Whether you’re mourning the end of Euphoria, The Boys, or Hacks, you’re dying for another hit of Heated Rivalry or just need something new to watch, The Vampire Lestat has you covered. Whether it’s the cutting witty dialogue, supernatural action, or the maudlin adventures of problematic queer relationships, this is the show for you. This new season brings literal sex, drugs, and rock-n-roll as Lestat (Sam Reid), a multi-centennial vampire, decides to process his beef with his sexy ex Louis (Jacob Anderson) for giving the Interview With The Vampire by starting a rock band. 

In 1976, Anne Rice wrote a book to process the death of her young daughter. It was the story of two vampire “roommates” and their centuries-long relationship drama. What followed was a series of 13 books and a whole world filled with vampires, witches, and more. This launched the 1994 film where Brad Pitt, Antonio Banderas, and Tom Cruise played “totally not gay” vampires who almost kissed a few times, despite having all of the hottest actors of the era, it was sanitized of all queer subplots. R&B diva Aaliyah’s last role was as Akasha, the eponymous Queen of the Damned (2002), the unoffical follow up to the first film covering Rice’s second and third book. 

The AMC series version of Interview with the Vampire took all this source material and made it more gay, more current, and more PC. They shifted the story to the present day, having Louis live in a luxurious Dubai compound, and his interviewer, Daniel Molloy (Eric Bogosian), being a former addict hawking his masterclass, armed with a ton of evidence. The choice to race-swap Louis from a misanthropic emo plantation owner to a black brothel owner in New Orleans adds so much more nuance, history and richness to his character. Exploring the abusive nature of the relationship and casting the amazing Delainey Hayles as Claudia have all elevated the story to your next television obsession. The choice to turn the book into two seasons allowed the creators to take their time, play with storytelling and explore Louis as an unreliable narrator and tease at many of the storylines of later books. This was a smart choice considering these characters are all centuries old, and over the course of 13 books, all have complex backstories and inner worlds.

Sam Reid was always a standout and captured the egomania and charm of Lestat, the self-proclaimed Brat Prince. He gets to play an over-the-top bitch about everything we’ve seen and heard in Seasons 1 and 2, while even skewering the world of today, commenting on the state of fame, life, and politics.  

Like in the book, he reclaims the narrative as he takes the helm of the story. Rather than write his own book, he’s nabbed the newly vamped-up Daniel Molloy as his documentarian. Also, without giving too much away, this series begins in an unnamed future. Armand (Assad Zaman) and Louis are still as hot as ever, and they’re at an auction for the complete works of the Vampire Lestat. It’s teased that some sort of world-altering event has transpired, and Lestat is missing in action. Could that be the events of The Queen of the Damned or even the sum of all of the books? Only time will tell.

The worldbuilding is really solid as we get to see the past, present and future of these characters.  Prime example, Akasha, The Queen of the Damned, was name-checked in earlier seasons. Whether you’re a fan of the original source material or not, this series has something for everyone. It has action, including an epic vampire fight scene in the premiere. It has a complex world and mysteries that unfold over the course of each season. Plus, it has hotties of all genders with Reid, Anderson and Zaman holding it down from earlier seasons. Schitt’s Creek dreamboat  Noah Reid joins the cast as Lestat’s band’s frontman. 

The show has everything: sex, violence, drama, all with a queer and racially inclusive lens. It doesn’t pull punches in storytelling and examining history, all while maintaining a level of levity and fun. It unfolds with dramatic soap operatic reveals and confrontations while also grounding all of the fantasy in our world. 

The series is poised to continue with the same characters from the first two seasons while shifting the focus to allow in a new cast of characters who will play out the events of multiple books and major arcs that are part of AMC’s new Anne Rice cinematic universe. 

The series airs on AMC Plus, while the first two seasons are available on Netflix. A note to people streaming it may appear on Season 2, as the series name change might be confusing for those who haven’t seen the show.

If you think the idea of a movie about two gender-nonconforming buddies embarking on an anti-establishment crime spree feels dangerously radical in 2026, just think how it must have felt 25 years ago.

That’s when “By Hook or By Crook,” a DIY independent film shot in low-tech “Mini-DV” format by a pair of San Francisco artists (Silas Howard and Harry Dodge, who co-wrote, co-directed, and co-starred in it), became a sensation at the 2001 Frameline Festival. Their reason for making it was they were tired of waiting for someone else to bring authentic queer experience and stories to the screen, so they decided to do it themselves.

Now given a 4K restoration that preserves the filmmakers’ intentions for the look of their movie, it’s getting a 25th anniversary re-release in theaters (starting with New York on June 12 and Los Angeles on June 16) and a VOD premiere from “boutique distributor” Altered Innocence. It still feels confrontationally transgressive today, which says a lot about the progress that’s been made and lost in the struggle for queer visibility, especially when it involves those in the trans, nonbinary, or otherwise gender nonconforming parts of our community.

