and also still reminding everybody of the times we’re living in,” Bernhard tells the Blade. “I edit carefully because everybody’s just sort of fried and burned out, and it’s only been five or six months since this all sort of cracked open. So the whole thrust of the show is to bring people up and have it be more upbeat, personal, anecdotal.”

Bernhard’s upcoming live appearance comes after a banner year for the GLAAD-award winning actor, with notable roles in the breakout second season of Severance, RuPaul’s Drag Race and an upcoming performance in Josh Safdie’s Marty Supreme, which is already receiving early Oscar buzz.

Bernhard’s performances blend music and singing in a unique, eclectic way, with the band Sandyland Squad Band continuing to perform. “I’m not saying I was the first to do it, but I certainly was one of the first people to do it in a post-modern way. So I try not to really look around and see what other people are doing. It’s not helpful for me,” she says. “I don’t know if people are inspired by me, but I can only inspire myself.”

Returning to California with decades of success in her career makes this stop personal for Bernhard. “I worked in Beverly Hills as a manicurist on Canon and North Canon Drive, and I also first started performing at a place called the Ye Little Club, which isn’t there anymore. So while I was supporting myself by doing this day gig, and then I started doing my night gig, it was sort of a funny little insular world,” Bernhard says. “And I still have friends, women that I did their nails back in the ‘70s. Some of them are still around and I have lunch with them when I’m in town. It’s a really wonderful continuum of where I’ve come from and where I’m going.”

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Bernhard first broke out as an actor in Martin Scorsese’s 1982 classic The King of Comedy. She starred in the dark comedy alongside Robert de Niro and received a coveted National Society of Film Critics Award.

“It was way ahead of the curve — very prescient about fame and people doing anything to be famous. And certainly we’ve gone over the top of that. I mean, it’s insane,” she says. “Social media influencers, people that really don’t have anything specific or important to say, have managed to forge careers for themselves in ways that almost don’t make any sense to me.”

She continues, not mincing words: “I think you have to roll up your sleeves and go into life as a young person and work … But with all these people who just seem to lay around all day on the internet and social media, I don’t have much respect for that. I think it’s lazy, ignorant, stupid. You’re not reading, you’re not elevating yourself or your intellect. I don’t find it in any way, shape or form inspiring.”

The King of Comedy not only put Bernhard on the map for on-screen roles, but also helped her expand into live performance. And as she prepares to take this next stop after bringing Shapes & Forms to New York and Massachusetts, she has her priorities set on which audiences she needs to reach.

“It’s more important for me to reach the straight audience than it is the gay audience in terms of opening them up to thinking about things in a new way. I mean, it’s a given that my gay following loves me and gets me and understands all the aspects of what I do and the nuances,” she says. “[People] connect with me because of my humanity, and it’s my humanity that means the most to me — especially right now — with people being snatched off the streets, being sent down to South America in violent situations, where people are dying in Gaza.”

Sandra’s SoCal dates:

September 27
Carpenter Center
Long Beach, CA

September 29
Oscar’s
Palm Springs, CA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For more information, visit CinePride.org