Arts & Entertainment
A non-binary Cuban artist is born again in Spain
Nonardo Perea suffered persecution in his homeland
MADRID, Spain — Nonardo Perea lives in Michel’s body. He uses it at will to be vulgar, angelic or diabolical, male or female. Nonardo can be whatever he wants. Michel, shy and withdrawn, hides behinds that alter ego that lends him his face and hands to show the world his claims as an artist.
Nonardo is an invention that comes to life in photographs, video art, performances, stories, installations, journalistic articles, ceramics, and whatever other format is possible, since Nonardo long ago lost any limits. His mind lost that ability as he reinvented himself as an empirical artist, as no one ever gave him the opportunity to attend art school.
He has been greatly misunderstood, mainly because his pieces overflowed with eroticism and Cuba is still too prudish to appreciate his queer art and his other works the regime has labeled as “politically incorrect.” Michel and Nonardo were discriminated against by society and the dictatorship that governs the country and represses anyone who does not agree with its dogmas.
Nonardo nevertheless overcame those barriers and began creating, without anyone’s guidance. He was first a writer and received some tools once he graduated from the Onelio Jorge Cardoso Literary Training Center in Havana. He won several competitions, such as the 2017 Franz Kafka Prize for his work “Los amores ejemplares” and the 2012 Félix Pita Rodríguez Prize for the novel “Donde el diablo puso la mano.”
In the visual arts, where he is usually very restless, he won the third prize for photography at the GendErotica Festival for “La casa por la ventana 2014” with his Vulgarmente Clásica project. He participated in the Bienal 00, organized by independent artists, with his “En la cama con Nonardo” project and presented Vulgarmente Clásica at Madrid’s La Neomudéjar Museum in 2019.
Nonardo belongs to the San Isidro Movement, a group of independent artists and intellectuals who fight for a democratic Cuba. That battle has also been fought through his art and in pursuit of LGBTQ rights, such as marriage and adoption rights for same-sex couples, and an end to gender violence that remains a problem on the island.
Due to his work and political activism for a truly democratic Cuba, Nonardo suffered police harassment and Cuban state security agents threatened him with jail. Fearing for his life, he took refuge in Spain, a country where he feels he has been reform and from which he speaks with the Los Angeles Blade.
LOS ANGELES BLADE: Those who follow your art on social networks and off of them know you as Nonardo, but few know that your real name is Michel. How and why was Nonardo Perea born?
NONARDO PEREA: I remember starting my writing career and I needed another name that was not so common. I did a big search and I didn’t like any of them. I wanted a unique name if possible. One afternoon I was sitting in the living room of my house with my father and I told him about the need for a name. It was he who proposed Nonardo. At first it sounded a bit ugly to me, but then with Perea it seemed a little better. It had strength. I liked it because it began with “no”, denial, and was followed by “nardo”, flower, that is, Nonardo had a lot to do with me. Since then I started using it for all of my work, both literary and audiovisual.
BLADE: How does your artistic training take into account that you are an empirical creator?
PEREA: My artistic creation from the beginning was always very complicated, taking into account that I had to abandon my studies at an early age for inclusion reasons, so I have no academic training; then add to that that I am a very obvious gay. At one point in my teens I was seen as a person who was too feminine. The fact of looking like a woman was a problem when trying to fit in a macho and homophobic society. Where I first tried to break through was in writing. I started by attending literary workshops, where I won several contests quite quickly. I was never exempt from criticism and rejection of the themes that my narrations addressed, which almost always focused on LGBTQ issues and dirty realism. Many times I felt that being the way I am made many uncomfortable. But despite the rejections and bad times that I lived in various periods of my life, I continued doing narrative, and I also began to write articles about social issues for the Havana Times digital newspaper. Then, over time, I had the opportunity to apply to a video journalism workshop in Prague organized by the People in Need organization, and thanks to a woman I love very much, Clara González, who saw some potential in me, I was accepted to participate in the course, in which I learned some video editing, and received help with equipment that helped me to start doing audiovisual work with better quality. All my creative works have been done empirically, and above all I am an artist who works based on improvisation.