Described as a “trans and butch buddy film” in the publicity for its new release, “By Hook or By Crook” is centered on Shy (Howard), a young transmasculine dreamer who leaves his small Kansas town after the death of his beloved father and heads pennilessly for San Francisco with a plan to “fight the power” by living a life of crime. There, he meets the “deliriously expressive” Valentine, a “butch dyke and bulldagger” whom he rescues from a queer-phobic attack. The two become friends, embarking with Val’s roommate and lover, Billie (Stanya Kahn), on a “Bonnie and Clyde” inspired career as outlaws stealing from the system to survive – or at least, that’s the idea, if they can scrape together enough change to buy a gun. In the meantime, they grapple together with an assortment of personal and emotional issues, blending into a makeshift family as they learn to trust and support each other along the way.

Soaked in a gritty, streetwise aesthetic and a guerilla-style docu-realism, yet percolating with humor that bubbles up in all the right places throughout, it’s a movie that leans into its no-frills style instead of trying to cover or apologize for it. Its improvisational tone creates a flow that feels like a stream-of-consciousness drift, but it stays committed enough to its “hustler-in-the-big-city” narrative structure (which candidly co-opts the basic formula of “Midnight Cowboy”) that it never feels aimless. For millennial and pre-millennial viewers, it offers a nostalgic glimpse at the “queercore” scene in a San Francisco since-transformed; and although its narrative is sometimes a little rough around the edges, so are its characters, so the effect is complementary rather than jarring. There’s even a sly cameo from rocker Joan Jett (whose cover of The Replacements’ song “Androgynous” also shows up over the restoration’s “reconstructed” end credits) for a touch of celebrity appeal.

What stands out as the most striking feature of Howard and Dodge’s groundbreaking film, however, is the same thing that stood out when it debuted, which again speaks volumes about how far we haven’t come: ”By Hook or By Crook” makes no effort to pigeonhole its characters into neatly defined gender or sexual categories – it simply lets them be who they are.

As Howard explains it in his filmmaker’s statement for the new release, “One thing we did […] that I think was ahead of its time – back then surely, and still is today – is that we didn’t explain ourselves to anyone, we were non-binary and didn’t justify our characters’ gender expressions and experiences or define it to the audience. We wanted to make a film about a third gender, which is where I felt I personally lived, at the time.”

Dodge comments on the choice as well. “People note time and again that we don’t explain or use identity categories or labels in the film. A viewer is simply in the fishbowl with us. […] we didn’t label because — it was like, straight people don’t explain straightness, you know? So these characters, they’re loving, feverish, fallible. End of explanation.”

Additionally, the two filmmakers chose to avoid making their characters into (as Howard puts it) “model-queers,” who “have to be perfect and good and have qualities that the mainstream can agree are redeeming.”

Dodge explains their thinking by remembering a university screening shortly after the film’s initial release, where some viewers “were miffed that we had done this representation of queers as criminals. ‘Why did you feel free to make them, one, mentally ill, and two—criminal?’ And I remember saying, ‘We are not a PR outfit for the gay community.’ [In the] movies I love, man, the characters are flawed.”

Watching now, it’s still disorienting to hear Val using “he/her” pronouns despite her masculine presentation, and there’s still a thrilling sense of empowerment when Shy responds to a curious child’s question, “Are you a boy or a girl?” with an unhesitant “Both!” We still squirm at Val’s sometimes alarming behavioral quirks, though we might today recognize her more easily as being “on the spectrum,” thanks to a wider awareness of neurodivergence. These responses are visceral, but “By Hook or By Crook” evaporates them quickly by not playing into them. Instead, it just lets the characters’ humanity shine through. “Our characters are tender fuck-ups, like us,” says Howard, “forever trying to get to a better place,” and because of that, we merely accept them for who they are and roll with it – largely because its two filmmakers also prove themselves well-suited for working in front of the camera, too, and their performances are the glue that holds it all together, while also keeping us invested in their journey together, both as individuals and as a pair of buddies. 

In the end, that’s what “By Hook or By Crook” leaves us with. Its unapologetic disregard for “curating” its queerness may catch our attention; the fiercely anti-capitalistic thrust of its “stealing from The Man” premise might distract us with politics; its “anything goes” attitude toward the infinite spectrums of gender expression and sexual identity unquestionably sparks us with a sense of freedom and possibility. But when the final credits roll, it’s the universal recognition of camaraderie, of simple but vital human connection, that matters most of all. 

What better message could we hope for, during Pride month or any other time, than that?

Who knew that a show like Buffy the Vampire Slayer would come to be a big part of TV queer culture?

Since its first episode back in 1997, LGBTQ+ fans have been hooked on the series; it follows the brash (but always stylish) teen Buffy Summers as she moves to Sunnydale, a picturesque town where she’s forced to deal with the many horrors of 90s high school — and the demons, ghouls, and, of course, vampires that lurk in her new home’s shadowy underbelly. The series follows our titular ‘Slayer’ as she finds other powerful friends and destroys the many evils that threaten their safety. It’s renowned not only for its amazing storytelling but for the conversations it introduced to modern culture, with its queer storylines and feminist themes offering a new idea of what television could be. And, of course, it’s famous for Buffy herself, because never before had TV watchers seen a protagonist who could be so completely badass while absolutely adoring every ‘girly’ thing she could get her hands on. 

