There’s something about horror films that makes them particularly apt as a vehicle for allegory. Vampires, zombies, ghosts, or seemingly death-proof serial killers can all easily be seen as metaphors for some lurking threat from the “dark side” of our own collective psyche, and stories about them are almost always cautionary tales that remind us that it’s the “dark side” of our own nature that we must confront in order for the danger to be eliminated.

This subtext has always been present in the genre, of course; but with the so-called “renaissance” of horror cinema that has taken place across the past decade or so, modern filmmakers in the genre have made increasingly bold choices with regard to how “sub” it is. “Get Out” or “Sinners” need no explanation to get across their allegorical points about racism, nor does “The Substance” require an expert to recognize its satirical observations about the toxic cultural obsession with youth and beauty. These are movies that wear their proverbial hearts on their sleeves, instead of masking them behind layers of cliched and “coded” plot tropes.

The same can definitely be said of “Leviticus,” the debut feature from Australian writer/director Adrian Chiarella, that not only hinges on a conceit that has obvious relevance to its not-so-hidden themes but tips off the whole thing by its very choice of title – a reference to the Old Testament book that is frequently cited by fundamentalist bigots as proof of God’s condemnation of homosexuality, and that sets up exactly what we are in for before the opening credits even begin to roll.

Set in a conservative rural town (in the Australian state of Victoria, though it will feel distinctly familiar to anyone who grew up in similar communities anywhere else in the world), it centers on Naim (Joe Bird), a teen boy newly transplanted there by his mother (Mia Wasikowska) – who has ties to a fundamentalist Christian enclave there – after the death of his father. Their new life – like seemingly everything else in the community – is tied directly to the church, which makes it doubly inconvenient when Ryan (Stacy Clausen), son of the town’s presiding preacher, invites him for an after-school “hangout,” which leads to a furtive make-out session in the town’s deserted mill. 

Though the boys promise each other to keep it secret, they are both soon “outed” to their parents and subjected to a ritual performed by a mysterious “deliverance healer” (Nicholas Hope), intended to “protect” them from their “sinful” impulses. Soon after, a series of mysterious and violent encounters lead them to investigate local rumors around incidents involving other local teens – and the revelation that the ritual has summoned a malevolent entity, which appears to them as the person they are most attracted to (in this case, each other) and unleashes its murderous wrath when they give in to temptation. Their only chance of staying safe is to stay apart – unless they can find a way to defeat the supernatural force that has been turned loose against them.

Yes, it’s all very obvious. There is no attempt to mask what Chiarella’s movie is really about, though the word itself – like the biblical book with which it shares a title – is never spoken aloud in the film. It’s hardly a spoiler, though, to confirm that “Leviticus” is a story about homophobia. From its obvious evocation of real-life “conversion therapy” to its more subtle exploration of the secrecy and social shaming that surrounds same-sex love for so many teens growing up in an environment of fundamentalist religious tradition, every nuance of the film’s ingenious premise announces the clear intent of its messaging: homophobia is the true evil at work here, and its deadly power lies in its ability to make queer people afraid of being who they are.

While some might argue that presenting such an “on the nose” allegory in what is ostensibly “just” a horror film is a heavy-handed choice, we suggest – in this case, at least – that it’s exactly what makes the movie work so effectively.

From the very first scenes (after a prologue that ominously hints at the arcane evil that will soon come into play), we are invested in Naim and Ryan, whose tentative-but-joyous afternoon tryst is bound to trigger our own individual memories of adolescent sexual awakening, and whom we hope will be able to navigate their way through to the other side – even before the introduction of supernatural hate demons being summoned to kill them by using their own feelings for each other as a trap. They’re almost a definitive queer “coming of age” archetype, echoing generations of treasured “first time” memories and “what if“ fantasies about what might have been; we want them to be together, to overcome the otherworldly forces deployed to keep them apart – and when their romance is distorted, inverting their natural attraction to each other into fear and mistrust, it’s their own inability to abandon their feelings for each other that continues to put them in danger, making us pull to their side even more.

That emotional stake is the anchor of “Leviticus,” which lends an imperative to what might otherwise be a campy B-movie thriller and turns it into a genuinely engaging – and therefore terrifying – supernatural drama that is all the more powerful for playing to our hearts. Much of this effect hinges on the chemistry between its two young stars (which hits just the right pitch between irresistible hormonal urge and inseparable soul connection), but it’s also underscored by the irony of their being immersed within a culture that would rather destroy them than allow them to exist outside its traditional “norms.”

