It’s a story that has been heard countless times before: someone feels the call of stardom, and they believe the only way to answer is to move across the country to Los Angeles. Entire libraries are filled with the unfortunate stories of these people, who often discover that the “City of Angels” is much harsher than it seems onscreen. But for the select few, they manage to find success in one of the toughest industries in the world. And for those like TikTok star Clayton Farris, they manage to do it while providing the LGBTQ+ representation our communities need now more than ever. 

“I grew up in a very traditional Southern space, and I always just stood out because I was…I was different,” said Texas-born Farris when he sat down to discuss his new movie, Weapons. “I had a whole life [in Dallas] that I packed up and left — and as soon as I got to LA, I was like, ‘Oh, this is where I’m meant to be.’”

Anyone online in the past decade has seen Farris’s work. Before starring in numerous hit TV shows and movies, the man made his mark on Vine through comedy sketches (never again can someone ask for their keys without imagining a printer being hurled at them). Since then, he’s acted in hit series like Scream Queens and Ratched, all while becoming a mainstay in the LA comedy scene and amassing more than 400,000 followers on TikTok. Clayton brings his trademark style of irreverent humor to every project, all while proudly sharing his bisexual identity with the world — a sense of pride that didn’t come easy to him. 

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“Coming from a place that really encourages people to be closeted, it’s been a long journey for me to be able to be myself,” he explained when he sat down with the Los Angeles Blade, still tired from the Weapons red carpet he’d been strutting down only a day before.

“I always say: any character I play, I always bring the ‘bisexual edge’ to them.” The actor laughs but stresses the importance of this kind of representation, and the long journey it took for him to share his bisexuality through his art. Farris knows that it is essential to bring his authentic identity into every single role…even in a movie as terrifying as Weapons. 

Most horror fans are familiar with director Zack Cregger’s work; his previous film, Barbarian, is infamous for not only its jaw-dropping plot twists but the unceasing anxiety it carries throughout every scene. His latest film, Weapons — a mystery-horror centered around a classroom of children who flee their homes in the dead of night — recently premiered and is already being lauded as one of the scariest movies of 2025. Yet somehow, amidst the thrilling bloodshed that its trailers are promising, it finds the space to feature LGBTQ+ representation through Farris’s role as Terry, the goofy, endearing partner of one of the main characters. 

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While he laughed about the quirks he brought to the character and what wild fun it is to star in a scary movie, Farris also recognized just how important this performance really is. “To be one of the only queer characters in such a big movie, [I was] like, ‘Oh, this kind of has some weight to it!’” he exclaimed, proud of injecting casual queerness into such a complex plot.

He went on to describe how, even at the premiere, there were executives coming up to him, thanking him for the representation and the nuances he brought to what could have been such a cliché stereotype. It’s a kind of representation that LGBTQ+ horror fans have fought decades for, and through Terry, Farris is proud to push it even further. 

No matter where his career takes him next, whether it be in another gore fest like Weapons or some hit comedy show in LA, Farris makes it clear what his goal is as a bisexual actor: “I just want to do a good job, and represent the community well.” It’s a mantra that more performers should carry, and it’s what makes Farris one of the true standout comedy stars of Los Angeles (and TikTok) today. 

Follow Clayton Farris on Instagram & TikTok

Weapons is now in theaters

In the penultimate episode of the world’s first drag competition show, King of Drag, two contestants would be sent packing with their packers before the big finale. The five fan-favorites had to create original looks from scratch, lip sync to “Good Boy,” and come up with an interpretive dance to earn their spot in the top three of the Revry series.  Unfortunately, two fan favorites didn’t make it past the final hurdle: King Perka $exxx and Big D.

Big D has big P-personality. The one-of-a-kind character actor had never lip-synced before this episode, but judges loved what Big D brought week after week. Of the five weeks he competed on the show, Big D was in the top three times! His background in clowning helped him to bring such vivid and memorable characters to life on King of Drag. On the other hand, King Perka $exxx had a much bumpier road, but throughout that journey, audiences fell in love with the performer we got to know. From his perfect Urkle to his hilarious stand-up routine, Perka $exxx was the heart of King of Drag season 1. To lose them both before the finale was tough for fans. But fingers crossed for an eventual King of Drag All Stars.

The LA Blade caught up with Perka $exxx and Big D to talk about their experiences on King of Drag, advice for other kings, and what they would do differently.

Tell me about your first time in drag. 

KPS: My first number was last at my college drag show, and I didn’t wanna wait a year till the next school show, so I went out and hit the city.