For decades, Buffy the Vampire Slayer’s massive LGBTQ+ fanbase has been celebrating the series as the masterpiece that it is. And, once a year, these folks come together to do the same in person, filling up a space where their queer identities won’t just be accepted but encouraged: Hellmouth Con. 

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Hosted at the very same high school where Buffy the Vampire Slayer was filmed, Hellmouth Con gathers thousands of fans for a weekend of astounding panels and activities centered around the show. The Los Angeles Blade spoke with Hellmouth Con co-founder Chris Cullen as he was preparing for the 2026 convention, asking what he had in store for this year and why he believed the series has such a diehard LGBTQ+ fanbase. On that point especially, the man laughed like it was obvious, saying, “I mean, there’s literally a line after Buffy’s mother finds out that she’s a Slayer, where she says, ‘Well, have you tried not being the Slayer?’”

“[Buffy the Vampire Slayer] so often speaks to the soul,” he went on. “Especially in those early seasons, she’s living a closeted life where she can’t tell her mother, her teachers…the people who [she is] supposed to trust are the ones that she can under no circumstance show her authentic self to. Those early years just have this phenomenally strong [queer] allegory!” It’s an allegory that has resonated with fans for decades; LGBTQ+ viewers were instantly taken by Buffy’s struggles to be her most genuine self in a world that saw her identity as wrong. It was an internal struggle that perfectly mirrored the coming out experience, and when paired with both her proud femininity and constant bashing of toxic masculinity, she finally gave queer viewers a hero they could see themselves in. 

And that was even before it became blatantly queer! Through its characters Willow (Alyson Hannigan) and Tara (Amber Benson), Buffy the Vampire Slayer made history as the first show to ever feature two women in love kissing onscreen. This couple’s magical romance gave thousands of people their first example of sapphic representation, cementing the show as thoroughly queer in both subtext and its actual narrative. 

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Buffy the Vampire Slayer’s impact hasn’t lessened over the years, with Hellmouth Con being just one of the many ways its massive fanbase continues to commemorate its impact. Cullen spoke excitedly about this year’s event, detailing the many stars of the show who’d be in attendance and the great activities they had planned — and how, just like it has been in every iteration since the first, it was going to be very, very queer. 

“We actually have a queer programming track!” The man raved, as he explained how they develop LGBTQ+ experiences for each Con. “[This year] we are repeating last year’s Sunnydale High GSA Mixer in the quad of the high school, [and] there will be games and prizes presented by Prism Comics…it’s [always] been an event with queer panels, queer panelists, queer volunteers, queer fans all the way through! And to be able to take this high school setting and embrace this portion of our community who is already here…it’s such a magnificent privilege to be able to do that.”

The co-founder went on about the many LGBTQ+-centric events the Con has planned and how he can’t wait to see attendees’ reactions to them. “Both the convention and the Buffy community are about found family, and that’s also what you’re going to find at the event,” he explained, discussing how each year he’s overwhelmed by how many queer convention goers get emotional at being in such an affirming space. “[To have] been touched by Buffy throughout your life is an astonishing experience, truly. And then to be able to do [this convention] with people who are feeling the same way, and then to be able to do it while celebrating that very thing you love altogether…it’s just a really incredible experience.”

Hellmouth Con offers a convention experience as blood-suckingly beautiful as the show that inspired it. For its LGBTQ+ fans especially, this annual event has become a refuge, a space for queer celebration where they can not only embrace their fandom but also be just as confident as the pink-loving, monster-hunting protagonist of their favorite show. 

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Hellmouth Con is a heartwarming testament to how Buffy the Vampire Slayer continues to influence not only the LGBTQ+ community but all of pop culture today. And, above all else, Chris Cullen assures everyone interested in attending that it’s a place where they’re encouraged to be the coolest, most authentic, and absolutely queerest Slay they can be! 

Hellmouth Con takes place June 13–14, 2026, at Torrance High School. You can buy your tickets here.

What begins as a drag show quickly becomes something far more unpredictable in DRAGGED, a new LGBTQ+ play premiering this June at the Hollywood Fringe Festival.

Written by and starring Harrison Alec alongside drag performer Godoy, DRAGGED opens inside the fictional drag show of Alana Regrets, where audiences are pulled into an interactive experience. DRAGGED moves between spectacle and intimacy, comedy and discomfort. 

For Alec, the project came from a desire to create something both immediate and vibrant.

“DRAGGED really came from an urge to finally make something tangible,” Alec told the Blade. “As a writer, it can sometimes feel frustrating to spend months writing scripts that only a handful of people ever read before they disappear into a folder somewhere, so creating something physical felt incredibly important to me.”