BLADE: You have ventured into artistic genres as different as writing, journalism and acting. How do you define yourself as an artist and why?
PEREA: I am a person who cannot be inactive. I spend every day of my life thinking about doing something new. Sometimes I have so many things on my mind, and the fact that I can’t do everything I want to do makes me feel a bit frustrated. I have no words to define myself, I can only say that in some way my creative processes have helped me to cope with the life that I had to live, everything I have done and do has served as a way of escape from reality and everyday life, I could no longer live without creating.
BLADE: In a recent interview you precisely declared that your art was a process of liberating yourself. What exactly do you free yourself from when you create?
PEREA: I free myself from the day-to-day, the everyday, my fears and censorship.
BLADE: In most of your visual works you work with your own image. Why?
PEREA: I use myself as an artistic object because in Cuba I lived in solitude for a long time. I somehow isolated myself and created a space of comfort in my home, a place where I felt more free. The confinement somehow helped me to stay away from society that did not tire of making me feel bad about my obvious homosexual condition in much of my youth. My literary proposals and art in general, on the other hand, were not taken into account. I always perceived that most people underestimated me, and proposing someone to collaborate with me on erotic photographs without receiving anything in return was complicated, and still is. I have control over my body. If I want to undress in a photo or in a video, even if I feel sorry, I strip myself of complexes and do it. If I want to take a photograph that is too vulgar, I also do it. I do not have to request permission from anyone to do so. I don’t put up barriers. I take a risk, then I think that they say what they want. I understand that I am doing a job where I express my personal and social problems, as a human being.
BLADE: You identify yourself as an androgynous person. How many difficulties has that brought you considering that you have lived most of your life and developed your work in Cuba, a country where macho and homophobic ideals still predominate?
PEREA: I consider myself a non-binary androgynous person, because I do not identify with any sex. I can feel at ease as a girl as well as a boy. I have no problem with male or female pronouns. I do not like to victimize myself, but I can tell you that the road has been very difficult, and it has been not only for me, but for many other gays and lesbians who have chosen not to hide their sexual identity in their lives and have had to fight against the world. Being who I am in Cuba has not helped me much in terms of being able to be recognized for my work, but being who I am has helped me to strengthen myself and to understand that I do not need the approval of any institution to continue creating. I am a Cuban artist and like it or not, a large part of my work was created in Cuba.
BLADE: Many Cuban artists prefer to separate their creations from politics and even refuse to give their true judgment on the situation on the island. However, your work has a high dose of activism against the dictatorship and in defense of LGBTQ rights. What consequences, professional and personal, has being an artist labeled by the Cuban regime as “counterrevolutionary” brought you?
PEREA: The main consequence is that I had to go into exile; leave the country where I was born, abandon my mother and family, my friends, my dogs and a lifetime. But I think it had to be that way. There was no other way than to say goodbye, because under no circumstances was I going to allow my creative processes to stop, and above all I was going to continue doing my activism. I know that perhaps I was not going to be able to withstand so much pressure from state security agents, who wanted me to collaborate with them to expose my colleagues from the San Isidro Movement. If I returned to Cuba right now, I don’t know what my life would have been like from that moment on. If being a counterrevolutionary means saying what I think, and being in favor of oppressed minorities, and being against a dictatorship that has left Cuba and its people in a nameless misery for 61 years, then I am a counterrevolutionary and with great honor. I have nothing for which to thank that country, where I was always seen as a freak, and what little I got was thanks to my effort and dedication, because while in Cuba I received criticism and obstacles for everything, for this reason they are collecting what they sowed with me, they do not expect roses from me.
BLADE: In Cuba, to be accepted as part of the official LGBTQ movement you have to share the ideology of the dictatorship, the same one that put equal marriage to a popular vote and represses independent activists. In your opinion, what are the dangers of “politicizing” the struggle of the Cuban gay movement?