BD: Drag was a gradual process for me, from my dad teaching me to do a double Windsor when I was in middle school, to suits, fedoras, pocket watches and worshipping macho-intellectual books and movies in my teens and 20s, to a slow realization that I could BE the thing I secretly worshipped, that I didn’t have to have my face pressed up against manhood’s window anymore. I could do the damn thing. 

What made you decide to be a part of the inaugural season of King of Drag? What do you hope to see differently in future seasons?

KPS: I had half my timeline tagging me in the audition posts, so partly peer pressure. I went back and forth on whether I should do it, but I had to stop thinking and start doing it. I just did the best I could on my tape, and I was myself the entire time, and I always made sure to have fun. I want future seasons to have more episodes and more days off to sleep in. 

BD: Murray was my main motivation. He was the artist who inspired me to really step into drag, and I cheered along as his career grew from clubs and live shows in NYC to TV and film. The chance to connect with him was impossible to pass up. I still pinch myself that I have his number in my phone, and that he let me borrow his Doc Martens for one of the shoot days.

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What surprised you most about your experience on King of Drag?

KPS: That we were able to be competitive, and not be bitches to each other like I’ve seen on other shows. I shouldn’t be surprised though – drag kings are just built differently. 

BD: I was celebrated far more than I thought I would be. I thought I would be read to filth for my lack of polish, but I was more often than not encouraged and deeply seen by my castmates, by production, and by the judges. 

What do you cherish most about your filming experience?

KPS: I cherish the kindness of production and the moments behind the scenes with everyone. 

BD: The connection with my castmates and with the fans of the show. The community that has come together to support this project. Being part of something much larger than myself. 

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

KPS: Drink more water. 

BD: More stillness, more breath. 

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Have you had any especially memorable fan interactions since the show began? 

BD: I want to inspire others to take up more space—and I’ve heard from kings and aspiring kings that I made them feel that they could do the damn thing, regardless of all the little things that can make us stop ourselves from doing the damn thing. If I made people feel that there is a place for their art, or even just a fuller flower of their soul, that’s awesome. 

What do you want aspiring kings to know about the working life of a king?

KPS: Don’t quit your day job or ruin your day life over drag. You, as a human being, are still important, and you have to work twice as hard as queens, because you will have higher standards. When that happens, you need to rise to the occasion and prove the haters wrong 

BD: There are a lot of ways to King: in theater, in comedy, in dance, in role play, in… probably knitting, you know? It isn’t just lip syncing in bars. Take kinging further, take it everywhere it’s needed. 

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

KPS: I’d ask Murray to try one of these challenges. Like, c’mon, 90 minutes on the first day songwriting; I wanna see Murray try to do that. 

BD: Hey, Murray, what size/make were those Doc Martens again? 

Stream the entire season of King of Drag now on Revery.com and followKing Perka $exxx and Big Don social.

Suzie Toot tapped her way into America’s hearts and international drag stardom during her epic run on RuPaul’s Drag Race season 17. The 25-year-old triple threat came in fifth place that year, after winning the talent show, the SNL challenge, and the Lip Sync Lalaparuza Smackdown.

Now that she’s conquered the small screen, Suzie Toot (aka Benjamin Shaevitz) is ready for her close-up. Suzie stars as Mimi Bouvèé-Truvé in Erynn Dalton’s horror comedy Big Easy Queens. The camp thriller follows rival mob bosses set on revenge, and Suzie plays the estranged sister of HBIC, Minnie Bouvèé (played by Eric Swanson). 

The LA Blade caught up with Suzie at home in Brooklyn to discuss creating the project, her love of Rocky Horror, and the highs and lows of life after Drag Race.

What’s been your biggest pinch-me moment since Drag Race aired and the world learned your name?

There are so many! There’s something to me about just seeing GIFs of myself and our season in reaction images and in the world. That really does get me. 

I feel like everyone shared your winning tap dancing talent video when that happened. That must have been surreal.

It was really, really cool. I forget sometimes, because that moment was tied together with the whole rest of everything starting to come out – I mean, 7 million views on Instagram. Oh, that’s major. That one’s a hard one to comprehend, for sure.

@rupaulsdragrace tappin' and tootin'  @suzietoot #dragrace #suzietoot #talent #tapdance #dancer #drag #dragqueen ♬ original sound  – RuPaul’s Drag Race

Who’s been the biggest celeb that slid into your DMS to say they were a fan?

Oh my gosh. I know that it seems obvious that Ru girls would swing by, but the first time, Jinkx Monsoon messaged me, I freaked. I cried. I was in the airport having a very bad day, and I was fully crying. Because beyond the RuPaul’s Drag Race of it, Jinkx’s documentary Drag Becomes Him was one of my favorite watches in high school. I’ve watched it 10-plus times. The journey, and the following a dream that is so specific to such a height. It really inspired me so, so, so much.