Nevertheless, while “Leviticus” succeeds by making us identify with its cult-crossed teenage lovers, it pays off by delivering not just a genuinely unsettling, profoundly disturbing, and unflinchingly brutal personification of religious bigotry at its most cruelly hateful, but by providing a tense and terrifying horror scenario that works on a pure “genre” level. Simply put, even setting aside any wider subtext about the deadly impact of homophobia, it’s a creepy, nerve-wracking ride.

A critical hit as part of the Sundance Festival’s “Midnight” section earlier this year, “Leviticus” went into theatrical release on June 19, the latest in a continuing trend of fresh and inventive films that has elevated the horror movie to new levels of critical appreciation. For us, it’s worth singling out as a boldly original expression of queer experience, elegantly constructed from the reinterpreted formulas of a genre that has always had particular draw for those in our community who knew how to read between the lines.

The difference is, this time we don’t have to – the message is spelled out loud and clear, and that in itself is enough to make it feel a little bit like empowerment, at a time when we could all use as much of it as we can get.

Books for Pride by various authors
c.2026, various publishers
$18.95 – $29.00

How many times have you marched so far this month? Seems like there’s always a reason to gather and walk during Pride, but save some time for yourself, too. You’ll want to reflect, rest, and read these great books about living your best Pride month. 

No doubt, you’ve thought once or twice about stepping away from society as it is, and moving somewhere more accepting. So read “Qtopia: A Memoir of Love, Land, and Liberation” by Juda Bennett (University of Wisconsin Press, $18.95), the story of doing exactly that, and how it turned out.

Back in the ‘70s, Bennett fled the suburbs and all it represented, and went “back to the land,” to a commune named Lavender Hill. Some of the places he’d lived before then had promised way more than they delivered, but Lavender Hill was different – more rural, more open, more queer, much better. But you know all good things must end, and that includes “queer utopia.” The only thing left was to re-enter the mainstream, a journey unto itself, and one worth reading.

Speaking of memoirs, in “Gay Mormon Dad” by Chad Anderson, art by Remy Burke (Graphic Mundi, $21.99), you’ll read about Anderson’s life as a husband (to a woman), a father, and a man who seemingly had it all but it wasn’t right, and he wasn’t happy. He was gay, but acknowledging it, telling his family and his church family, could mean the loss of everything he loved. It’s a story that may be familiar to you, in some way, and it’s a quick read.

For most of his life, Joseph Osmundson dreamed about getting pregnant and having a family. The former didn’t happen and, as for the latter, as he writes in his memoir, “Spawning Season: An Experiment in Queer Parenthood” (Bloomsbury, $27.99) the journey for a gay man to become a father can have plenty of roadblocks.

When two women approach Osmundson to be a sperm donor, it appears that his ultimate dreams are about to come true. Things go swimmingly – until race enters the conversation. Are the words “donor” and “dad” the same? Read this powerful book, and think about it.

And finally, if parenthood as a gay person is something that’s a case of maybe-later, then “Good Morning Moon: A Snapshot of an American Family” by Brad Gooch (Harper, $29) is a book to find. It’s the story of late-life love, surrogacy, and identity as Gooch learns about himself as he learns to be a good Dad. This is a great book for older fathers, and anyone who’s on the parental fence, later in life.

If these great books aren’t enough for you, or if you’re looking for something different for Pride, then head to your favorite bookstore or library and ask the staff there to help you find your next best read. They’ve got a lot of books to put in your hands, a lot of sunny afternoons full of relaxing and promise, so march on out, get a new book, and happy Pride!

It is no secret that the queer community has a deep love for musicals in general. And some musicals just have that deeper love from the queer community. Mamma Mia!, now celebrating its 25th anniversary, is one of those musicals.

And that’s not just because of the fierce women and sequin outfits.

Mamma Mia! follows mother-daughter duo Donna and Rosie as they prepare for the latter’s upcoming nuptials. The story sees them struggle with planning while Donna argues with Rosie about being too young to get married…just before three men arrive on their island home, each with an equal chance of being Rosie’s biological father. This chaotic situation is set to the blissful sounds of ABBA’s greatest hits, with the pair and their many close friends using the legendary (and super queer) group’s music to express their innermost feelings. A lesson on self-discovery and building community — all while being your absolutely fiercest self — Mamma Mia has astounded audiences for almost three decades with its uplifting story. 

And, to the delight of queer fans all across LA, Center Theater Group is ending its current season with a production of the show that is promising to be its glitziest, gayest version yet!

The Los Angeles Blade got the chance to speak with two of the musical’s overwhelmingly queer cast: Carly Sakolove, who plays the rough-and-tumble Rosie, and Victor Wallace, who plays Donna’s love interest, Sam. The duo was thrilled to be launching Mamma Mia! during Pride month, raving about being a part of such a beloved piece of theater and how excited they were to introduce it to a whole new batch of viewers. Sakolove and Wallace teased a show that any LGBTQ+ theater fan can fall in love with — not just because of the jaw-dropping vocals, but the heartwarming message of found family at the heart of Mamma Mia! 

