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June Jambalaya, lightly seasoned newcomer thickens mix of RPDR14

Jambalaya’s drag name came about when a dance instructor asked for her birth month and the last thing she ate

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“Some are born into drag greatness, some achieve drag greatness, and some have drag greatness thrust upon ‘em.”

LOS ANGELES – That iconic line, from the 1602 Shakespeare play “RuPaul’s Twelfth Night,” is as true today as when it was first spoken on the stage of London’s Globe Theatre. Back then, the female roles were played by men.

Times may have changed, but the song remains the same: Those with male plumbing who plumb the depths of what it takes to play a woman find themselves doing so through dynasty, scrappy determination, destiny, or a road they have to hoe on their own.

Season 14 “RuPaul’s Drag Race” contestant June Jambalaya found herself in the iconic workroom and runway in a very roundabout way, indeed.

“I have been in the performing arts my entire life, going to performing arts school, and I moved out to LA to get my degree in fine arts” said the 29-year-old Jacksonville, Florida native, who spoke with the Blade just prior to the Season 14 premiere episode, in which she’s introduced alongside half of the cast.

Jambalaya, whose drag name came about when a dance instructor asked for her birth month and the last thing she ate, stayed in LA after graduation but found things, “didn’t go as planned, you know, just auditioning but still working my job. I worked as a visual manager for a luxury department store, so it [drag] gravitated to me because actually, I was choreographing for a co-worker. It gave me an opportunity to use my degree and use my talents—because I felt kind of frustrated with auditioning and the world of performing. I didn’t fit the stereotypical body that a male backup dancer or performer should have and so it drew me to drag because this was an art form where you got to make your own rules and really pick your narrative, which made me even more intrigued to do it for myself.”

While doing choreography for local LA drag queens Jambalaya noted, “They encouraged me to try it [drag], and I entered a nightly competition at Revolver and won and then I did a 10-week competition at Revolver and won. So all the stars just kind of aligned. It just felt like I was doing something right with all of the talents and gifts I felt like I had.”

BLADE: What sort of style were you drawing from in those early performances?  

JUNE JAMBALAYA: When I first started drag, my references were from the Latrice Royales and the Roxy Andrews. I looked at the queens before me that really put on high-energy, like high old school drag numbers and performances. But the more I got to experience who June was, her brand and you know my own artistry I started to really pull from my love for the modern woman and thinking about like, my mom and my sister and my aunts and how I was always inspired by women, especially minority women, because they were the strongest, most fearless, most stylish women that I got to encounter so I really drew a lot of those references into my drag. And then I also, you know, I call myself The Real Housewife of Drag because of my love for the franchise and how real women just sit there fully dressed and living their fantasy on television. That’s sort of what this is for me.

BLADE: You’re serious about the way you use fashion. Does that clash with camp elements of drag? 

JUNE: Yes I’m funny, but I don’t consider myself a comedy queen. I think it’s performance with looks, um, because I revealed myself in a Christopher John Rogers couture gown and then I added a train and airbrushed my name on there to make it, you know, it was fashion but then I made it camp and, you know, urban by airbrushing it—having my nails, have my name hang off… So I’m wearing these designer pieces that you typically don’t see from someone; I’m a size 14, 16 and you haven’t really seen a big girl pull out these type of designers this way and I think that’s interesting. So my camp comes in my love for the visual… You’ll see me inside a waterfall performing a song for a video. That’s where I think my camp comes through, in my visual artistic side. But with my fashion, I really do try to show that plus-sized women and full-figure people love and respect fashion and there is room for us there, too.

BLADE: What is an LA club experience with you like, as opposed to what we’re going to see on television?

June Jambalaya courtesy of RuPaul’s Drag race

JUNE: I have always picked things that felt good to me, but I’m learning that I still have to pick numbers that people are going to enjoy. But when you come to a June Jambalaya performance, you want high energy. You know I’m gonna have backup dancers. So like me and my girls, we rehearse these numbers for weeks on end before the show. One of my biggest inspirations is Beyoncé. I’ve been to more concerts than I’d like to admit.

BLADE: Oh, there’s no shame in that.

JUNE: (laughs) Seeing those shows, all the way down to the costumes and the choreography, all that time and effort that went into it—so I try my best, with the resources I have, to give people that live tour show experience.

BLADE: Your life will be different from the moment the show starts airing. What is the waiting experience like, and have you been given any helpful advice from other queens?

JUNE: So recently, I posted a Christmas video that took three months to film—and it’s different now, because of the [Season 14] announcement, and people know the show is coming. So I get to hear from people from Brazil and Belize message me and tell me how much they enjoyed my video, and people who don’t even celebrate Christmas, that these visuals and these packages of my art are reaching all over the world—it’s blowing my mind to think about this time last year. I had maybe 2,000 followers and I just had dream and I was making videos and taking photos like crazy, and now it’s [the buzz leading up to the show] unfolding before my eyes.

I’ve been fortunate enough to have conversations with Gigi Goode, Kandy Muse, and LaLa Ri. They have all been so extremely supportive. I think Gigi Goode gave me some of the best advice. She came to my “Showgirls” performance and she was like, “Do everything, every opportunity that comes to you. You’re going to be tired but this is going to be the ride of your life—and everything you’ve dreamt of, you can literally do right now. So whatever is in your head, let it out.”

BLADE: What advice would you give to those who are just starting out with their drag, and is having a formal background like yours helpful?