The idea began as a short film, but Alec said the story did not fully click until he realized it needed the live energy of an audience. After spending months attending Godoy’s weekly drag bingo, he became interested in the way drag performers naturally blur the line between performer and audience.

“Watching drag performers interact with crowds every week made me realize the audience couldn’t just watch the story; they had to feel part of it,” Alec said. “Drag already breaks the fourth wall naturally, so once I leaned into that, the whole show clicked.”

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That interactive structure is what makes DRAGGED unique. “I think there’s something really interesting about how public pressure can force honesty out of people faster than private conversations ever could,” Alec said. “A drag show felt like the perfect pressure cooker for that.”

Godoy put it more simply: “If you tell a drag queen something, they will tell everyone. It’s the perfect setup for DRAGGED.”

As Alana Regrets, Godoy plays a character shaped by sharp humor, confidence, and emotional contradiction. Alec said he did not want Alana to become a stereotypical “wise mentor” figure. Instead, she is just as messy as the people she confronts.

“She’s funny and confident onstage, but offstage she’s just as messy and lost as everyone else in the show,” Alec said. “A lot of her humor comes from self-protection.”

Godoy said Alana’s performance style draws from beloved drag icons including Bianca Del Rio, Jackie Beat, Sherry Vine, and Alyssa Edwards, citing “their charming and striking personality mixed with quick wit and humor.”

While DRAGGED openly leans into comedy and secondhand embarrassment, it also asks serious questions about queer relationships. Alec’s intention is to highlight the gray areas around monogamy and communication. “What are we lying to ourselves about in relationships? Are we performing versions of what we think our partner wants? Are people actually communicating honestly with each other?” Alec told the Blade. 

But DRAGGED is not trying to offer a single answer about what relationships should look like. Alec explained that he wanted the play to leave audiences questioning their beliefs, not walking away with an easy moral lesson: “I wanted audiences to leave debating who was actually right, because I don’t think the answer is completely clear.”

For Godoy, that balance between comedy and emotional confrontation is already built into the script. “The acting comes naturally because it’s written to do so,” Godoy told the Blade.

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Premiering during Pride Month, DRAGGED celebrates the chaos and emotional honesty of queer life without polishing it into respectability.

“I love that the play celebrates the joy of queer nightlife while also allowing the characters to be messy and flawed,” Alec said. “That feels much more honest to me than trying to present an overly polished version of the queer experience.” For Alec, that mix of comedy and vulnerability reflects the typical rhythm of queer nightlife itself: “Who hasn’t started a night laughing at a drag show, made best friends with strangers in the bathroom, and then ended the night crying on the curb outside the club?”

For Godoy, the timing could not be more fitting: “IT’S PRIDE!! I can’t think of a better time to premiere it!” Godoy told the Blade.

For audiences deciding what to see at Fringe, Alec offers an invitation that is difficult to refuse: “Come for the interactive drag performance, stay for the secondhand embarrassment gluing you to your seat, and leave arguing about who the hell was actually in the wrong.”

DRAGGED plays June 14, 20, 22, and 23 at The Cat’s Crawl as part of the Hollywood Fringe Festival. Tickets are available through the Hollywood Fringe website.

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The Los Angeles Blade is joining forces, once again, for a free, gay singles mixer to celebrate Pride Month. This free mixer will be hosted by Mattie’s in West Hollywood on Tuesday, June 16th, from 6:30 pm to 8:30 pm.

This fun, low-pressure evening will feature connections with a wide variety of single gay men, happy hour pricing, interactive games, and raffle prizes. Hey Sweet Cheeks skin and sex care brand will be on hand with samples, Differio men’s wear will be giving away a $100 gift certificate, and US Merman will be giving away speedos for the summer.

LA Blade publisher Alexander Rodriguez and Best Man Matchmaking co-founder Daniel Cooley will serve as the evening’s emcees.

Don’t be shy, this is your opportunity to meet someone new. All are welcome in this fun, safe space.

Check out Best Man Matchmaking

Free singles mixer: Tuesday, June 16th, 6:30 pm to 8:30 pm at Mattie’s, 8900 Santa Monica Blvd, West Hollywood, CA 90069

Four days, four themes, and a community that has been waiting a long time for a space like this. It’s part of a network of independent Pride Houses across the host cities, and the first one ever in LA, hosted at Beaches Tropicana.

Tickets are free, RSVP here.

Here’s the full schedule:

Thursday, June 11

Welcome to Pride House

Welcome to Pride House Party

6PM to 10PM

Pride House finally arrives in West Hollywood, kicking off the opening night of the 2026 World Games with music, drinks, and a celebration of West Hollywood and the LGBTQ+ sports community we’ve been building toward for years. DJ Charlie B opens the night, a red carpet welcomes guests, and remarks come from City Councilmembers and special guests. DJ Buck/Off keeps it going through close. The party that starts it all.