“Gay men just love seeing iconic women onstage,” laughed Sakolove when discussing why she thinks the musical is such a queer fan-favorite. “It does center around a straight wedding…but there are sequins, there’s women belting, and there’s female empowerment — all things that are attractive to the queer community.” Wallace agreed, understanding why some folks may be confused at queer fans’ love for the show; most classic versions of Mamma Mia! are completely centered around straight couples, with only one scene offering any queer representation. He explained that LGBTQ+ fans love it for everything that Sakolove described, but also for the deeper themes present throughout, aspects of the narrative that can be easily overlooked behind the jaw-dropping musical numbers. 

“I think [Mamma Mia] really is about finding your joy in life,” she said. “I think it’s about who you choose to love, and who you decide to keep around you as your found family.”

“It’s a story about a girl who’s trying to find her identity by finding her father, but in that process, we see so many relationships that aren’t just blood,” Sakolove continued. “We see that blood doesn’t necessarily make family.” It’s a part of the story she would know better than most; Rosie acts as a true sister to Donna, with their lifelong friendship emphasizing Mamma Mia’s core theme of finding family in people you might not be related to. “So much of [Mamma Mia!] is that relationships come in all different forms, and I think that is something that really rings true for us as queer people.”

This pair and the many other queer members of their cast stressed how essential it is to have musicals like Mamma Mia! — not just because of its nonstop fun, but because it offers a sense of community that so many in the audience may be looking for. The show not only exemplifies the concept of found family but also teaches that the most fulfilling thing a person can do is love those they’ve chosen to be around. It’s a lesson that so many queer people can benefit from, and this cast is honored to bring it to thousands of people in each show, with Sakolove describing, “You see people that are there with their friends or their family members, and they just leave loving them extra hard…we are the luckiest people in the world that get to just go have fun on stage and affect people in such a positive way.”

While these two spent much of their interview talking about the impact this story has and how proud they are to deliver it, they emphasized that, above all else, Mamma Mia! offers a nonstop sense of fun for everyone in attendance! They were especially honored to be ending Center Theater Group’s current season with this production — and they promised to blow everyone away with just how much they have in store. 

“If we’re ending the season, then [CTG] is going out with a bang,” Wallace assured everyone reading. “Because [Mamma Mia!] is such a fun, joyous, much-needed night of theater. It’s a reminder of how great life can be when you’re around your friends — when you’re around your family — so it’ll be a good way to end the season, for sure.”

A lofty promise, yet one that these two stars made wholeheartedly. But Carly Sakolove and Victor Wallace humbly assured their fans that the utter joy of this production can’t just be owed to them or any of their other cast. 

Because when you have a musical like Mamma Mia!, one that shows the unadulterated joy of creating a found family and loving your neighbor with all your heart, it’s impossible not to leave the theater smiling.  

That, plus all the sequins, of course. 

‘Mamma Mia!’ plays at the Ahmanson Theater from June 23 – July 19, 2026. You can buy your tickets here.

You don’t have to be a pretentious film major to name 10 movie directors. But naming television directors is not that simple. They’re the unsung heroes of your favorite shows, and the late James Burrows was the television director. He passed on June 19, 2026, but his DNA runs through television history. 

He directed over 1200 episodes of television and over 50 pilots. He co-created Cheers and directed many episodes of long-running series like Friends, Taxi, Frasier, The Big Bang Theory, and Two and a Half Men. You also may remember him from playing a heightened version of himself on the Lisa Kudrow comedy The Comeback.  

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He has left an indelible mark on the LGBTQ community. As recently as last year, he directed the series run of Mid-Century Modern starring Nathan Lane, Matt Bomer, and Linda Lavin. He was also a longtime director of Will & Grace and directed every episode of the series revival. He even directed the unaired Absolutely Fabulous pilot with Kathryn Hahn, Kristen Johnston, and Zosia Mamet. 

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Not to mention he’s worked with queer icons throughout history, including Betty White and Stockard Channing on their single-season series, and Jennifer Coolidge in 2 Broke Girls. 

He started his career on shows like The Mary Tyler Moore Show, Rhoda, Laverne & Shirley, and the first four seasons of Taxi. 

He continued to work steadily and directed successful pilots that went to series for Roc, 3rd Rock From the Sun, Dharma & Greg, and Wings. He directed multiple episodes of Friends, Caroline in the City, and Frasier.  