Big Easy Queens is set in New Orleans but was filmed in Florida. You’re from the oft-dissed state of Florida.  Right now, what do you love about the state?

Wow. Okay, because I, too, am one of the haters. However, I’m from Florida, so I have the right to hate. But Fort Lauderdale and Wilton Manors totally opened my mind when I first got there. I went to college in Boca, and I went down for an audition. It felt like bizarro land. From discovering my sexuality and discovering a queer community, mostly online, to suddenly being thrust into it. I started Suzie Toot right out of high school, and my first three years of doing drag were in Fort Lauderdale. So she is a Fort Lauderdale-grown diva. I think it’s one of the most beautiful places to just exist because of the people.

I love the way you’re styled in this film. Did you have a hand in Mimi’s look? 

Yeah, even back then, even when I looked a fucking mess, I was very protective of the Suzie Toot character. So Dan Gagnon was the costumer, and he built a lot of dresses, but did not have the faculty to build the entire wardrobe. So he and I did work on some stuff that I pulled from my closet that ended up in the movie that I was so excited about.

How did filming with the blood work? Did you have to be one-take wonders, because there’s no coming back after blood meets drag? 

Exactly, 100%. They built a thing that they called a Blood Sucker in order to fire the blood. They tested it, but we also didn’t have the budget for elaborate testing. And the funniest part, and you can see it in the film, is where the first patch of blood hits not me, but the back of my wig from the side, and fully ejects it from my head. Then they called cut, and everybody involved was on the other side of the camera – people that I had never met before were on the other side to watch the blood thing happen. And then people came up and we all did pictures covered in blood, because it was this big moment. Then, I turn around and I see my wig on the floor, and I did not know that my wig was off during all those pictures. I didn’t notice because I was preoccupied with the blood that was all over. But cover me in blood any day of the week. I loved it. Loved it!

Who’s your favorite scream queen?

Oh, you can’t do this to me! I’m a huge Scream fan. So, Drew [Barrymore]. It’s so good. I love when drag queens do that audio. Drew is so magnetic. And in the only five minutes she has in that series, it’s so incredible! 

Back to Drag Race for a moment. Having watched your season play out, if you could go back and redo one moment, what would you like to redo?

Oh my god, before the Lalaparuza ever happened, this question would haunt me forever. And the thing is, we didn’t know that that’s how [the season] was gonna end. We didn’t film [the Lalaparuza] til much later. So for the longest time, I was settled on the fact that I had a really great start and a kind of poor ending, and that’s okay. So the Lalaparuza kind of answered that question of, “what could I have done better?” 

What is the best advice you’ve received from another Drag Race girl about life after the show?

Oh, that’s a really good question. My number one, ever, ever, ever, is Kylie Sonique Love. The icon, legend, and All Stars winner told me to always have one outfit in your carry-on. You carry one wig, one outfit, and your makeup with you, and your wig on your person on the plane, so that, God forbid, anything happens to the checked luggage, you have one outfit. It’s already saved my life when I went to London. God bless Kylie Sonique Love; she knew what she was talking about.

Final question today. What’s your favorite drag movie? It can be a movie about drag, like The Birdcage, or a movie starring queens, like Big Easy Queens and Girls Will Be Girls.

My number one of all time always will be Rocky Horror Picture Show. That movie is so important to me. Seeing it was so important to my queer and political awakening. That is the blueprint that is the always and forever. Cult classics and cult followings are my special interests, my favorite thing; I’m fascinated by them. It’s the blueprint. Girls Will Be Girls and To Wong Foo are my other answers, but Rocky Horror is number one. 

Stream Big Easy Queens on Hulu, and follow all things Suzie Toot.

From the streets of the Boston projects to fabulous West Hollywood, Michael-Shaun Hennessey’s story is anything but ordinary. He is a man of many markers: a longtime AIDS survivor, mystery show entrepreneur, and former Power Rangers writer, Hennessey is now touring the world with an unlikely performance. Searching for Robert Hennessey is an autobiographical story chronicling his decades-long search for his father.

The show begins its world tour August 9th & 10th at Culver City’s Fanatic Salon Theater. It has already drawn praise from critics for its emotional depth, charismatic storytelling, and a final act twist that critics say feels “scripted by fate.”

“I had been working on the show off and on for the last three years,” Hennessey says, “and then in March, I was getting inspired by many of my friends who were writing and performing their own one-person shows so I decided to just go for it!” Hennessey details the process taking a whole month of nonstop effort where he made it “just in time” for the Hollywood Fringe Festival deadline.