JUNE: I think it [education] definitely helped me, but I haven’t been doing drag that long. I started April 2019… But I think when you find something you’re passionate about you will do the work to further educate yourself on it, and I really do believe I did that. So my advice to anyone embarking on something or doing something they’re passionate about is, pull from people who are doing it really, really well. I think one of the best things that I did, I watched Roxy Andrews. I studied with Aquaria [as I was preparing my audition tape]. I saw what the best of the best were doing, to prepare myself to meet that level of excellence. When you’re in this high-pressure drag situation, and mind you, this was just a hobby for me. I had a full-time job. So I went from a part-time baby queen to now doing it full-time, 18-hour days. So it showed me there’s still so much to be done, to be in drag all day, to go from doing an acting challenge to getting ready for a runway. It’s so physically demanding, to be a full-time drag queen.

BLADE: So are you in better shape now than you were before?

JUNE: Well, we filmed it a while ago. I was in really good shape. Then I took a break and ate some food, enjoyed the holidays. Now it’s kicking back in. You know, press [to do] and outfits need to fit (laughs).

BLADE: What do you hope to achieve, as a result of being on the show?

JUNE: I’ve never been to Fashion Week. I would love to experience that or walk and be a part of it, or be part of a beauty brand or something of that nature. But when it comes down to artistry, we have a whole Vegas residency with “RuPaul’s Drag Race” now. I would love the opportunity for that—or the Werq the World Tour, to actually; Imagine if I got to take all of my visuals and put it on the stage… that’s an artist’s dream.

Follow June Jambalaya on Instagram/TikTok/Twitter: @junejambalaya.

To stay up-to-date on all things #DragRace Season 14, follow along on Instagram, Twitter, Facebook, YouTube and TikTok at @rupaulsdragrace.

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‘American Horror Story’ goes full gay in ‘NYC’

Anthology features leather daddies, divas, baths, and gruesome murders in 1981

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Russell Tovey stars in the new season of AHS. (Photo courtesy FX)

It’s hard to believe that “American Horror Story” is now more than a decade old – yet at the same time, it feels like it’s been on the air forever.

Arguably the signature accomplishment of gay entertainment mogul Ryan Murphy, who’s been behind some of the most acclaimed, controversial, and campy programming of our contemporary era, it’s a show that has met all three of those descriptors – often at the same time – while bringing a legion of die-hard fans back for more each season. That’s not an easy thing to accomplish, but Murphy’s “AHS” juggernaut has managed to keep itself going for 11 years thanks to its anthology format.

It has also, from its inception, been one of the queerest shows on television.

This might be stating the obvious, considering that Murphy typically includes multiple queer storylines in each season and employs a host of out queer actors, not to mention maintaining an unabashedly queer sensibility in the show’s aesthetic and bringing in the occasional iconic diva. We only bring it up here because for its latest installment, which premiered with two episodes on FX last week (just in time for Halloween), “American Horror Story” has gone “gayer” than ever.

Titled simply “NYC,” it’s set against the backdrop of 1981 New York and focuses squarely on the city’s thriving gay community. As anyone with even a basic knowledge of queer cultural history already knows, it’s a heady time and place for a gay man to be – but it’s also a time and place on the cusp of soon-to-descend devastation.

For most of the show’s characters, however, AIDS is not even a blip on the horizon, at least not yet. Instead, they’re facing a different kind of plague: a wave of grisly murders, targeting gay men, has left a growing pile of dismembered bodies in its wake, and to make matters worse, the NYPD seem uninterested in doing anything about it – or rather, most of them do. Patrick (Russell Tovey), a closeted police detective, has been cautiously pressing his superiors to take the situation more seriously, but it hasn’t been enough to nudge them into action; it also hasn’t been enough for his lover, Gino (Joe Mantello), an out-and-proud journalist who has made the mysterious killings into his paper’s No. 1 cause, and for whom Patrick’s refusal to share information about the case for fear of being “outed” has become a sore spot in their relationship.

The stalemate may be about to give way, though. When a young man named Adam (Charlie Carver) shows up at the station to report his roommate’s disappearance after a night of cruising in the Ramble, Patrick breaks his silence at home and tells Gino about the incident, encouraging him to pursue the story and giving him a lead to follow, and embarking on a clandestine investigation of his own; likewise, Adam, resolving to find his missing friend after having his concerns dismissed by the police, traces a scrap of a clue to Theo (Isaac Powell), a rising-star photographer, and his art dealer boyfriend Sam (Zachary Quinto), whose dark secrets may or may not be connected with the murders. Meanwhile, somewhere in the “gayborhood,” a killer still lurks, and the body count continues to climb.

If you’re thinking that the story – written by Murphy and frequent creative collaborator Brad Falchuk – is an allegory in which the hunt for a fictional serial killer (a favorite “AHS” trope) is used as a metaphor for the AIDS crisis, you’re probably not wrong. That doesn’t mean that AIDS doesn’t exist in this “AHS” version of the early ‘80s; a side story featuring epidemiologist Dr. Hannah Wells (Billie Lourd), glimpsed only briefly so far, has broached the subject of the disease, and it seems likely to become a big part of whatever endgame the show’s creators have in mind.

That endgame is anyone’s guess. “AHS” has a reputation for throwing everything against the wall and seeing what sticks; almost every season has left the gate with a provocative premise and an intriguing bundle of ideas – and while some have thrillingly lived up to their potential and others have devolved into a self-indulgent mess (though viewers’ assessment of which is which may vary wildly, depending on which viewer you ask), even the best of them have usually allowed at least one or two threads to trail off and disappear. “NYC,” at this early stage, could go either way or land somewhere in between.