PEREA: The danger is in seeing how it becomes politicized. While in Cuba, I never stopped going to the marches staged by CENESEX (the National Center for Sexual Education) and I will not forget how Mariela Castro (CENESEX’s director and the daughter of former Cuban President Raúl Castro) herself politicized those mini-carnival marches with slogans in favor of the five spies imprisoned in the Empire (a reference to the U.S.), and with cries of “socialism yes and homophobia no.” I do not remember seeing any gay or lesbian carrying a sign demanding equal marriage, or demanding freedoms, or a law against gender violence. It is really pathetic considering that the system itself is the number one cause of the persistence of homophobia and constant abuse of people from the community, mainly transgender people, in Cuba, a country where your rights are constantly violated, either because of race or sexual orientation. Those marches were politicized by CENESEX itself in favor of a supposed socialism, which has never worked and will never work because that is a hybrid between communism and underdeveloped capitalism, and we all know that it is nothing other than a dictatorship, and of the crudest in history because it has managed to last for 61 years. If Mariela Castro and all her loyal followers politicize the march for their benefit, I don’t see why the community cannot independently arm its own fight in favor of the most basic rights of the LGBTQ community in Cuba.
BLADE: In what way has the forced exile that you have faced in Spain changed your work?
PEREA: Right now I continue to do what I want to do, regardless of being in Spain. I still feel that I am in Cuba. My vision as an artist has not changed much. I’ve only been here a year and seven months, although I believe that wherever I am, in some way my work will be linked to that of the island because I have not yet cut that umbilical cord that links me to the place where I was born and took my first steps. It is true that one acquires other mechanisms of creation and invoicing in the work while abroad, but at the moment I do not think that the focus of my work has changed much because of being in another country. Of course, here in Europe there are other problems that I may be able to take advantage of, but be that as it may, they will be appreciated from the perspective of an exiled Latin American artist.
BLADE: On a personal level, what has it been like to be a gay immigrant in Europe?
PEREA: I am very grateful for Spain, mainly for Madrid, which is the place where I have lived since I arrived in 2019. At the moment, I have not felt discriminated against because of my sexual orientation or because I am a foreigner. I have received emotional and legal support from the NGO Rescate, which welcomed me and where I have received the care that I never had in my own country. With all the social and political problems that may exist, it is in this country where I have somehow been able to know what true freedom is.
BLADE: What can we expect from Nonardo Perea in the near future?
PEREA: I am in another difficult moment in my life right now, because I cannot find a job, and I do not receive any money for my artistic work, so what I do is for the love of art and because I cannot stop building my own world. The COVID situation has managed to make things more difficult, not only for me but for everyone, but taking into account that I am an exile and that I have been here for a short time, it is very complicated. Even so, I eventually continue to make video art for the Vulgarmente Clásica audiovisual project, which I have been doing for several years. And more recently I started with a new project, “Maricón Tropical: Living in Madrid”, this one is a bit more comprehensive not to call it ambitious because I insert various artistic manifestations: Performance, audiovisual, literature, drawing and photography, and it is focused on my new life as an exile in Madrid, everything seen from a self-referential point of view, as are almost all my proposals.
BLADE: If you had to create a work that describes your life right now, what would it be like?
PEREA: I consider that my life, my true life, has started now, what it was before was not. For the purposes I was born on March 19, 2019, when I set foot in Spain. All the past is left behind. I want to imagine that the past was a bad dream. My “Maricón Tropical: Living in Madrid” project is a work that somehow reflects that past, which is unfortunately impossible to forget and it is also good that people know what that other life was like, but I focus more on the present, my current problems as a person who faces a new life as an adult who feels like a newborn. I can only tell you that my life’s work is in progress.
Theater
‘Mamma Mia!’ brings found family — and sequins — to the Ahmanson
The cast of this hit musical promises to start Summer in the queerest way imaginable!
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.
a&e features
Television loses a legend and longtime ‘Will & Grace’ director James Burrows
Iconic hitmaker leaves behind a legacy of telling LGBTQ stories
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.
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.
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.
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.
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.
Dance
‘Boudoir Boys’ knows how to make you feel sexy
This traveling queer burlesque show inspires queer audiences to be their best, sexiest selves.
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.
“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.”
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.