Hennessey’s story is full of laughter, sorrow, and everything in between: escaping a cult, living with AIDS, and yes, kissing John Stamos. The show is not a typical autobiography – it is a full display of integral moments in Hennessey’s life. “I actually wanted to be sure I didn’t put any emotional guardrails up and this allows me to be as raw and connected to my story as possible,” he explains. “And it’s definitely paid off. People have said they’ve never seen a show where someone was so connected – mission accomplished.”

When watching the show, a central question emerges: was Hennessey’s story one of fate? “If I didn’t believe in fate,” Hennessey explains, “I absolutely do now after all the twists, turns, and the perfect people coming onto my pathway at the exact moment they were meant to.”

The mix of openness and drive has defined Hennessey’s creative life. Amidst everything, he founded a “mystery company” for children and hosted “mystery events” where children looked for clues to solve various mysteries. Looking back, he finds something deeper at play. “I absolutely believe that I created my mystery company subconscious because I had a mystery to solve of my own,” he says. “All of the children have absolutely inspired me to find my father because I would see them with their fathers and it would awaken my need to connect with my own.”

But it would be incorrect to say Searching for Robert Hennessey is solely about bloodlines; it is about finding one’s true self. “I believe that we each need to find what works and what doesn’t work for our own journey in our search for meaning and connection,” Hennessey reflects. “The main thing we all need to embrace is [something] we have within ourselves already.”

Hennessey finds these connections with various, seemingly random things. Numerical synchronicities and psychic signs weave throughout the performance. “When I first moved to Los Angeles from Boston, my mentor Dee Wallace recommended all of her students meet with her Reiki Master,” Hennessey tells the Blade,  “I was extremely resistant because I thought it was some kind of witchcraft and as a Born Again Christian queer man, it bothered me.” However, he overcame his previous fears and biases and attributes Reiki as playing a large role in overcoming AIDS. “I became a Reiki Master soon after and have felt beautifully connected ever since,” Hennessey proclaims.

As the show embarks on a world tour – culminating in a run at the Edinburgh Fringe Festival – Hennessey hopes queer audiences see themselves in the performance. “I truly hope my beautiful queer tribe will realize that they have the power within to make anything happen,” Hennessey succinctly states, “It is my hope that NAYsayers will become YAYsayers when they find that hope within themselves or within the circle of people around them. We are never alone.”

Next steps for Hennessey include Off-Broadway, a potential music version, and possibly a streaming series. In fact, there is even talk of a Grammy as the show could possibly qualify for a spoken word album. In the meantime, however, Hennessey has a goal: “We are seeking out LBTQAI+ theaters around the country that would welcome my story in the coming year.”

Hennessey leaves the readers with a simple, yet profound message: “Don’t stop believing and never ever give up!”

Searching for Robert Hennessey is not a show to miss. You can find tickets here.

When Charles Galin King made his big debut on the world’s first drag competition show, King of Drag, you knew you were taking in a star. He introduced himself as “a Mexican-American Indigenous Wixárika with Ch’ol blood person,” and you couldn’t help but take notice.

His cultural influences are apparent in his drag, serving distinct and memorable looks. He won fans over with his fabulous impression of Nosferatu on The Dong Show and connected with them through his honesty about his mental health struggles. After bringing the black plague to the prom, his time on the Revry series came to an end.

We caught up with Charles Galin King to talk about his experience on King of Drag, what he hopes to see in future seasons, and advice for new drag kings.

Tell us about your first time in drag. 

Back in high school senior year, I decided to wear one of my dad’s black button-up short-sleeved shirts and made a beard and mustache on my face, and wore a fedora hat.  I went out with one of my best friends to this day, Ruben, and we went to Hollywood and went to Jack and the Box. I needed the restroom and went to the women’s, and a guy coming out of the men’s said, “Not that one, this one.” And I felt validated in drag cause I was that convincing of a “man,” jajaaaja. 

What made you decide to be a part of the inaugural season of King of Drag? 

I wanted to try it cause I was looking at the application out of curiosity, and upon reading started feeling fear and nervousness. And said, “I should apply,” to my mother.  Also, l will die one day, might as well go for it and see how it is. I knew I would be a part of the first trial and error cause it’s a first of its kind, so we all learned together what this show is and will be. 

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What do you hope to see differently in future seasons?

More kings on the King’s Court, and more BIPOC judges, and more lip sync songs.

What surprised you most about your experience on King of Drag?

I gained 9 new siblings and felt a beautiful connection to myself in wanting to be a part of this community even more because of them. And due to being a beautifully diverse experience.