Admittedly, it shows a great deal of promise. Obviously thrilled to explore a seminal moment in queer history, the series seems to delight in the sights, the sounds, and the happenings of early-‘80s Manhattan. There are scenes in the historic baths, complete with a singing diva (Patti LuPone, of course) to entertain the boys in between hook-ups; an artist-turned-impresario (Gideon Glick) throws a massive party in an abandoned pier-side warehouse, where everybody who’s anybody (or ever wants to be) gathers for a drug-and-disco-fueled night of art, fashion, and hedonistic fun; a Quentin Crisp-ish queer elder (Denis O’Hare) holds court in a dimly lit dive, and macho men engage in aggressive frottage at the leather-and-levi bar a few streets over. It’s the kind of vivid and nostalgic period recreation that Murphy’s productions have become famous for – detailed, colorful, immersive, and just glossy enough to make it feel like a fondly remembered dream – and it’s one of the pleasures of watching the show.

At the same time, there’s something unsettling about watching this Tarantino-esque distortion of a history that strikes such a deep chord in the queer imagination. With a main storyline that seems akin to a true-crime rewrite of “The Normal Heart” and a gallery of background characters that are clearly reimagined versions of real-life figures like Robert Mapplethorpe, David Wojnarowicz, Klaus Nomi, Victor Hugo and more, Murphy and Falchuk’s audacious (some might say sensationalistic) approach to melding LGBTQ heritage into a pop-culture horror narrative – and one the evokes William Friedkin’s controversial 1980 thriller “Cruising,” at that – might hit a little too close to home for audiences who see this particular real-life chapter as horrific enough without fictional embellishment.

Still, as “AHS” has proven many times before, it’s not afraid to disturb its fans – and that doesn’t just mean with gore and shock value, though there’s always plenty of that. Its horrors are rooted in our social zeitgeist, in our traumatic memories and in the vast uncertainty of our life in the here and now. 

“NYC” – coming as it does at a time when anti-LGBTQ rhetoric and homophobic ideologies make the hard-won advancement of our community feel all too precarious – is no different. Thus far, no overtly supernatural elements have emerged (though that may change), but by invoking specters that continue to haunt us, hovering in the shadows around our safe spaces until they can leap out and catch us off guard, it’s a ghost story, nonetheless.

It even has the potential to be a good one, if Murphy and company can continue to reach the bar they’ve set for themselves with the first two episodes. Judging from the “AHS” track record, they have a roughly even chance.

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Television

For Years to Come; irreverent romantic gay dramedy coming soon

Gay man who falls in love with his dead mother’s nurse, while struggling to reconcile with his elderly father…who’s secretly a porn director

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James Patrick Nelson stars in 'For Years to Come' (Screenshot/Vimeo)

HOLLYWOOD – For Years to Come is an irreverent romantic dramedy about a gay man who falls in love with his dead mother’s hospice nurse, while struggling to reconcile with his elderly father…who’s secretly a porn director.

The new half-hour TV pilot directed by Micah Stuart will premiere on the festival circuit in early 2023. Writer-creator James Patrick Nelson stars opposite film/TV veteran Richard Riehle.

Stuart, an Emmy nominated editor, writer and the director, who is based in Los Angeles, released the trailer Saturday ahead of the film festival circuit premiere early next year:

For Years To Come Trailer from Micah Stuart on Vimeo.

Creator and star actor James Patrick Nelson sat down with me in an interview on my RATED LGBT RADIO show a year ago to talk about this project and highlights from his career.

“Limited representation fuels internalized homophobia” asserts Nelson.  “How do queer people learn to cherish the remarkable nuances of our identities if we rarely see nuanced, authentic portraits of ourselves on screen?”

As an award winning film maker, James has set a creative target for himself and others in the industry regarding LGBTQ characters: they need to be “richly complex, multi-faceted human beings, with endlessly diverse and distinct experiences, and we deserve to be seen, for all that we are.”

On the show we discussed this objective and queer representation in film up until now.  Plus, we will talk about his newest project, For Years to Come.

********************

Rob Watson is the host of the popular Hollywood-based radio/podcast show RATED LGBT RADIO.

He is an established LGBTQ columnist and blogger having written for many top online publications including Parents Magazine, the Huffington Post, LGBTQ Nation, Gay Star News, the New Civil Rights Movement, and more.

He served as Executive Editor for The Good Man Project, has appeared on MSNBC and been quoted in Business Week and Forbes Magazine.

He is CEO of Watson Writes, a marketing communications agency, and can be reached at [email protected] .

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Television

‘Modern Family’ creator returns to form with hilarious ‘Reboot’

Show about a show ditches tired mockumentary format

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The cast of ‘Reboot’ on Hulu. (Photo courtesy Hulu)

TV veteran Steven Levitan already had a lot of success as a writer, showrunner, and producer before the premiere of “Modern Family” – a series he co-created with Christopher Lloyd – in 2009. That show turned out to be a cultural phenomenon, helping to redefine and normalize the representation of LGBTQ relationships on TV by including a gay couple within its ensemble of central characters while also becoming a long-running fan-favorite, winning scores of awards (including nine primetime Emmys) and being nominated for scores more before airing its final season in 2020. Even with a resume that includes shows like “Wings,” “Frasier,” “The Larry Sanders Show,” and “Just Shoot Me,” that’s got to be considered a career-topping triumph.