This magic continued into the 2000s with him directing the pilots for Two and a Half Men, The Big Bang Theory, and multiple episodes of Mike & Molly, and the entire return series of Will & Grace. 

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What was the secret to his success? He’d enact the “fun clause” in his contract. In his words, “Life is too short to deal with obnoxious leads,” He shared. “So as long as the writing is good and the cast is fun, I’m going to enjoy the experience.” 

He had the magic touch, having multiple pilots turned into long-running series. He was nominated for an Emmy 24 times in 26 years and worked consistently until a year before his death.  

The secret was the way he brought the cast together. He describes, “it was my job to mold them into an ensemble, and they did round into a group of people who loved each other.”

This earned him 11 Emmy Awards and 5 Directors Guild of America Awards, including being awarded the inaugural DGA’s Lifetime Achievement Award for Television Direction. 

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In a 2003 interview by the Television Academy, he was asked how he wants to be remembered, and he said, “That every night forever you can tune in somewhere, and there’ll be a show I did.”

He’s survived by his wife, Debbie, four daughters, seven grandchildren, and the countless people whose careers he launched and the countless viewers he inspired with his television legacy. 

Every person has the right to feel sexy in their own body. 

And that can look different for everyone; whether it’s baring it all or bundling up, feeling sexy is a subjective experience that every person deserves. It’s yet another reason why the discrimination queer people face is so heartwrenching, with bigots constantly telling our communities how offensive we are in both identity and physicality. This makes countless LGBTQ+ people feel nervous to embrace their bodies in a way that feels right to them. It’s a terrible effect of modern bigotry, and it’s something that nightlife producer Joseph Martinez fights back against through his traveling burlesque show, Boudoir Boys. 

“Boudoir Boys is a collection of individual performers [who] come together as one juggernaut ensemble to put on an incredible show,” explained Martinez when he caught up with the Blade to discuss Boudoir Boys’ upcoming Southern California tour. “It’s people taking off their clothes in a very eloquent way, but it’s [also] so much more than that. [Boudoir Boys] gives you power to love yourself and own yourself — and we don’t get that opportunity in most spaces in our lives as queer people.”

Burlesque is a renowned art form that sees performers — historically cisgender women — artfully disrobe in a way that both intrigues and excites the viewing audience. And while LGBTQ+ performers have always had a passion for this style of dance, recent years have seen burlesque become a political tool. Many LGBTQ+ dancers use it to proudly flaunt their bodies and call out the people who want them to hide in shame. It’s a brave kind of confidence that not everyone has, and it’s one that Martinez wants to give everyone who comes to watch a Boudoir Boys show. 

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“When you come to a Boudoir Boys show, there is mystery and hyper sexuality that is celebrated in such a classy way,” he continued. He described the many acts that people see when they attend, ranging from gravity-defying pole dancers to even jaw-dropping fire stunts (but only if the venue’s insurance allows it, Martinez assured). “I really wanted to create something that was created by gay men for the queer community, starring an all-gay cast…I wanted our cast to reflect a bunch of different ethnicities from a bunch of different backgrounds with a bunch of different body types and a bunch of different performance styles. [And] we still haven’t even begun to [show] the amount of performers that there are out there [today]!”

Since its first performance three years ago, Boudoir Boys has taken the country by storm; 2026 will be its third nationwide tour and will have the group visit more states than ever before. Joseph, a former dancer, spoke about how amazing it feels to not only travel with this all-queer group but to spotlight different local artists at each stop along the tour. These show every person in attendance that there are queer folks doing this art in their own communities — and that they can do it too.

“At the end of every show…the performers love to talk with everyone. All [they] get is, ‘Thank you for showing us who you are. How can I enter Burlesque? Thank you for teaching me to love myself, at whatever my physical version is.’” Martinez grew emotional describing these comments in particular, with the man reminiscing on the numerous times queer viewers have approached him to explain how much these sexy moments meant to them. “There is something that touches our soul in those moments where we get to see other queer people living their truth, showing the best of the best, and leaving their heart on the floor.”

Along with an amazing show, that is what Joseph Martinez truly hopes to impart on every person who attends Boudoir Boys: the knowledge that they deserve to have pride in every part of themselves. “Not all of us get to grow up in a space where we so commonly get to see other queer artists being incredible and living in their truth,” he stressed. “But burlesque is for everyone. The idea that you get to stand up in front of either yourself, an audience on stage, be yourself, be comfortable with your body, and have the audacity to tease and flirt and own your hypersexuality is so important for any human being. Period.”

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This is what has made Boudoir Boys a hit tour for three years (and counting) and a key source of empowerment for thousands of queer people across the country. Every iteration of this showcase encourages those watching to be their proudest, sexiest selves today. It’s a reminder that so many of us need right now.