What do you cherish most about your filming experience?

I showed what drag means to me and what my drag is. And being able to say thank you to the cast, crew, tech, and owners of the studio where filming was at.

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

Have more money and be able to show my true fear of cutting out a fetus from me and showing myself dying.

Have you had any especially memorable fan interactions since the show began? 

Yes, when people and fans would say thank you for sharing your story about accepting death and suicide.  And them asking me what surprised me most about being on the show.

Do you hear from other kings about the representation the show offers?

Yes, very much. They feel seen and have been wanting this for such a long time, and it’s a breath of fresh air seeing us all work together.. We still feel the hate from those who don’t understand our existence, though I have learned from my kings on the show that with every hate comment, there are ten love comments from the fans.

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What do you want aspiring kings to know about the working life of a king?

Be prepared to be looked at by certain audiences with stares of confusion, and being on their phone when performing or being compared to other kings. Also, since we are still climbing to be accepted in this world, the majority of Drag Race fans still see us as non-existent and trash. Always focus on our drag king audience, for they understand us the most. Always have fun, for if I have fun, then the audience will have fun alongside me. SO many queens support us, and there are still queens who look down on us. Accept that and focus on your music, routines, lyrics, and feeling the vibes of what character you will put on stage.

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

What’s your favorite flavor of ice cream if you eat ice cream? And when can we hang out and look out to the sunset and high-five when it’s time to go home?

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Stream the entire season of King of Drag now on Revry.com and follow Charles Galin King on social.

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

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

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

And she’s only getting started.

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

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

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

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

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

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

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

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

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

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

Same, Sasha. Same.

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

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

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

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

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

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

Check out the full interview:

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

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

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

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

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

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

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

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

—

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

Whether he’s elbow-deep in puppets or stealing scenes on screen, Patrick Bristow knows how to keep things unapologetically unpredictable and rich with comedy. With decades of improv under his belt and a knack for the unexpected, he proves that comedy and puppetry are best when it’s uncensored.

For over three decades, actor, director, and improv vet Patrick Bristow has been a familiar face across television and film, from his memorable portrayal of Peter on the groundbreaking sitcom Ellen to scene-stealing appearances on Seinfeld, Curb Your Enthusiasm, and more. But Bristow’s creative energy doesn’t stop in front of the camera. As co-creator and host of Puppet Up! Uncensored, a wild, “adults-only” improv puppet show developed with Brian Henson of the Jim Henson Company, he combines razor-sharp comedy with next-level puppetry in a way that’s as unpredictable as it is funny. We chatted with Bristow from his home in Joshua Tree to talk about the show’s origins, the lasting lessons of improv, his unique take on fame, and the true essence of Nellydom.

For our readers who are not yet familiar with the excellence that is Patrick Bristow, could you introduce yourself?

Sure! I’m Patrick Bristow. For most of my 30-some odd years career, I’ve worked as an actor in TV and film, lots of small but memorable roles. But today, I’m here to talk about a show I co-created with Brian Henson of the Jim Henson Company called Puppet Up! Uncensored. It combines brilliant Henson puppeteering with improv comedy. I was in the main company at The Groundlings years ago and have been teaching improv ever since. So this show is a perfect blend of those worlds—kind of a chocolate and peanut butter situation. And we’ve been doing it, on and off, for nearly 20 years.

What’s it like collaborating with Brian Henson?

Brian is incredibly talented, legendary in his own right. Working with him is a dream. We’re both focused on creating the most fun experience possible, both for our audiences and our performers. When we disagree, we figure it out quickly or try both options and go with what works best. There’s no ego involved, just a shared goal.

How did Puppet Up! Uncensored come to life?

Originally, Brian brought me in to teach improv workshops for his puppeteers. He wanted them to gain some of the benefits of improv training—spontaneity, specificity, making bold, immediate choices. We had a group of high-level puppeteers—people whose work you’d definitely recognize, even if you don’t know their names. Some had improv experience already, some didn’t, but they were all great.

After the trial period, Brian asked, “Do you want to keep doing this?” And I said, “Absolutely.” It was really exciting for me to teach improv in a new way because puppeteering requires such a different approach. It wasn’t the same as teaching “fleshies,” as we call human performers in the puppet world.

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“Fleshies”?

(Laughs…) Yeah, it sounds a little derogatory, and maybe it is, but I’m standing by it.

If you could create a puppet of any celebrity to add to the show, who would it be?

Oh, that changes weekly! But right now? A Pedro Pascal puppet. If the Henson team could make one as hot as the real Pedro, I’d be thrilled.