Now, Levitan is back with a new show, “Reboot,” which premiered on Hulu Sept. 20, and from its very first pre-credit sequence it signals a welcome return to the same rapid-fire comedic style that kept “Modern Family” on everybody’s weekly watchlist for 11 years – still inclusive, with prominent queer characters and storylines, but thankfully without the mockumentary format.

“Reboot” is a good-naturedly irreverent send-up of the Hollywood entertainment machine featuring “Crazy Ex-Girlfriend” star Rachel Bloom as Hannah, a TV writer who gets greenlighted on her pitch for a revival of “Step Right Up,” a beloved sitcom from the early 2000s. She manages to convince the original cast to reprise their roles as the show’s “wacky family” – despite their complicated offscreen history – by promising to adapt the show for a contemporary audience, eliminating the corny, outdated humor and shifting toward a more sophisticated, realistic tone. At the first table read, however, Hannah’s plan for a reimagined series is met with a significant obstacle – the unexpected presence of the original sitcom’s creator, Gordon Gelman (Paul Reiser), who has wielded his industry clout to insert himself into the mix as a showrunner and ensure that “woke” ideas about comedy don’t get in the way of the laughs.

Obviously, this scenario provides a ripe field for jokes about the cultural conflicts that have become a fact of life in 2022 – mostly around the differing attitudes between older and younger generations, always a sure-fire bet for relatable comedy. The “OK Boomer” sparring at its core is common fodder these days, but Levitan and his creative team know comedy well enough to make it feel fresh – and their secret is to make sure that the characters are always the main attraction.

In this case, they’ve given us plenty of them to choose from. Besides Hannah and Gordon, whose rivalry for the reins quickly becomes just one of many thorns in their relationship dynamic, we also get the leading players of “Step Right Up”: Reed Sterling (Keegan-Michael Key), a Yale-trained thespian who ditched the show’s first run to pursue a movie career that never materialized; Bree Marie Johnson (Judy Greer), a once-popular star who left showbiz for a now-failed marriage to an obscure Scandinavian Duke; Clay Barber (Johnny Knoxville), a “bad boy” stand-up comic known less for his talent than for being a train wreck; and Zack Jackson (Calum Worthy), a former child star who seems to have reached his mid-20s without actually growing up. Rounding out the main ensemble is Krista Marie Yu as Elaine, a young production exec transplanted from the tech industry whose fish-out-of-water incongruity provides a necessary outsider perspective amid the show-biz histrionics that surround her.

There’s a host of supporting characters, too – a roomful of writers, for instance, hilariously bridging the generation gap with their common love of comedy even as they clash over cultural values. Drawn in broad strokes, all of them could easily be dismissed as generic tropes, stock figures updated to fit the latest cultural zeitgeist; that they come off as fully realized human beings instead of lazy stereotypes is a testament to Levitan and the real-life writers’ room responsible for bringing them to life.

It’s also a testament to the actors who play them. Key and Greer have the biggest challenge, in many ways; their characters, cut from the same egocentric cloth as so many other parodies of vain and pretentious Hollywood stars and clearly designed to be adorably insufferable, come off in early episodes as simply insufferable. As the season progresses, fortunately, their skill as performers permits them (and their characters) to rise above the flaws and foibles and win us over. The ever-reliable Knoxville does what he does best – sending up his own wild-man persona – and occasionally reminds us that he’s not a bad actor, when he gets the chance; Worthy, an ex-Disney-kid also spoofing his own real-life image, likewise injects surprising doses of winning humanity as the show goes on.

As for Bloom, essentially the main character though surrounded by an ensemble of zanies, she holds her own with all the juggernaut talent she used to make “Crazy Ex-Girlfriend” a wildly popular cult hit; required to be a grounding force while dealing with her own whirlwind of personal and professional dysfunction, she succeeds more than well enough to anchor the show. Finally, Reiser brings his status as a venerable sitcom legend to give his old-school character an appropriate presence, while making him much more layered and likable than the Archie Bunker-ish throwback we expect him to be.

With such a solid cast doing the heavy lifting onscreen, “Reboot” is able to cast its satirical net wide enough to poke fun at our rapidly changing culture without losing the important human connection that keeps its never-ending bombardment of one-liners – something for which Levitan’s previous shows have been widely known and admired – from feeling hollow. That doesn’t mean the comedy ever lulls; on the contrary, even the show’s most tender and meaningful moments – which often take us by pleasant surprise – are punctuated by zingers. And while the series leans hard into the kind of uncomplicated vibe that usually marks popular mainstream sitcoms, it also lets itself play at more complex levels, getting a lot of comedic mileage out of the inescapable “meta” quality of being a show about a show – for example, the fictional series, like the real one, is produced by Hulu, just one such cheeky touch among many that make it feel more subversive and iconoclastic than perhaps it really is.

What might work even more to the benefit of “Reboot” than the considerable lineup of talent it boasts both on and behind the screen is its format – and we’re not just talking about its choice to eschew the mockumentary thing, a masterfully innovative tactic that has now become tired from overuse, even on Emmy-favored “Abbot Elementary.” In the new era of streaming content, the 23-episode season feels like an increasingly outmoded way of doing things; with only eight episodes to undertake, there’s far less chance of stretching the material (and our patience for it) thin, or of running out of ideas and undermining the show’s integrity with sub-par writing just to pad things out.

Unsaddled from that burden, “Reboot” manages to be laugh-out-loud funny throughout each episode of its first season. That alone is enough for us to look forward to season two.