Boudoir Boys comes to Hamburger Mary’s Long Beach on June 25th, Urban Mo’s in San Diego on June 26th, and Hunters in Palm Springs on June 28th. Check out their Instagram for more info.

When Eric Calvario was first contacted by a casting director on Instagram about a possible television opportunity, he was not expecting to end up in drag.

The Los Angeles/Orange County-area dad was ultimately cast in “Too Many Daddies,” the June 5th episode of RuPaul’s Drag Race All Stars, which featured six real-life Southern California gay dads in the show’s makeover challenge. Though the episode aired two weeks ago, it still feels deeply present for the dads who took part.

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“I had never considered doing drag; I wasn’t too familiar with the show, and I was deep in raising an infant and toddler,” Calvario told the Blade, describing his initial hesitation. “Ultimately, I knew I had a performance background, I knew I could push myself, and I knew that, if handled correctly, this could mean a lot for the community of gay dads.”

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For Calvario, the episode was more than an opportunity to meet RuPaul. It was a chance to show younger LGBTQ+ people that queerness and parenthood are not mutually exclusive. The episode spoke directly to the younger version of himself, who once believed that being gay meant giving up the possibility of being a parent. He wanted viewers to see that parenthood is possible and that LGBTQ+ families can take many forms. “Yes, you can,” Calvario tells readers of the Blade, “and this is one of the many shades of what this might look like for you.”

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Calvario was not alone in seeing the episode as more than a makeover. For the other fathers, the experience was also viewed as a chance to make queer parenthood visible on one of television’s biggest LGBTQ+ screens.

Hector and Derek Del Valle said they were contacted about a casting opportunity for gay dads before realizing the show was Drag Race.

“The minute we found out the show was RuPaul’s Drag Race – let alone “All Stars” – we were completely gagged,” they told the Blade. “We’ve been watching since Day 1. Now as parents, our Friday nights look a bit different, but the one thing that remains the same is getting our drag fix – we just went from watching them in the clubs to watching them from our couch!”

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For the Del Valles, appearing on the show was deeply personal because they did not grow up seeing many examples of LGBTQ+ families.

“To appear on Drag Race as gay dads, especially in a challenge centered on family and visibility, felt incredibly profound,” they explained. “It was an opportunity to show the world that LGBTQ+ families exist, thrive, and deserve to be celebrated.”

Jeffrey Williamson-Rose said he and his husband were first contacted through a mysterious Instagram message from a producer. Once the words “World of Wonder” were mentioned, they realized the opportunity was connected to Drag Race.

“My husband and I thought that this was a once-in-a-lifetime opportunity that we were given,” Williamson-Rose said. “The entire process of filming made me smile, and I thought of my daughter and husband the entire time. Seeing her reaction to seeing me on screen made it all worth it for me.”

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While the episode included the usual spectacle and humor expected from Drag Race, all of the dads explained that some of the most meaningful moments happened behind the scenes.

For Calvario, hearing about the struggles of other gay dads – including fathers from Florida who had to hide their family to protect their jobs – stayed with him.

“It made me realize that the challenges I feel as a gay dad look different everywhere and, in that moment, I told myself, ‘Talk less and give space for these guys to tell their stories, because no matter what challenges I may face, there is always someone who has it harder.’”

Williamson-Rose left with a similar impression, saying that the bond among the dads became one of the most rewarding parts of the experience.

“[All of the dads] are by far my fave group chat thread, and I normally LOATHE group chats,” he said. “I often think about how we reacted when we first saw ourselves in drag and how we were all somewhat reserved when we first arrived – to 48 hours later, us gushing and showing photos of our kids to each other. The bond for all 6 of us was instantaneous.”

The Del Valles said the conversations in the makeup chairs helped turn a random group of dads into a community.

“We shared our journeys to parenthood, talked about the unique joys and challenges of raising children as gay parents, and celebrated the families we’ve built,” Hector Del Valles said. “What started as a group of strangers quickly became a tight-knit community.”

For Southern California readers, Calvario leaves a heartwarming message:

“I want my community to know that we exist, that it isn’t always easy, but that any life you want to create is possible,” he said.

Williamson-Rose said he hopes the episode shows the many ways LGBTQ+ people create families, including adoption, fostering, foster-to-adopt and surrogacy.

“I am a firm believer of the idea that ‘You can’t be what you can’t see’ so I hope that this episode is the door that opens for those struggling to visualize what life can look like for them.”

For these fathers, the episode was not only about drag. It was about visibility. That is what makes the Del Valles’ message to readers so simple, yet so meaningful: their family is not defined by division, but by love.