Puppet Up! is described as improv meets puppetry… but for adults. How do you balance the humor?

We definitely bring the snark and satire. We try not to get political, because we want a wide spectrum of audiences to enjoy the show. But yes, it can get spicy. And sometimes a little too spicy, at which point I’ll step in as the “schoolmarm” and redirect. The audience often gives us wild suggestions, and we run with it, within reason!

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Let’s rewind for a moment back to the ‘90s. You were on Ellen, a show that was way ahead of its time. What was that experience like?

It was thrilling and, at times, scary. There was a bomb threat on set while we were filming the infamous “Puppy Episode” when Ellen came out. I wasn’t there that day, thankfully, but it was intense.

Later that season, when her coming out was being teased, I’d get recognized and even grabbed by strangers in public with questions. That visibility gave me a little taste of what fame feels like, and I realized it wasn’t for me. I liked being the guy who dodged in and out of scenes without the chaos that comes with full-blown celebrity.

So you’d take the work, not the fame?

Exactly. The 18-year-old me wanted to be a TV star. But the 30-something me, and now older, gray-haired me, is content making a living doing what I love. Fame sounds exhausting. I’ll take the bank accounts, though! (laughs)

Speaking of things you love: improv. What’s one thing from improv that people can apply to their everyday lives?

Listening without pre-planning. Really tuning in to what someone is saying, absorbing it emotionally and imaginatively, and then responding authentically. Improv teaches you to focus, to be present, and to let go of control, especially if, like me, you’re a hyperactive overthinker. It’s been a lifesaver for me.

Between performing, teaching, and directing, what role do you connect with most now?

Teaching. And hosting Puppet Up! Hands down. Both involve spontaneous interaction, deep listening, and applying everything I’ve learned. If teaching paid as well as TV work and came with insurance, I’d do it full time.

How have you seen representation in entertainment evolve over the years?

It’s come a long way. We’ve moved beyond the old stereotypes: the “straight-passing gay character” being a compliment to a much richer, more diverse portrayal of identities. I think of people like Titus Burgess, bold, bright, and unapologetically original. When I played Peter on Ellen, my husband said I was “striking a blow for Nellydom,” which I was proud of. That’s me! I’m into Jane Austen, I (try to) play the harp, and I once played Queen Elizabeth I at The Groundlings. If I repped for the Nells, I’m honored.

For readers unfamiliar with the term “Nellydom,” can you enlighten?

It’s the kingdom of femme expression, and unapologetically so. A little swish in your walk, pearls at dinner. Not in-your-face, just not hiding. There’s strength in that. The Nellys were at the frontlines of Stonewall. So yes, I’ll proudly reclaim Nellydom.

Puppet Up! Uncensored runs July 16 – 27th, 2025 at the Kirk Douglas Theatre: Tickets here

Three out of ten drag kings who were cast for this first season of King of Drag self-identified as Latinx and after episode two, only one Latinx king remains in the running for the competition. 

Buck Wylde, a king from Dallas, Texas delivered a performance that took inspiration from their Catholic upbringing and Catholic school days to put together this persona. During the episode, they shared that they like to “play with religion.” 

Murray Hill responded by adding, “sometimes we can’t afford to go to therapy for the Catholic guilt, so we do drag.” Buck Wylde says their therapy and their church is drag. 

Buck Wylde, cancer sign, goes by Trigger Mortis when they are outside of drag and present more on the femme side. Along with Big D—another drag king on the series—they are the only two who are more femme outside of their drag persona. 

During this episode, Buck Wylde also spoke about the difficulty of performing drag in a red state. They live in conservative Dallas, so they still struggle to find large-scale acceptance and support in the midst of statewide legislation targeting the LGBTQ community in Texas. 

“Sometimes it doesn’t feel [as] safe as [I] would like it to be. There’s protesters all the time and we don’t have as many spaces to perform as kings there,” they said in the interview. 

Buck Wylde says that for them, the most important thing about drag, is that it is and always has been a protest. 

Living in a conservative state is a challenge to them as a drag king, but they say that it’s important for them to stand their ground and not only bring that representation to these areas, but also intentionally keep it there. 

“So many people leave Texas for their safety and mental health to go to Portland, LA, or Colorado Springs or you know, anywhere but here.” 

During the episode, Buck Wylde also opened up about how their religious background and cultural heritage added an extra layer to their identity issues growing up where they did. Their family wanted them to assimilate and even prevented them from speaking Spanish and they say that through Buck, they are able to re-examine what it means to be a part of that culture. 

Buck Wylde is a third generation Mexican-American and they say that though their Spanish is not fluent, they say they do prefer their horchata without (ICE). 