6PM to 8PM DJ Charlie B spins, guests arrive, red carpet, VIP access in back bar and right mezzanine

8PM to 8:20PM Welcome remarks from elected officials, athletes, and special guests

8:20PM to 10:30PM DJ Buck/Off keeps the party going through close

Friday, June 12

Celebramos La Cultura Latina

USA y América Latina

4PM to 9PM

A full afternoon and evening honoring Latin culture as the US Men’s National Team opens their World Games Group stage against Paraguay. Singer Ricardo Mota performs a special Spanish rendition of the Star-Spangled Banner just before kickoff. Match broadcast, Latin DJ sets, go-gos, performances, and speakers throughout, with DJ Victor Izarra spinning beats all event long. LA Blade publisher Alexander Rodriguez will serve as the evening’s emcee.

4PM to 9PM DJ Victor Izarra spinning beats all event long, between matches, performances, and speakers

4PM to 5:50PM Welcome, music, and brief speakers

5:50PM to 6PM Star-Spangled Banner in Spanish by Ricardo Mota

6PM to 7PM USA v Paraguay broadcast, first half

7PM to 7:15PM Halftime entertainment

7:15PM to 8:15PM USA v Paraguay broadcast, second half

8:15PM to 8:30PM Closing performance

Saturday, June 13

Women in Sports Day with Angel City FC

The RE—CAP Show with Tobin Heath and Christen Press Live

12PM to 3PM

Angel City FC takes over Pride House for an afternoon built around the women’s game. We start with a Qatar v Switzerland watch party, then move into The RE—CAP Show with Tobin Heath and Christen Press Live, celebrating the players, the culture, and the future of women’s soccer. General Admission tickets available.

12PM to 2:30PM Qatar v Switzerland watch party

2PM to 3PM The RE—CAP Show with Tobin Heath and Christen Press Live

7PM to 2AM

The legendary Girls, Gays & Theys take over Pride House for the night with OVERTIME, their queer-centered, women-forward cultural event anchored in comedy, music, and community. A hybrid experience that blends live entertainment with nightlife. Headlined by Maiah Manser, with special guest DJ sets by SELENA SOFIA and DISCO SHRINE. Comedy from Pink Foxx, Antjuan Tobias, Amanda Savage, Jake Knoll, and a special guest you won’t want to miss. The kind of crowd that makes a night unforgettable.

Heads up: Girls, Gays & Theys: OVERTIME is a separate ticket.Not included with any Pride House admission, including Saturday daytime tickets. Grab tickets through Eventbrite.

Sunday, June 14

Pride in the Game

Out in the Game, with LAFC

3PM to 5PM

Two former MLS players who have come out publicly join us for an afternoon of stories, conversation, and connection. The afternoon opens with a VIP meet & greet alongside LAFC players and guests, followed by a candid main-stage conversation moderated by Cyd Zeigler on being gay in professional soccer. Joining us: Collin Martin, one of only two MLS players to come out while still playing, and Matt Hatzke, who was drafted by the LA Galaxy and played for the San Jose Earthquakes. A general meet-and-greet with fans closes the program, with DJ Laser Fox spinning throughout. A rare gathering, and a meaningful one.

2PM to 5PM DJ Laser Fox spinning throughout our program

2PM to 3PM Arrivals

3PM to 3:30PM VIP meet & greet with LAFC, players, and guests

3:30PM to 4:30PM Main-stage conversation with the MLS players, moderated by Cyd Zeigler

4:30PM to 5PM General meet-and-greet with the MLS players

5PM to 8PM

We close out Pride House LA/WeHo at the 2026 World Games with a sendoff party for the athletes and teams headed to Valencia, Spain, for the 2026 Gay Games. DJ Nic Jericho on decks, with remarks from Gay Games Honorary Life Member Les Johnson, an LA City Council member, and other special guests. A proper goodbye, and a proper send-off.

5PM to 8PM DJ Nic Jericho on decks throughout

During program Remarks from Gay Games Honorary Life Member Les Johnson, an LA City Council member, and other special guests

 [GET YOUR TICKETS TODAY!]

Follow along on @pridehouselaweho for updates.

See you there! LA Blade will be on the scene!

We seldom get to see a rising star moving through Hollywood with the same fearlessness and versatility as Regan Aliyah. Whether she’s navigating the heartfelt chaos of a beloved YA dramedy, stepping into the expansive mythology of Marvel, or plunging audiences into the emotional intensity of a psychological thriller, Aliyah approaches every role with curiosity, preparation, and a very real commitment to authenticity. Actor, rapper, dancer, and creative force, Aliyah’s building a career defined not by depth, all while bringing nuance and humanity to every character that she steps into.

Off-screen, Aliyah is equally, if not more, compelling. As a proud queer Black artist, outspoken advocate, and lifelong Angeleno, she speaks with refreshing candor about identity, representation, and the responsibility that comes with visibility. In our conversation, Aliyah opens up about the emotional challenges of her most recent projects, the evolution of queer storytelling in Hollywood, the lessons she’s learned from staying true to herself, and why the younger version of Regan would be proud of exactly who she is today.

From YA dramedy to Marvel to psychological thriller, how do you approach building a character in such different worlds?