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Television

“Dr. Jackie: Unlicensed Psychotherapist” premieres on OUTtv

Jackie Beat’s new series is just what the (unlicensed) doctor ordered. The show is available exclusively on OUTtv.com & on the OUTtv Apple TV

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Jackie Beat courtesy of OutTV

NEW YORK – While much of the world spent the pandemic sheltering in place and binging on Netflix in an attempt to stave off madness, innovative (and already insane) Jackie Beat found herself pounding a different drum.

The veteran drag queen known for belting out hilariously filthy song parodies while hurling cruel insults at delighted audience members immersed herself in online academia, only to emerge several hours later with… no formal education, but a self-declared title that everybody agreed would also be a kickass concept for a TV show, and a pretty good title to boot: “Dr. Jackie: Unlicensed Psychotherapist.”

And so, on this day, September 19, 2022, it shall be so: “Dr. Jackie” premieres on OUTtv with new episodes each week through October 24. Watch the trailer HERE. The premise is simple: Dr. Jackie runs her “practice” out of an office managed by her “cute but confused assistant” (played by longtime creative collaborator Sherry Vine, whose ballsy, bonkers variety show had its premiere season on OUTtv last year). Sherry’s the dutiful gatekeeper who shepherds a revolving cast of funny, famous people (mostly top-notch drag queens) into their sessions with tough-but-fair, decidedly uncredentialed Dr. Jackie.

“It’s such a great feeling to not only entertain people, but be able to help them, too,” said Dr. Jackie, in a press announcement for her six-part series. “It’s a real win-win. I’m very proud of the fact that I am able to make mental health just a little more glamorous and fun!  And if anyone wants to cancel me for ‘mocking’ pyschotherapy, please do it! I haven’t been on THAT reality television show so I need all the publicity I can get!”

Taking a leap of faith that “Dr. Jackie” will be up to the level of quality we associate with the sold-out stage shows of Jackie Beat—and also betting heavily that Dr. Jackie has already figured out a way to dispense prescription drugs—The Los Angeles Blade is happy to generate more publicity for the good Doctor, who along with Sherry Vine took some pre-premiere time to participate in the spirited Q&A you see below.

The Los Angeles Blade (Blade): How did the show come about? Is this a product of your frequent collaborations with Sherry Vine?

Jackie Beat (Jackie): Sherry gets all the credit for making this happen! After being in show business for over three decades, I sort of had the attitude of, “This will never happen”—but Sherry was beyond optimistic and determined. I’m sure the success of her variety show on OUTtv helped. Oh, and my beauty!

Sherry Vine (Sherry): We had talked about this idea for a few years and I said, “Let me run with this and see if I can get it picked up” and Jackie said, “OK.” I went to PEG and OUTtv who did my variety show, and they immediately said, “Yes.” I worked very hard on the pre-production and filming but was less involved in the post-production. Jackie had a very clear vision of how she wanted it to look and sound so other than offering my opinions, I let her run with it.

Blade: How did the pandemic impact the shooting of episodes?

Jackie: We obviously had to adhere to very strict COVID protocols… Testing, masks, limiting the cast and crew, etc. But once this queen had gotten the green light on her own TV show, no pesky little virus was gonna stop her from getting it done!

Blade: Is there improvisation? If so, discuss how that played out.

Jackie: Yes, and everyone really delivered! We had an outline—a beginning, middle, end, maybe a plot twist or two—but then we just let people go for it. The hardest part, as you can imagine, is not cracking up. There was also quite a bit of stuff that was so out-there and just plain disturbing that we were like, “Oh God, we can’t use that!” The brilliant improvising also made it very difficult to edit because there was so much gold!

Blade: What part, if any, did you play in the editing? How did the editing process impact the show’s pacing and style?

Jackie: Well first off, the editor, Kain O’Keeffe, is a genius! He really has great comic timing so that certainly helped. I have worked with some editors who are technically amazing but don’t really get comedy. Kain’s instincts are great. And he also kept his cool—most of the time, LOL—working with this control freak. I was really very painstaking in the editing, because one beat or one moment or one word can change everything. The most frustrating part was having to watch each episode 50 or 60 times. I was like, “Is this even funny?” The answer to that question, of course, is YES!

Blade: With “Dr. Jackie,” you enter the pantheon of small screen shrinks. What sets your style of therapy apart from colleagues like Lucy Van Pelt and Dr. Bob Hartley?

Jackie: First of all, I could be the illegitimate love child of those two because Lucy is an unqualified, self-centered bitch and Bob is dry and cool as a cucumber. I think I fall somewhere in the middle. A self-centered cucumber?

Blade: Talk about the role of ensemble and/or guest players.

Jackie: We were so blessed to get so many amazingly talented people—most of whom I consider friends. And I also love that people like Elvira [Cassandra Peterson] or Margaret Cho, who couldn’t shoot in person, were able to be involved and get “emergency phone sessions” thanks to modern technology! I have several “Drag Race” stars such as Bianca Del Rio, Alaska Thunderfuck, Bob The Drag Queen, Katya, Trixie Mattel, BenDeLaCreme, Tammie Brown, Kelly Mantle and Monét X Change but I also wanted to include supremely talented friends of mine such as Mario Diaz, Nadya Ginsburg, Daniele Gaither, Drew Droege, Sam Pancake, Calpernia Addams, Selene Luna, Pete Zias, Roz Hernandez, and Muffy Bolding. 

Blade: Sherry, you play Jackie’s sidekick. Is the dynamic similar to, different than, what we see when the two of you work together on stage?