“I kind of straddled different worlds there, because I was sort of assimilated but I still had my Mexican culture. I always felt like I wasn’t connected enough because of the assimilation and it was through drag that I was able to reclaim my culture.” 

In the first round of competitions for the second episode, the kings broke up into three teams of three for an improv skit where they would have to mansplain a topic and whichever team did it the best—won the group Weenie Challenge.

The winning team included Buck Wylde, Alexander the Great and Henlo Bullfrog. Together they improvised a skit where they mansplained the Amelia Earhart story.  

For the solo show, they dressed up as ‘The Devil’ for the improv solo challenge, cracking a joke about how they are dressed like the person currently living in The White House. 

Dressed as the Devil, sporting a Zoot Suit for the final competition, Buck Wylde improvised a skit with food. 

Buck Wylde says they felt the pressure to perform because along with the other nine kings who were cast, they are the first ten kings to make it to the mainstream and represent king culture. 

“We call ourselves the first ten because whatever happens, we’re responsible for how the kings are viewed and how we move forward together, being the blueprint for what’s to come,” said Buck Wylde in an exclusive interview with Los Angeles Blade. 

Back stage before the solo improv competition, Buck Wylde says they felt their drag persona “crumbling” away. 

They felt like Buck had abandoned them prior to their big moments to prove to the judges that they should stay in the running for the competition. They went up against Perka $exxx, who gave a king-based Dave Chappell performance. 

In the end, it was Perka $exxx who received a 4-1 vote from the judges. 

Buck Wylde left the show with some advice for the kings and the audience: “No matter what life throws at you, always remember who the Buck you are.”

King of Drag is now available to stream on RevryTV, an LGBTQ streaming platform for queer movies, TV shows, music and more — all for free. New King of Drag episodes will premiere weekly on Sundays. 

Thorgy Thor is reimagining what a symphony concert can be – queerer, louder, and way more fabulous. Classical music has always been a little gay; Thor is just making it official.

This July 10th, the Hollywood Bowl will be shaking things up with something a lot more fabulous than their usual line-up: Classical Pride, a star-studded celebration of queer excellence in classical music. Conducted by Oliver Zeffman, the program fuses Bernstein and Tchaikovsky with the glittering premiere of Pride Songs, reminding audiences that even the most straight-laced and serious-faced composers had secrets, some of which wore capes and wrote love letters to their (clears throat) roommates.

Enter Thorgy Thor, violinist, drag icon, and reigning monarch of orchestral mischief. Known from RuPaul’s Drag Race and her genre-busting “Thorchestra” shows, Thor is not only crashing the classical music party but redecorating it as she does. Armed with a Juilliard-level command of the violin and a wardrobe that would make Marie Antoinette feel modest, Thor’s been turning symphony stages into something that looks a lot like Studio 54 with better acoustics.

Ahead of her Hollywood Bowl debut, our publisher Alexander Rodriguez caught up with Thor to talk about shattering stereotypes, confusing classical purists, and why drag queens might just be the saviors of a dwindling symphony scene. Spoiler: there will be feathers, fan clacks, and at least one moment of unexpected depth. Because when Thor shows up with a violin and a vengeance, everyone listens, whether they planned to or not.

Some people associate Pride with dance and club music—but not classical. Why do you think that is, and why is it important to change that?

There’s a lot to unpack there. First off, I’m one of those people who definitely associates Pride with music – club music, dancing, parades, rainbow colors, joy. But not many people think of classical music in that context. I’ve been a classical player my whole life, and I’ve also marched in Pride parades. I celebrate both.

The truth is, a lot of people just don’t have access to the history of queerness in classical music. But it’s there. Some of the most prolific composers and conductors – Copland, Tchaikovsky, Bernstein – were gay. Back in the day, let’s be honest, probably everyone was a little bit queer. And since they’re not here to argue it, we get to speculate.

Classical Pride shows are important because they start to bridge that gap. It’s about giving people – especially younger folks – access to stories and voices that have always been part of this tradition but were hidden or unspoken.

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How did growing into your identity affect your relationship with music and performance?

I was always immersed in music. My parents supported me with lessons, and I played in orchestras all through school – concertmaster, regional competitions, all that. I was always in the front. But something felt incomplete.

Coming into my queerness, I realized sitting quietly in an orchestra just wasn’t enough. My mind always imagined more – characters, colors, lights, theatrics. I’d be playing Tchaikovsky and thinking, “What if there was a drag artist miming with fans right now?” I needed more than just the music; I needed performance, spectacle, fun.