“Our family is, at its core, built on the exact same things that make any family strong: love, commitment, support, and a desire to give our children the best life possible.”

RuPaul’s Drag Race All Stars streams on Paramount+. The “Too Many Daddies” episode is available now.

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The OUTLOUD Music Festival at WeHo Pride was held at West Hollywood Park on June 4-6. Performers included The Pussycat Dolls, JADE, Maude Latour, Ava Max, Ashlee Simpson, Confidence Man, Flo and the Blue Man Group, Mel Stalter, Mel C and more.

(Photos by Daniel Macadangdang and @StevenOnTheScene; courtesy Lucky Break)

Before I can begin a review of “Stop! That! Train!” (the movie that’s been algorithmically dominating your queer social media feed in the form of ads for weeks now), I feel it’s necessary to provide a disclaimer: I am not a superfan of “RuPaul’s Drag Race.”

That doesn’t mean I’m NOT a fan, mind you. I’m just disclosing that I have never been the loyal viewer for whom each new episode is the highlight of the week, or followed the careers of the contestants I loved the most; I don’t know who won each season, or how many times they’ve been on the show. I barely even know any of the catch phrases. I say all this because you should know that, as someone who didn’t get any of the show references I’ve been told were laced throughout the movie, I’m probably not the person RuPaul and filmmaker Adam Shankman had in mind when they were making it.

I do, however, respect and adore the art of drag, not just as an expression of queer identity tied to a long tradition stretching back centuries, but as a powerful tool for satire. It’s a queer-eyed view that exposes the hypocritical norms and mainstream “morality”of society in a form that goes right over the heads of anyone who isn’t in on the joke, and the Queens of “Drag Race” not only honor that tradition but live up to it. Make no mistake, the queer spirit of rebellion is alive and well in “Stop! That Train!” – even if it sometimes feels like it’s just along for the ride.

Mounted as a parody of old-school “disaster movies” – a genre that found its heyday in the same ‘70s and ‘80s period that also saw the success of classic movie spoofs like “Young Frankenstein” and “Airplane!” (which clearly serves as the primary blueprint) – Shankman’s film seems driven by an impulse toward the absurd as a kind of de facto social commentary, but puts the most emphasis on landing its jokes. It imagines a contemporary world where high-speed train travel is an actual thing in America (wouldn’t that be nice?) and a Black drag queen can be elected president (OK, maybe she’s a cisgender woman in context of the plot, but still), but in which everything is pretty much just as “off the rails” as it really is, anyway.

In the middle of it all are Tess and DeeDee (Ginger Minj and Jujubee, both popular “Drag Race” veterans), two “train stewardesses” who fake their way into jobs on the prestigious “Glamazonian Express” railway line and face hostility from the “mean girl” attendants who work there. The popularity contest soon takes a back seat, however, when the train finds itself speeding into a catastrophic “storm-o-ganza,” and they’re faced with the challenge of saving themselves – along with the train’s assortment of passengers – from all-but-certain doom. Fortunately, they’re not alone; under-appreciated train dispatcher Donna Dusk (Rachel Bloom) is doing her best to guide them from afar toward the least catastrophic outcome, and no less than American President Judy Gagwell (RuPaul Charles, of course) takes a personal interest in averting the disaster; after all, it could take a few points off of her popularity rating if she doesn’t. Can this plucky alliance of women-with-something-to-prove shepherd this runaway train (and everyone on board) to safety? Of course they can, and in the most ridiculous way possible.

Like the aforementioned “Airplane!” (the zany 1980 farce that was itself modeled after the popular “Airport” series of all-star disaster epics), “Stop! That! Train!” takes an approach to comedy that’s more like facing a high-speed pitching machine in a batting cage than watching a movie in a theater; it’s one joke after another, thrown rapid fire against the wall on the theory that at least some of them will stick – a time-honored tradition that, admittedly, results in a lot of them that don’t. For every belly laugh, there’s a real groaner, and a fair number of the chuckles are “polite” ones, at best; but that, of course, is part of the appeal. Screenwriters Christina Friel and Connor Wright skew their humor toward the lowbrow – something the popular drag movement fully embraces, anyway – and make most of their characters into clowns as they freely transplant plot points and tropes into their ludicrous scenario; all of it’s on purpose, and most of it works, because this is the kind of movie that is intended to be as “stupid” as possible and we wouldn’t want it any other way.