Sherry: Well the dynamic is different in terms of I’m playing her receptionist and she is the star—this time! Lol. But after 30 years of performing together we have a natural chemistry and play off of each other so well. It was scripted but of course there was plenty of improvisation. We were cracking up the whole time! On stage and on camera we are usually in synch—I know exactly where she’s going.

Blade: Jackie, what can decades-long fans of your stage work expect from a show not grounded in parody songs? 

Jackie: They can expect to be laugh and be entertained so… Same old thing!

Blade: Jackie, Sherry, what’s happening between now and the end of the year, in terms of traveling and performing live?

Jackie: I’m doing lots of writing right now, but I will never stop performing. I will do my annual holiday tour, of course. I’m doing my holiday show at The Palm in Puerto Vallarta on Christmas Eve and Christmas Day!

Sherry: We are now in pre-production for “The Sherry Vine Variety Show” Season 2! Yay! We start filming at the end of October, so I’m writing, casting, recording, etc. Lots of exciting guests and surprises—and Jackie will be returning as my partner in crime. 

Blade: How do you find performing and living in the “post-pandemic” era: Has it change the way you do things, creatively and personally? What lessons did we learn or ignore from all that time sheltering in place?

Jackie: People seem very appreciative of live shows right now. It’s like they didn’t realize just how precious those moments of sitting in a darkened theater or nightclub watching a live performer was until it was suddenly gone. I have also learned that if you are naturally funny and talented you can entertain people no matter what – even on their laptop or phone. I was very happy to learn that my comedy and magic could survive and translate to that format. Again, I ain’t never gonna let no pesky virus stop me from doing what I do!

“Dr. Jackie: Unlicensed Psychotherapist”—written by Jackie Beat—is directed by John Mark Hostetler and produced by Producer Entertainment Group (PEG) for OUTtv. As of September 19, the show is available exclusively on OUTtv.com and on the OUTtv Apple TV Channel in the US and Canada, OUTtvGo.com and the OUTtv Amazon Prime Channel in Canada and FROOT.tv in the UK and Ireland.

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Television

Fall TV offers vampires, royals, and return to Gilead

‘Handmaid’s Tale’ even more essential after fall of Roe

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Sam Reid and Jacob Anderson star in an updated ‘Interview with the Vampire.’ (Photo courtesy of AMC)

Once upon a time, TV premieres were the province of fall, and there was something exciting about seeing all the new titles unveiled. In the streaming era, of course, new shows debut all year long – but we think there’s still a special excitement surrounding the ones that come out at this time of year. Call us old-fashioned.

Here’s our list of the shows we think you’ll find watch-worthy:

THE HANDMAID’S TALE (Hulu, Sept. 14)
The critically acclaimed and popular series based on Margaret Atwood’s chillingly prescient dystopian novel just dropped the first episode of its fifth season, in which now-escaped refugee June (Emmy-winner Elisabeth Moss, “Mad Men,” “Top of the Lake,” “The Invisible Man”) works from afar to be reunited with her daughter, while her co-conspirators in theocratic Gilead find an unlikely ally in Aunt Lydia (Ann Dowd). Meanwhile, Serena Waterford (Yvonne Strahovski), now a widow in Toronto after the violent end met by her husband at the end of season four, attempts to raise her profile as her homeland’s influence spreads into Canada. The ominous too-close-to-home quality that made this series tough-but-essential viewing during the Trump years has taken on a renewed power with the fall of Roe v. Wade, which means its latest (and possibly final) installment will likely be a must-watch for more audiences than ever. Also starring Max Minghella, Bradley Whitford, O-T Fagbenle, Samira Wiley, Madeline Brewer, Amanda Brugel, and Sam Jaeger.

MONARCH (Fox, Sept. 20)
Self-described as “a Texas-sized, multi-generational musical drama about America’s leading family of country music” and starring Oscar-winner Susan Sarandon “Dead Man Walking,” Thelma & Louise,” “Feud”) as a “tough-as-nails” country music legend, this ambitious new offering from creator/writer/executive producer Melissa London Hilfers features a lesbian couple among its principal characters and looks to be cut from the same guilty-pleasure cloth as all the classic primetime soaps the queer community has always loved. The saga of a fictional country music dynasty with superstars Dottie and Albie Roman at its center, it promises plenty of scandal, sex, bad behavior, and music (both original songs and covers) as it unwinds the secrets and lies at the heart of their success and forces them to protect the family legacy – from both rivals and each other. Featuring multi-Platinum country music star and three-time ACM winner Trace Adkins as Sarandon’s other half, the series also stars Anna Friel, Joshua Sasse, Beth Ditto, Meagan Holder, Inigo Pascual, Martha Higareda, and Emma Milani.

REBOOT (Hulu, Sept. 20)
From “Modern Family” creator Steven Levitan comes this good-naturedly irreverent (and queer-inclusive) send-up of the Hollywood entertainment machine featuring “Crazy Ex-Girlfriend” star Rachel Bloom as a TV writer who gets greenlighted on her pitch for a revival of a beloved sitcom from the early 2000s – a dream come true, until her hopes for a more “woke” update of the outdated classic are threatened by the involvement of the show’s original creator (Paul Reiser, “Mad About You”). Making things even more unpredictable is the original cast (Keegan-Michael Key, Judy Greer, Johnny Knoxville, and Calum Worthy), whose complicated history of offscreen relationships and personal dysfunctions is part of the package deal that comes with reuniting them to reprise their roles. Fast, funny, and full of the rapid-fire comic zingers Levitan’s shows are famous for, it’s a shrewd and deliciously “meta” satire that pokes fun of all the usual Hollywood flaws and foibles – not to mention currently raging generational conflict of attitudes and values – while making sure its gallery of goofy-but-lovable characters are always the main attraction. This one is a definite gem.