So I started pushing the dress code. I once showed up in a tux with the pants cut into shorts and bright magenta socks – and the orchestra was not into it. I’d say, “Why do men have to wear stiff bow ties when women get to wear flowy chiffon?” I wanted to challenge tradition, even if it meant getting in trouble. And I often did. But I realized that standing out was inevitable – so I decided to embrace it.

Now, funny enough, Thom Browne and Tom Ford are putting out tuxedos with shorts and high socks. I was just ahead of the trend. You’re welcome.

Why do you think celebrating classical music is important to the queer community right now?

Honestly, orchestras are struggling. Some are shutting down. Audiences are aging. There’s a perception that classical music is stuffy or boring, but it’s not. It’s powerful. It’s emotional. It moves people.

When I perform my “4G” show with symphonies, I always have to win over the orchestra first – they’re incredibly disciplined and talented, but also very skeptical. They’re like, “We just played with Hilary Hahn and Renée Fleming… now who’s this?” But then the show starts, and they see how serious I am about the music and the drag. And afterward, they often say, “That was the most fun I’ve had in 15 years.”

I ask the audience, “Who’s here because of RuPaul’s Drag Race?” Half cheer. Then I ask, “Who’s here because they have season tickets and don’t know who I am?” The other half cheers. That’s the goal: to bring these two very different groups together, laughing and feeling something powerful – together.

What’s your approach to blending these two audiences, drag fans and classical music fans, in one space?

I break the fourth wall. I talk to the audience. I do the first-ever live symphonic walk-off competitions – with Beyoncé, Lady Gaga, feather boas, and fans. I ask, “Who’s 65 and wants to werk?” I get kids up there. I give people drag names. It’s fun, inclusive, and unexpected.

A lot of classical audiences aren’t used to being asked to breathe, let alone unwrap a lozenge. So I set the tone from the top: “Relax, this isn’t that kind of concert.” It creates a space where different generations and communities can laugh together. That’s what I’m proudest of.

Has the current political climate affected your work?

Definitely. Just last month, I was scheduled to perform with the International Pride Orchestra at the Kennedy Center. Then, suddenly, we got dropped – after our president publicly tweeted that he didn’t want any “gay shows” at the Kennedy Center. He threatened to fine them something like $400,000.

Now, he doesn’t run the Kennedy Center, but the pressure worked. They canceled us. It was heartbreaking. Did I respect the decision? Not really. But I understood – they had a whole season to think about. Still, it hurt.

The good news? We moved the show to the Strathmore Theater, and it was incredible. Sold out. The audience showed up, loud and proud. The press was global – Germany, Italy, everywhere. That was beautiful and sad at the same time. That this is what’s making international news. But the show was triumphant.

Tell us about your new show, “Music and Fashion.”

It’s a wild ride – from Bach to Beyoncé. It’s funny, visual, historical, and super interactive. I do about 15 costume changes, some on stage, some on video. We start with a caveperson banging sticks and move through every decade – 1920s, Beatles, Taylor Swift, you name it.

It’s about moments where music and fashion collided and changed everything. From Marie Antoinette to Madonna, and how that relationship evolved. It’s smart, it’s campy, and I’m incredibly proud of it.

What can we expect from your appearance at the Hollywood Bowl’s Classical Pride show?

I’m one part of a bigger lineup that includes Anthony Roth Costanzo, Jamie Barton, Pumeza Matshikiza – some amazing talent. I’ll be performing a cheeky and sexy tango on violin by Jacob Gade, with a little twist in the middle.

I’ll also be doing a live on-stage interview with conductor Oliver Zeffman. Usually conductors show up, wave the baton, and vanish. But I want people to know who’s up there. I warned Oliver I’ll be asking him some left-field questions—and I’m not telling him what they are. It’s going to be fun, a little uncomfortable, and very entertaining.

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What does the future look like for queer artists in the arts under this administration?

I’m going to keep doing what I do – being visible, being joyful, and doing it all with color, humor, and discipline. Just existing in this space is an act of rebellion. I don’t need to be political in every show. The work speaks for itself.

Queerness has always been in classical music. I think hundreds of years ago, people were more open than they are now. Today, it’s wild how threatened people get by others simply being happy. I don’t know what’s coming in the next ten years, but I’ll be here, still playing, still dressing up, still making people laugh.

What’s your message to the community this Pride season?

Dare to be different. I get kids coming up to me saying they never thought they could love classical music and be queer at the same time. But they can. You can love two seemingly unrelated things – and do them both fully.

Usually the people who are “too weird” or “too different” are the ones who change the world. And eventually, everyone copies them anyway.

Catch Classical Pride at The Hollywood Bowl Thursday, July 10th at 8 pm. Tickets here.