I think it’s about feeling comfortable in the words that are written and really understanding who the specific character is, as well as what they’re going through in this piece of media. Understanding how they’re affected by their surroundings, other characters, and even themselves. There’s also the element of research; like for Marvel, I was lucky enough to have so many comics that I could read and see how my character interacted with this mystical world. It was a very different process from Juliana, in XO, Kitty, where I watched the To All The Boys I Loved Before films, and I learned more about the tone of the space she would be a part of. So, it can look very different for each role that you get, but the preparation and research will always get you where you need to be.

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You’re currently starring as Juliana in XO, Kitty. What aspects of yourself do you see reflected in her? And on the flip side, what are some Juliana-isms that would never fly with Regan?

I think Juliana and I are a lot alike. We lead with our heart, we’re both very artistic, and if I do say so myself…we’ve got great fashion sense. Oh, and we’re both gay. That’s definitely my favorite thing we share in common. I think Juliana is a lot more muted than me. She’s a lot quieter and a little less confrontational, but she has definitely learned to be more upfront in the later seasons. She’s absolutely someone I would be friends with in real life. I don’t know, I think she’s just such a cool girl.

Your work in Please Don’t Feed the Children explores a much darker, survivalist tone. What challenged you most about that role? What did you find most rewarding?

I think when you’re in a horror or a thriller, it’s just such a different space than anything else. It took a second for me to get used to hearing the word “action“ and knowing it meant my body had to stay in a state of panic and despair. I think by like, page 10, we’re already in this trapped situation, so finding ways to sit with this continued emotion while making it feel layered on screen was really important to me. I also had to cry on camera for the first time, which I thought would be more taxing on my mental because I was getting so much advice about pulling on personal trauma or to think about some terrible situation to produce tears. When I actually got to that scene, I felt so comfortable with this character that it was actually easy for me to find that emotion and those tears through her and not myself. That was a very rewarding moment.

Belated congrats on coming out publicly just a few years ago. How has that moment shaped the way you move through your career and your visibility?

First off, thank you so much! That moment wasn’t because of my career or any type of external pressure; it was genuinely me just wanting to live an honest life with everyone who interacts with me — whether that’s in person or online. I want you to know me for me. That honesty is very freeing. So, I don’t think I pay attention to if it’s negatively affecting my career…if you don’t want to work with me for being my authentic self, then that opportunity was just not meant for me. On the flip side, it has brought me joy, love, community, and business relationships that are all founded on, “you are who you are, and we support who you are.”

How do you think queer representation is evolving in the kinds of projects you’re getting to be part of?

I think we’ve made a lot of progress. I think we’re seeing a lot more queer characters on screen as a whole. I’m interested in going past the representation and diving deeper into the actual stories that are being portrayed. I think a lot of media still needs to get better at nuance and depth for the queer characters they have in their stories. But I always feel really blessed to be a queer actor playing queer roles; it’s the most fulfilling thing to me. So, every opportunity I get to do that, I am beyond happy. 

What does it mean to you to be a young, queer Black artist working in mainstream Hollywood right now?

It means learning how to run before ever getting the chance to walk. It means pushing open doors that have multiple signs of no entry. It means making a name for yourself that holds weight for multiple communities. It means joy, nuance, and beauty that deserve airtime. It means so much, but to me, it’s just who I am, and I hope Hollywood can love, respect, and share more from all individuals who have this same intersectional identity. 

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You’re outspoken about issues like racial justice, food access, and homelessness (as more people should be). How do you decide when and how to use your platform?

I don’t decide, I just do. It’s that simple. There’s no 12-step program or 40-person team that I need to ask. It’s about humanity. We’re all connected, and we’re all meant to fight for one another. Sometimes that’s through my social media, sometimes that’s on Skid Row feeding our houseless community, sometimes that’s mutual aid, or sometimes that’s performing at a benefit show. There are so many ways to show up, and I believe everyone needs to be doing that in their own way. 

Growing up in Los Angeles, how did your environment shape your artistry?  Your worldview?

I like to call myself a “county kid.” I grew up in schools in the Valley; my family is in Inglewood, Baldwin Hills, Carson, and all the way up to Palmdale. My friends are in South Central and Leimert Park. I love and see LA for what it truly is. We’re dealing with the housing crisis, are being priced out of our own neighborhoods we built, witness the brutalization of the police, and see so much more. But we are also a place where dreams come true, where the sun attracts anyone who dares to think outside the box, and plan block parties with some of the best musicians in the world. Our culture runs deeper than the valleys of the land. The people of this city, the natives, shaped me to be who I am. I love this place so much…I mean, it’s my hometown. Every day, I think of the ways I can contribute to it, protect it, and preserve it for what it truly is.

When you think about the roles you want to take on in the future, what kinds of stories are you hoping to tell or be part of?

I want to be in stories that push the needle, ones that reflect the times, or ones that challenge the brain. I would also love to do something otherworldly. I always say that I want to play a role that would have me in the makeup chair for like 12 hours. Something where I could fully transform. That would be so cool and something I’ve never done yet.