INTERVIEW WITH THE VAMPIRE (AMC, Oct. 2)
For the many devoted followers of author Anne Rice, who sadly passed away at 80 last December, this one is huge. Ever since it was first published in 1976, Rice’s gothic tale of a New Orleans vampire revealing his 200-year history as a denizen of the night has been embraced by queer fans, who saw their own outsider experience reflected in its sensual and sensitive cast of undead protagonists. The novel spawned an entire series of books – “The Vampire Chronicles” – that enriched and expanded the stories of her beloved characters and spread them across a vast historical landscape, and branched off into other sagas populated by more of Rice’s supernatural creations; a 1994 film adaptation starring Brad Pitt and Tom Cruise, though successful, felt straight-washed to many of Rice’s readers (and the less said about 2002’s “Queen of the Damned,” the better), but series creator Rollin Jones has already promised his new adaptation – modernized from the original’s mid-70s setting – will be true to the queer subtext of the author’s original work. The involvement of Christopher Rice (the author’s son) as an executive producer bodes well that such promises will be honored. Starring “Game of Thrones” favorite Jacob Anderson as Louis and Australian actor Sam Reid as Lestat, the 8-episode first season will also feature Bailey Bass, Assad Zaman, Eric Bogosian, Chris Stack, Maura Grace Athari, and Kalyne Coleman.

THE YOUNG ROYALS (Netflix, Nov. 2)
The popular Swedish teen drama about the inconvenient romance between young Prince Wilhelm and his classmate Simon (Edvin Ryding and Omar Rudberg, respectively) returns for a second season that sees its protagonist embarking on a plan of revenge meant to win back Simon’s trust, giving rise to complications that threaten the entire monarchy.

PLANET SEX WITH CARA DELVINGNE (Hulu, Nov. 18)
For those with a taste for the provocative, there’s this promising docuseries, in which model-turned-actress Cara Delevingne goes for a deep dive into some of the biggest questions about sexuality. According to publicity materials, the show is an “immersive journey” in which the star “puts her mind and body on the line in search of answers regarding human sexuality, its joys, mysteries, and constantly changing nature.” Delevingne, who appeared in a recurring role on the second season of Hulu’s “Only Murders in the Building” opposite friend Selena Gomez, came out as pansexual in 2020, telling Variety, “Growing up, I didn’t really see many people like me, so I’m just really grateful to be one of those people representing.” We can get behind that, and we’ll be watching when the show drops later this fall.

In addition to these, there’s A TRIO OF SHOWS from Netflix with TBD Premiere Dates:

EAST-BAKE BATTLE – Season 1 of a new culinary competition show hosted by “Queer Eye” heartthrob Antoni Porowski.

DEAD END: PARANORMAL PARK – The delightful animated adventure based on Hamish Steele’s graphic novels about a transgender boy named Barney and his friends, who secretly work as the “demon cleanup crew” at a haunted theme park returns for a second season. Real-life trans actor Zach Barach provides the voice of Barney.

WENDELL & WILD – Animated denizens of the underworld also inhabit this new stop-motion series from collaborators Henry Selick (“The Nightmare Before Christmas”) and Jordan Peele (“Get Out”) about a scheming pair demon brothers trying to be summoned into the Land of the Living by a guilt-ridden 13-year-old. Voice talent includes Peele, Keegan-Michael Key, Lyric Ross, Angela Bassett, James Jong, Ving Rhames, and trans actor Sam Zelaya.

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Television

‘Monarch’s’ hot butterfly: an interview with Kevin Cahoon

Out actor/singer on Fox’s new show and falling in love with Beth Ditto

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Kevin Cahoon stars as Earl in the new Fox series ‘Monarch.’ (Photo courtesy FOX)

Fox’s new musical nighttime soap opera “Monarch” is to country music as the network’s “Empire” was to hip-hop. Complete with over-the-top characters, familial intrigue, infidelity, and tragedy. Oh, and a few queer characters, too. Among those characters is hair and makeup artist Earl, played by out actor and singer Kevin Cahoon. In addition to occasionally being the much-needed source of comic relief, Earl also plays the irreplaceable best friend of country music queen Dottie Roman, played by none other than Oscar-winner Susan Sarandon. Fortunately for us, Kevin was kind enough to make time in his schedule to answer a few questions.

BLADE: I first became aware of you as a performer via your music and your band Ghetto Cowboy. Your debut album “Doll” won an OutMusic Award in 2006. When you look back at that time, how do you feel about it?

KEVIN CAHOON: That’s one of the proudest achievements I’ve ever had in my life; winning an OutMusic Award for “Doll.” It really is! It’s on every bio, every résumé. I was so proud to have received it because, in a way, I was coming from the theater, and to do this as my first foray into music, creating rock ‘n’ roll and pop songs; it just felt like the warmest embrace. I was so honored to receive that. That whole period of my life, with Ghetto Cowboy, and playing all of those incredible venues, like Don Hill and CBGB’s. To have been a part of that and to have been a part of the queer music scene at that time felt special. The LGBTQIA community is still moving forward, trying to gain equality across the board. But at that time this was (during) “don’t ask, don’t tell.” This was before marriage equality.

BLADE: The early 2000s.