Television
It’s a Dad Race: Six Southern California fathers step into the ‘Drag Race’ spotlight
Featured in the All Stars makeover episode “Too Many Daddies,” the six gay dads offer a full picture of LGBTQ+ family life
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.
“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.”
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.”
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!”
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.”
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.
Photos
PHOTOS: OUTLOUD Music Festival
WeHo Pride kicked off Pride weekend with powerhouse performances
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)
Movies
‘Stop! That! Train!’ is made for fans, but fun for all
RuPaul stars as President Gagwell trying to avert a tragedy
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.
Television
‘I’m Dead’ is the queer stand-up show giving us life
This new Revry series reminds us that queer community building can be funny as hell!
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
Bars & Parties
Rooftopia brings queer daylife to Fiesta Cantina
A new West Hollywood rooftop party hosted by Miss Elaine offers more than drag brunch and simple nightlife
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.
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.
Opera
How Miles Mykkanen brings queer wonder to ‘The Magic Flute’
The opera singer discusses spreading acceptance through song today.
Queer folk have always found a home in theatre.
And that’s not just because many LGBTQ+ performers are drawn to the stage (though that certainly doesn’t hurt). But it’s really in the essence of theater where queer people can find the most freedom. While this is a medium where performers embody others, it also allows for a level of self-expression and assuredness that many queer people are denied in their daily lives.
Theater in its many forms is often key to LGBTQ+ people finding their truest selves. And, for gay opera singer Miles Mykkanen, it’s exactly what the renowned performer needed to discover his queerest, most authentic self today.
Mykkanen is currently stunning audiences as the lead in the LA Opera’s The Magic Flute, a historic show that follows a prince (armed with his magical instrument, of course) as he traverses a surreal world searching for his lost love. Miles spoke with the LA Blade between rehearsals about his long career of performing opera as an openly gay man. Discussing The Magic Flute specifically, he raved about its timelessness, beginning the interview by saying, “Behind all of these fancy tunes and fun fantastical characters, there is so much meaning about our own humanity.”
“[This cast] is all in our 30s, late 20s,” Miles continued. “And that’s where The Magic Flute shines, because it is about young people really coming into the world and becoming adults.” He continued to describe the many wonders of this show, with the current production combining animated projections and mind-bending acting to portray its chaotically wondrous world. Along with its content, the man spoke about how excited he was to be a part of the performance — this is Miles’ LA Opera debut! — that will cap off the renowned Maestro James Conlin’s 20-year tenure with the company.
While this is the singer’s first time with the LA Opera, he certainly isn’t new to gracing the stage; this season alone saw Mykkanen perform with New York’s Metropolitan Opera. The past few years have taken him global, with Mykkanen’s performances ranging from Christmas-themed shows in Texas to solo acts in the Netherlands. For decades now, theater-goers worldwide have been lucky to witness his musical prowess. But as he discussed The Magic Flute and its story of growing up, Miles emphasized that he wasn’t always the powerhouse people listen to today. Just like so many other performers, his passion for the arts began with a love of theater — a love that would not only land him his dream career, but help him understand his own queerness.
“I grew up in the woods of the Upper Peninsula, Michigan, where there were maybe 800 people in my town — so definitely no opera!” He laughed. “I was in a very sheltered upbringing, but I have two parents who are just the most incredible. They’re both high school band Directors, and so they would take my sister and me down to Minneapolis, which was about a five-hour drive, to see shows.” Miles described the wonder of these evenings out with his family, how his younger self adored the way each show’s cast transported the audience with their voices and movements. It’s what inspired him to pursue voice lessons and, eventually, go to Juilliard. “I hadn’t [even] seen an opera! I showed up to Juilliard, I’m across from the Metropolitan Opera, and I’m going, ‘What am I doing here?’ And it was a slow process, a slow discovery, but I fell deeply, deeply in love with the art form.”
Happening right alongside this musical journey was Mykkanen recognizing that he was different from everyone else in his small town — and not just because of how much he loved singing. “The theater was a huge part of my own personal coming out story, as I know it is for a lot of my friends,” he explained. “That you can go on stage, and maybe you’re becoming another character, or maybe you’re not really becoming that much different than who you really are…it’s under this facade, under the lights, that the audience just accepts that you can [be whoever] you want when you’re on stage. That freedom was something I obviously was lacking in my life as a kid, but it’s something now that I don’t take for granted.”