Of course, some viewers will inevitably be underwhelmed by the movie’s humor; its borrowed tropes may feel less funny for being too familiar, sometimes the “lowbrow” might edge too closely on the “tasteless,” and the overall spirit of “bitchiness” could easily just come across as just plain “mean” if one is in the wrong mood. Let’s face it, though: most of those people will probably not be going to see “Stop! That! Train!,” anyway. For the rest of us, even if more of its jokes fall flat than we might hope and some of the zingers don’t have the “zing” that they should, there’s still a cumulative effect that leaves the impression of a whole being greater than its parts. After all, sometimes we just want to have brainless fun at the movies instead of having to think too much about it, and nobody was expecting an Oscar-winner, were they?

As for the disaster movie plot, it’s impossible to take seriously, of course, but it does provide the opportunity to showcase a lot of characters – and caricatures – along the way. Minj and Jujubee are essentially the stars of the show, and their easy chemistry together helps them carry the film; RuPaul, every inch the superstar as ever, strides confidently into his presidential role and rightfully dominates every scene that he’s in, yet is graceful enough not to overwhelm or overshadow the work of his co-stars, especially Matt Rogers, who, as President Gagwell’s possibly psychopathic press secretary and confidante, shares more screen time with him than anyone else. 

Veteran comic actor (and “SNL” alumnus) Chris Parnell uses his hilariously deadpan lunacy to great advantage as the train’s conductor, and Brian Jordan Alvarez (“The English Teacher”) brings a smarmy charm as the co-conductor who doesn’t know how to operate a train – despite the questionable choice of using an exaggerated “Bill and Ted” era Keanu Reaves impression for his character’s voice. There’s a whole gallery of familiar faces on hand in bit parts and cameos as passengers on the train, who arguably provide more genuine comedy and interest than the main storyline. And even if she never sets foot on the train herself, Bloom (“Crazy Ex-Girlfriend”) is every bit on board for the ride, serving as a grounding force even as she gives herself over completely to the silliness.

And silly it certainly is. It’s as insubstantial as the AI-generated backgrounds used to create the action scenes of speeding train and the storm. And at the risk of repeating myself, we wouldn’t have it any other way.

The funniest people are those who’ve been through the hardships of life and came out the other side laughing. The comedians who have that special skill of seeing the comedy in their deepest turmoil, turning those dark moments into enjoyment for an audience — so, of course, many of the best ones are LGBTQ+.

We’re lucky to have many queer comedians working today, and some of the greatest can be seen on the LGBTQ+ streaming service, Revry. In many ways, it was these artists who got the platform to where it is today; Revry is one of the only streaming sites completely dedicated to showing LGBTQ+ content. While it’s become known over the years for its episodic series and competition shows, many fans first heard about it because of its comedy, the Drag Roasts and indie specials that finally allowed viewers to laugh along with audiences just like them. The service has always been dedicated to uplifting this kind of comedy, and with its new series, I’m Dead, it’s aiming to make queer watchers everywhere laugh harder than they ever have before. 

“Queer people are not always the ones in the development room or making the decisions on things,” explained Damian Pelliccione, Revry CEO and co-founder. “And that’s what’s really unique about our network — we’re the ones in the driver’s seat.” It’s an unfortunate truth in modern media: while many streaming services feature LGBTQ+ content, few have made the consistent effort to ‘take a chance’ on queer artists. Even more, recent years saw a historic low in terms of onscreen representation as many services have caved in to discriminatory rhetoric. 

This has left many people searching for not only representation but a reprieve from the daily stressors of modern queer life. It’s an issue that Revry knows well, and that Pelliccione and their entire team hope to address with I’m Dead. 

“There’s a plethora of amazing, queer comics in Los Angeles, and this is an opportunity for them to have a platform!” Raved the CEO. “Like Salina EsTitties, who [was just] on RuPaul’s Drag Race All-Stars, and Adario Mercadante, who does stand-up in a [fursuit]…I know our audience is going to gag!” Split over 12 episodes, I’m Dead will see 12 of LA’s best, queerest stand-up comedians offer hilarious stories about their most intimate moments onstage in front of a queer audience. Whether it be RuPaul’s Drag Race royalty like EsTitties, trailblazing comedians like Lady Bushra, or even fan-favorites from Revry’s other hit series, King of Drag, like Pressure K, each performer brings a unique perspective that shows the many sides of living as a queer person today.

The Los Angeles Blade was invited to a special taping of these acts, ones that not only featured a wide array of comics onstage but also a diverse group of LGBTQ+ Angelinos in the audience. Every performance was a comedic foray into each stand-up’s (deeply twisted) mind. But what really stood out about each act was that it reminded watchers of a fact many people forget: building community can be really, really funny.

Pelliccione spoke openly about how recent years have impacted entertainment as a whole; their role at Revry means they’ve had to watch closely as countless other services scaled back on inclusive content. And while this disappointed their team, everyone at Revry saw these changes not as a sign to give up, but as a reason to do more than they ever had before for queer viewers. “People need comedy — we need joy!” Emphasized Pelliccione. “We need something that’s uplifting and is taking us out of kind of the dark reality that we’re living in right now.”