We could all benefit from a bit of grounding and decompression. Can you share with us two things you do to decompress during your downtime? 

Oof, I’ll let you know when I figure that out myself. I’ve been in work, work, work mode, but I do love cartoons, animation, and stop motion. So I’ll throw on one of those when times get stressful. 

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What is one invigorating phrase or mantra that your mind recites when the stress of work, and life in general, is getting a little too loud?

Recently, I’ve been reminding myself of how proud the younger version of me would be of who I am today. I think that will always center me and humble me, but light a fire in me like no other. 

If you could go back and give your younger self one piece of advice before entering this industry, what would it be? 

Nothing really. Younger me was THAT girl. She had some strong boundaries and one goal on her mind…I love her for that. Now, she would have some advice for older me, but she’s definitely very proud. 

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Pop icon Madonna celebrated Pride Month with a pop-up performance in New York City’s Times Square on Thursday to the delight of 50,000 fans.

She performed for about 15 minutes high above street level, including several songs from her new album “Confessions II” due on July 3, along with a trio of songs from the first “Confessions on a Dance Floor.”

In addition to the brand new “Love Sensation,” she performed “I Feel So Free” and “Bring Your Love,” plus “Hung Up,” “Get Together,” and “I Love New York.” She wished the crowd a happy Pride season; the event was shared with audiences through Grindr’s first-ever livestream. 

‘Mighty Real: A History of LGBTQ Music, 1969-2000’
By Barry Walters
c.2026, Viking
$35/496 pages

Step, step, tap, back step.

Shimmy in a circle, left hand waving over your head, shake your tail feathers, repeat to the beat. Once there was a time when you could do any dance in your sleep, but it’s been a while. So read “Mighty Real” by Barry Walters, and see if your toes don’t tap.

Fifty-seven years after Stonewall, and here we are: LGBTQ musicians still face scrutiny for their sexuality because, says Walters, music isn’t created for gay listeners. No problem: LGBTQ artists and writers have often penned lyrics carefully in order to say what can’t be said, “coding” songs for gay audiences that straight (and ignorant) listeners can dance to and enjoy with apparent obliviousness.

Walters offers “just a few” examples.

Lou Reed sang about trans people in the late ‘60s and offered a rallying song for the Gay Liberation Front in 1972, the latter of which felt like a message to a then-11-year-old Walters. Janis Joplin claimed she was straight, but she had several girlfriends. Motown singers often offered sometimes-ambiguous lyrics.

John Lennon’s hand placement on the back cover of Sgt. Pepper’s Lonely Hearts Club Band made Walters begin to understand that he was different from other boys.

David Bowie is on his list, of course, as is Bette Midler, Elton John, Donna Summer, and Queen. You’ll find Judas Priest here, Green Day, and punk music. The Village People are included in this book, also Grace Jones, Duran Duran, and Cher, Whitney, Melissa, Latifah, and the lyrics from several blockbuster movies.

Two of Prince’s band members were lesbians, and they heavily influenced his albums. Diana Ross’s “I’m Coming Out” cemented her position in LGBTQ culture, and Michael Jackson’s inclusion here takes much careful consideration.

Read about Olivia Newton-John and the B52s. And then there’s Sylvester, for whom Walters has a soft spot in his heart. Sylvester’s death still makes Walters cry.

In his preface, author and music writer Barry Walters points out that music is what you make it and that it’s interpreted differently by each individual. To that end, this book naturally consists of preferential history and personal opinions about singers, bands, albums, and songs.

Agree or disagree. That’s where much of the appeal lies in “Mighty Real.”

Here, Walters wraps his memories around his choices, giving readers room for their own views, memories, and list making. Music-loving readers might also be surprised to note who’s not on Walters’ list – there aren’t many country performers here, for example, and the overall list focuses entirely on music from roughly 1968 to the year 2000, mostly on the kinds of songs you’ll want at the club or party. Again, discuss, and curate your own playlist.

This is a hefty book, but the chapters are browse-able and generally short enough to read in under five minutes. It’s nostalgic, yet also serious in the history it presents. This is the kind of book you want to leave near your album collection, or wherever you get your tunes. But finding “Mighty Real” is your first step.

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When movies are labeled as “controversial,” the effect is often akin to Oscar Wilde’s quip that “there’s only one thing in life worse than being talked about, and that is not being talked about.”

Indeed, a whiff of controversy can be the best publicity of all, turning a movie that might otherwise have been no more than a blip on the cultural radar into the buzziest “hidden gem” of the season – and “Blue Film,” a two-character psychosexual drama about an encounter between a male sex worker and a much-older client, is a perfect example. The debut feature of filmmaker Elliot Tuttle, it was rejected for inclusion at last year’s Sundance and SXSW festivals before finally premiering at the Edinburgh International film fest; and even then, some audience members were walking out of the theater in disgust.