Miles’ interview quickly grew introspective, as the man described not only the wonders of the LA Opera’s The Magic Flute but also how this story of youthful evolution reflects his own journey into the opera superstar fans know today. As he thought back to his early days and all that he’s accomplished as an openly gay singer, Miles emphasized that more than the applause or the accolades, he does this work for the kids like him. The ones who are watching shows in awe, learning how much they love theater, and wishing they could be as free as the people they’re watching onstage.
“I hope that the young queer kids who’re sitting in the audience, who can’t say something out loud yet…are looking at me and saying, ‘Okay, but here’s a gay kid who didn’t have anything.’ I didn’t have doors open to me; I didn’t have parents who had connections into the business, or anything like that. I just went out there, and I kept studying how to sing, and I kept figuring out how to do this. I hope that can inspire other kids — that really, it does not matter what your background is, it doesn’t matter what you think people think about you. Just keep going and pursuing what is inside of you, that little flame inside of all of us.” At this, the singer beamed, proud of how his open identity helps others through each performance. To everyone who has ever seen or will see him perform, Miles encouraged, “Try to carve a space out in this world, because we need to hear [you]. We need to see [you]… we need to experience all of that magic inside of all of us.”
It’s a kind of queer magic that Miles Mykkanen embodies in every performance. And it’s one that LGBTQ+ theater lovers all across Los Angeles can see now by going to see the performer in The Magic Flute.
You can purchase tickets for the LA Opera Pride Night performance of The Magic Flute here.
Events
Q Con returns to West Hollywood to celebrate queer comics and artists
Prism Comics’ free LGBTQIA+ comic convention celebrates its fifth year during Pride month
Prism Comics will present the fifth annual Q Con, Southern California’s only LGBTQIA+ comic convention, this month as part of WeHo Pride Month’s arts and entertainment programming.
The free, all-ages event will take place Saturday, June 20, from 11 a.m. to 6 p.m. at Fiesta Hall in Plummer Park, located at 7377 Santa Monica Blvd. in West Hollywood. Q Con celebrates LGBTQIA+ comic books, graphic novels, pop media, gaming, and cosplay. Guests have the opportunity to meet creators, attend panels, get autographs, participate in a costume contest, and explore comics and graphic novels centered on LGBTQIA+ stories.
For Ted Abenheim, president of Prism Comics, the importance of LGBTQ+ comics is personal.
As a lifelong comics fan who has attended San Diego Comic-Con since the 1980s – and who showed up to the interview wearing an Aquaman T-shirt, with a Prism Comics shirt nearby – Abenheim remembers growing up at a time when LGBTQ+ people were largely absent from mainstream comics. When queer characters did appear in popular media, they were often reduced to stereotypes or pushed to the margins.
“I didn’t see myself in comics,” Abenheim told the Blade. “There were no queer characters in mainstream comics.”
This feeling began to change when he encountered LGBTQ+ comics and creators who were telling stories that felt more inclusive, honest, and recognizable. When he found Prism Comics at San Diego Comic-Con in the early 2000s, he discovered what he describes as an entire world of independent queer comics – stories that spoke directly to readers like himself and reflected the diversity of their lives.
“What I found at Prism Comics were all these comics that spoke to us and showed our stories in a far broader, more honest and creative way than mainstream comics,” Abenheim said.
For Abenheim, the all-ages element of Q CON is necessary. He explained that young readers deserve access to affirming stories and positive LGBTQ+ role models – something he wishes he had encountered earlier in life. “If I had seen these positive role models of LGBTQ people in stories, it would have given me confidence that you’re okay,” Abenheim said. “You’re not broken. You’re not bad.”
The convention is also designed as a space for families to come together, meet LGBTQ+ creators and discover stories that reflect a wide range of queer experiences. Abenheim said parents often bring their children to meet creators, browse books, and talk with artists whose work has helped them better understand themselves or someone they love. He recalled seeing young trans readers spend extended time speaking with trans creators, as well as parents approaching creators with questions and gratitude.