That goal is at the core of I’m Dead, with this mission showing through not only in-person at the live tapings but in every minute that fans are watching onscreen. These stand-ups discuss hard moments that countless queer people relate to and show that not only can you live through it, but you can turn it into gut-busting joy for yourself and everyone around you. This series reminds us that laughing through the pain is a genuine path to liberation! That nobody in the queer community is alone, and that while we’re fighting for our rights, we should always make the time to find joy with the folks fighting along with us.

I’m Dead is an uproarious source of representation and a one-of-a-kind platform for these comics who are getting to directly serve their community with each jaw-dropping joke. The program is a vital reminder of the importance of queer community and a valued source of representation when many people need it most — and all that while being utterly hilarious!

You can stream I’m Dead now on Revry

West Hollywood is often defined by its nightlife, but Miss Elaine makes the case for daytime shenanigans.

On June 20, Fiesta Cantina will launch Rooftopia, an unapologetically LGBTQ+ daytime party taking place from 3 to 9 p.m. on the venue’s newly refreshed rooftop at 8865 Santa Monica Boulevard. Hosted by Scott McMaster, who performs as Miss Elaine and was crowned Miss’d America 2023, Rooftopia marks the launch of a new queer daytime party at Fiesta Cantina in West Hollywood.

Miss Elaine – the WeHo-native drag queen, magician, and prop artisan – tells the Blade that the story began in a casual way: with a Drag Race viewing party.

“One night, my friends and I were sprinting down Santa Monica Boulevard trying to get a table somewhere to watch Drag Race,” she said. “Everywhere was packed, so we wandered into Fiesta Cantina and ended up having the most joyful, ridiculous night.”

That random night turned into a routine. Miss Elaine and her friends kept returning to Fiesta Cantina for viewing parties and trivia nights. Eventually, she became the host of Drag Race viewing parties at Fiesta Cantina herself. 

Then she discovered the ‘mysterious’ rooftop.

“I literally could not believe I had been sitting underneath WeHo’s best-kept secret for so long,” she said. “And not just any rooftop, but the only rooftop in the Rainbow District, with all these stories and memories attached to it.”

From there, Rooftopia was imagined. The goal was never to throw a simple party, but to restore the space as a symbol of queer history. Miss Elaine explained that everyone in West Hollywood – “back in the day” – had their own Fiesta rooftop stories, and that it was time to create a new chapter for the venue.

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Before moving to Los Angeles, she worked on a Philadelphia pop-up cabaret called Late Night Snacks, where vacant and abandoned spaces were transformed into immersive performance venues.

“That’s always been my magic,” she said. “I love uncovering the history of a space and revealing what’s hidden beneath years of dust and neglect.”

That background shaped the redesign of the rooftop. Miss Elaine worked with manager and producer Nathan Booth on developing this idea, discussing cost estimates and floor plans. From there, a group of friends pitched in to make the dream of the rooftop come alive.  

The process, she said, was “hot,” “dusty,” and “chaotic,” especially as it came together during Pride season. But the finished product was clear: a colorful extension of Fiesta Cantina with its own distinct identity. 

“We leaned into a Modern Mexicana aesthetic with vibrant teals, fuchsias, marigolds, shade structures, tropical plants, and colorful details throughout,” Miss Elaine told the Blade. The unique space has the feel of a hidden speakeasy, where guests walk up the stairs and are met with a rooftop that surprises them.

Rooftopia also aims to address what Miss Elaine sees as a gap in LGBTQ+ social life: a daytime event that is neither a traditional drag brunch nor simply nightlife moved into the afternoon.

“Life happens at every hour,” she explained. “I’m a drag queen of a certain age. I still love to party, but I also appreciate being home at a reasonable time. Why not have the Afters in the afternoon?”

She calls the mood “golden hour euphoria” – a Saturday afternoon space where people can stumble in after their morning mimosas, start their evening early, or simply spend the day basking in the sun.

The event will include free entry with RSVP, all-day happy hour, specialty cocktails, a sunscreen and water bar, clothing check, and a swimwear- and underwear-friendly atmosphere (yes, speedos included) for guests 21 and over.

Miss Elaine leaves the readers with a simple invitation: “Come have a cocktail. Take a selfie. Tell me your old Fiesta rooftop stories so I can add them to the journal. Then make a few new memories of your own.”

Rooftopia takes place Saturday, June 20, from 3 to 9 p.m. at Fiesta Cantina WeHo, 8865 Santa Monica Blvd. Entry is free with RSVP.

Get your tickets here.