It’s easy to see why, really. The taboos it breaks run far deeper than just frank depiction of queer sexuality to rattle some among the ones most hard-coded into our cultural DNA, and the directness with which it pushes past our comfort zones is merciless. It begins with Aaron Eagle (Kieron Moore), a Los Angeles “fetish cam-boy” who specializes in financial humiliation and domination, proudly performing for his online fans by fondling his stacked physique on camera while deriding them with homophobic slurs and other forms of verbal abuse. He also taunts them by bragging that one of them is paying $50,000 to be abused in person overnight.

When he shows up for the gig, he’s greeted by an older man in a ski mask (Reed Birney), who wants to begin their session by asking him questions on camera about his personal life. Aaron agrees, but makes up the answers, only to have the client call out his lies; the mask soon comes off, revealing that the man behind it is Hank Johnson, a teacher who had been fired from Aaron’s home town middle school after attempting to molest a student in the boys’ restroom, and who confesses that he has spent his life savings to set up this meeting because he was once “in love” with Aaron from afar. Claiming he doesn’t want a sexual experience, but simply the chance to “get to know” each other and achieve a kind of closure in his old age, he convinces a wary-but-intrigued Aaron to stay, setting the scene for a night of charged conversation, true confessions, and secretive soul-baring, which leads them to discover unexpected common ground.

It’s clear from even the barest description that Tuttle’s movie is not designed for all audiences. Even within the “niche” of queer cinema, these are “problematic” characters: sex workers, despite years of growing acceptance and decriminalization, are still largely stigmatized by the culture at large; and as for convicted pedophiles, you’re more likely to find tolerance for them in the halls of government than on a big screen. Yet in “Blue Film,” these are the characters we get, and as a result, it’s a movie in which almost everything that is said or done has a layer – and often, several layers – that’s likely to be objectionable to someone in the audience.

That’s not by mistake. In his director’s statement, Tuttle calls his film an “essay on perversion,” born from “the accumulation of a lifetime of private thoughts regarding sex, fetish, and relationships,” and fueled by his frustration with what he calls the “conceptualization” of sex on the screen. His purpose in presenting a two-person “echo chamber” is an exploration of how these sexually stigmatized individuals find a “reckoning with the ways in which they can and cannot connect with those around them,” in which his explicit intention is to make sex on the screen “feel uncomfortable, scary, and laced with significance.” It’s safe to say that he succeeded.

Of course, it would be easy enough to stave off the discomfort “Blue Film” creates for us to sit in by dismissing the whole thing as deliberately sensational, if not for the fact that it’s so well done. Tuttle directs it like a thriller – a fitting approach, considering the uneasy dynamic between its characters, each of whom might easily be operating with malicious intent, and the generally “sketchy” circumstances of their arranged meeting – and he uses the resulting tension as a subliminal undercurrent that keeps us feeling unsettled. When things do begin to get sexy (because of course they do, Hank’s protestations of wholesome intent notwithstanding), he plays into the anticipated uneasiness of sexually squeamish viewers by layering in some particularly ominous strains from Isaac Eiger’s moody electronic score; it feels like we’re about to see something horrible, when in fact we don’t even get any full-frontal nudity.

In fact, it’s in these sexual moments – which, though explicit enough to get the point across, never feel pornographic – that “Blue Film” may deliver its most directly transgressive imagery. Though both men are adults, participating in consensual acts, what we are watching is probably the ultimate sexual taboo of all, not because of what we see but because we know the fantasy being played out in their minds. It’s unsettling, perhaps even for the most open-minded fetishists out there, yet in the unvarnished honesty with which the movie strives to deliver its uncomfortable truths, it somehow plays as something almost sweet.

As always in a film that presents characters who push the limits of our ethical and moral boundaries, the actors carry the weight of responsibility for transcending (or at least tempering) our judgment of them; in this case, the two star players face a monumental task, and they rise to it with unflinching commitment. Birney, a Tony-winning actor who also served as an executive producer on the film, has the more challenging burden, but he defies the odds by bestowing Hank with both the grace of a man who has learned how to endure shame and the cageyness that comes from a life of keeping it hidden. Moore, an up-and-coming British actor (recently seen in the gays-in-the-military series, “Boots”), leans into the aggressive toxicity of his fetish “Dom” persona with a ferocity that makes the “sub” vulnerability he slowly makes visible feel even more delicate; indeed, they both navigate the spectrum of that dynamic in a way that emphasizes its subtle fluidity, and “Blue Film” could not work without their contributions.

But work it does, for those who are able to get past their many layers of discomfort over its subject matter; it will speak most directly to those who have already come to embrace their own alternative sexualities, who understand that sex work can be empowering, who recognize that forbidden desires are not a choice and can find empathy for those who must live with them. Still, a movie that acknowledges (among other things) the validity of rape fantasies, the ancient cultural traditions of pederasty, and the transcendence of self-loathing through fetish is a movie that has appeal for only a particular kind of viewer; and with “Blue Film” coming to VOD platforms June 12, you to decide if you’re one of them.