“Stories make a difference,” Abenheim said. “These stories make a difference to people’s lives.”
This year’s special guests include Richard Fairgray, Maia Kobabe, Lee Knox Ostertag, Joe Phillips, ND Stevenson and Jen Wang. Kobabe, the creator of Gender Queer, is especially significant to Abenheim given the current political climate and the rise in book bans targeting LGBTQ+ stories. In 2025, the American Library Association listed Gender Queer as the third-most challenged book in the country, after many challenges to its LGBTQIA+ content.
“They are trying to erase us,” Abenheim said. “Our voices need to be heard louder more than ever.”
Beyond readers and fans, Q Con also supports rising LGBTQIA+ comics creators. Prism Comics was founded, in part, to create opportunities for queer artists and writers, and Abenheim said the organization has offered creators a place to connect with audiences at conventions. This year is particularly special: Q Con will include portfolio reviews by comics professionals for aspiring creators.
“We provide opportunities and a place at the table for aspiring creators to meet with readers and to show their comic books,” Abenheim said.
Even for people who do not consider themselves “comic book people,” Abenheim said Q Con offers something inviting, making the event relevant to everyone. Art, stories, panels, cosplay, voice actors, and a chance to experience queer creativity in many forms will be readily present.
“There’s something for many genres and interests,” he said. “The energy is really high … Everybody’s happy.”
Q Con is supported by an arts grant from the City of West Hollywood, along with sponsors including Modern Fanatic and Los Angeles Film School. Abenheim said, and cannot stress enough, how grateful Prism Comics is to the city and its supporters for helping make the event possible.
The convention typically draws between 800 and 1,400 attendees, and Abenheim hopes this year lands on the higher end. But for him, the success of the event is not just measured in numbers. It is measured in the warm moments when people approach Prism volunteers and thank them for creating a space where LGBTQ+ comics, creators, and readers are visible.
Abenheim puts it simply: “It’s empowering the community.”
Looking ahead, Abenheim remains hopeful about the future of queer comics. He pointed to Webcomics and independent publishing as tools that have opened new pathways for LGBTQ+ creators to tell stories that might not have found a home in mainstream comics.
“There are a lot of queer stories that haven’t been told,” Abenheim said. “There’s a lot still to tell.”
Q Con will take place Saturday, June 20, from 11 a.m. to 6 p.m. at Fiesta Hall in Plummer Park, 7377 Santa Monica Blvd., West Hollywood. Admission is free. Advanced tickets are recommended, though tickets will also be available at the door. For more information, visit qconprism.org.
Judge blocks DOJ from obtaining transgender patients’ medical records
Trump holds housing bill hostage to anti-trans SAVE Act
African leaders once again trade African family values for American family values
LGBTQ+ political candidates see surge in threats, harassment: report
‘Mamma Mia!’ brings found family — and sequins — to the Ahmanson
It’s a Dad Race: Six Southern California fathers step into the ‘Drag Race’ spotlight
US no longer refuge for LGBTQ+ refugees
‘Boudoir Boys’ knows how to make you feel sexy
British Prime Minister Keir Starmer to resign
Do queer people have hope?
-
Television4 days agoIt’s a Dad Race: Six Southern California fathers step into the ‘Drag Race’ spotlight
-
Commentary3 days agoUS no longer refuge for LGBTQ+ refugees
-
Dance3 days ago‘Boudoir Boys’ knows how to make you feel sexy
-
United Kingdom3 days agoBritish Prime Minister Keir Starmer to resign
-
Commentary5 days agoDo queer people have hope?
-
Theater1 day ago‘Mamma Mia!’ brings found family — and sequins — to the Ahmanson
-
Colombia3 days agoAbelardo de la Espriella elected Colombia’s next president
-
Nepal2 days agoNepalese Supreme Court issues landmark marriage equality ruling
-
a&e features2 days agoTelevision loses a legend and longtime ‘Will & Grace’ director James Burrows
-
Africa20 hours agoAfrican leaders once again trade African family values for American family values