CAHOON: Yes, it was even before “RuPaul’s Drag Race.” The culture had no understanding about this music and these people that really were making this music. So, it really felt like the outsiders were crashing their way through the door. I even felt that way naming the band Ghetto Cowboy. I thought, “People who are disenfranchised and pushed to the outskirts of society are forced to live in a ghetto.” Whether it’s a Jewish ghetto or a Spanish ghetto or African American, or even rural people in Appalachia or in rural parts of this country, they are pushed, pushed, pushed to the boundaries. By naming the band that I thought, “Oh, this is what it is. We’re gonna come in. We’re gonna be cowboys in this and we are going to stake our claim from the outside.” It was an incredible moment, and it was so exciting, and it was one of the greatest times of my life.

BLADE: Have you had the time to work on any new original music?

CAHOON: I haven’t, and I want to. I think about it all the time. It’s coming, I promise. I have an idea for the long-awaited second album [laughs].

BLADE: As you mentioned, at the same time you were making this music, you were doing a lot of theater and have continued to focus on your acting career. Would you say you’re a singer who acts or an actor who sings?

CAHOON: I would say that I’m an actor who sings. Even with the rock ‘n’ roll, it was coming from a place of character, and a place of story. I felt like I was playing a character when I was fronting my band.

BLADE: You’re currently in the new Texas-set Fox series “Monarch” in which you play Earl Clark. What was it about the character of Earl that appealed to you as an actor?

CAHOON: First of all, it’s a network series with Susan Sarandon and Trace Adkins. That was a giant appeal. As an actor, I was connected to the world because I grew up in Texas, I grew up in the rodeo and I have a real soft spot for it, if there’s a pair of cowboy boots and a cowboy hat, I’m gonna grab them and put them on. I love the whole aesthetic. I love the world. I love the outsider going out into the plains and staking a claim for himself. That’s the world of “Monarch.” This show biz, country-western family. It is the juiciest of fun soap operas you could ever imagine.

BLADE: It’s very much in the mold of a classic nighttime soap opera.

CAHOON: It is! In the greatest way. Who doesn’t love that? We all loved “Desperate Housewives,” “Nashville,” “Dallas,” and “Dynasty.” The character (I play) was inspired by a real person named Earl Cox. He is the premier hairstylist to every country star you can ever imagine. So, the (“Monarch”) creator, Melissa London Hilfers, saw his place in their world and thought, “Let’s create a character that is inspired by him.” So, it’s loosely inspired, but she ran with it. I (Earl) have worked for the family for decades. I have been the best friend of Dottie Roman, played by Susan Sarandon. The series evolves when you get to episodes six, seven, and eight, more is revealed as to what Earl knows, and how long he’s been around. He lives on the ranch (The Brambles) with the family. We shot on this incredible 140-acre ranch right outside of Atlanta. It was a dream. The job was a dream. I’m praying that I continue to have more of that dream [laughs]. We’ll see what happens when it gets to season two. 

BLADE: I’m so glad you said what you did about Earl and Dottie. There is a palpable exchange of affectionate feelings between them. Would you agree that without their gay hair and makeup people, most country divas would end up looking like Marjorie Taylor Greene?

CAHOON: Gay people are the motor in the pickup truck of the country music industry. I say that Earl Clark showed up to The Brambles with a suitcase full of rhinestones and a dream. His dream was to be in show business. To be close to an iconic diva of country music, which is Dottie Roman, played by Susan and he enjoys being that close to the first lady, and he enjoys his place as the major domo gatekeeper. He will do anything he has to do to retain that position. I think he loves getting dressed up. In the show, they have a fantastic rockabilly hairstyle for me and great, sparkly clothes. I told the wardrobe and hair team that he enjoys getting made-up just as much as he enjoys making Dottie up. That should be part of his essence. That he loves to be seen and he loves to show off and I think they accomplished that with their incredible wardrobe and hair. 

BLADE: Is there any possibility of Earl having a love interest?

CAHOON: There is. If a season two happens, I think that that is in the pipeline. 

BLADE: The queer energy in “Monarch”is powerful with you and singer/songwriter Beth Ditto, who plays Dottie’s and Albie’s (Trace Adkins) daughter Gigi, representing for us. What is it like working with Beth?

CAHOON: We fell in love immediately. I’m from Texas, Beth is from Arkansas. We fell in love over Zoom. That’s how much I love her. She said to me over the Zoom, “Oh, I can tell I’m gonna fall in love with you.” And I said, “Well, I’ve been in love with you for years because I know who you are. I’m afraid you’re stuck with me for the rest of your life.” We have a daily text exchange, Beth and I, which I cherish, and it happens late at night, usually, because we’re both night owls. This text exchange can be about how much we both love Ritz crackers [laughs]. It can go deep, or it can go surface. But I love her and I cherish her, and I’m so lucky that I’ll have her in my life for the rest of my life. 

BLADE: Could there someday be a creative collaboration between Kevin and Beth?

CAHOON: Yes! Come on. I would just die and go to heaven. That would be a dream. Maybe we can come up with a song for the show.

BLADE: Fantastic. Will “Monarch”’s audience ever have a chance to hear you sing? 

CAHOON: Well, I hope that’s another thing in season two. Let’s get a boyfriend and let’s get a song. 

BLADE: “Monarch”is set in Texas. As a Houston native, how do you feel about the way Texas is depicted in “Monarch,”as well as in other shows set in the state?

CAHOON: Texas is such an interesting place. Because you have these hotbeds of liberal progressiveness.

BLADE: Austin. 

CAHOON: Austin, Houston, Dallas. Then, on the outskirts, it’s pretty red. But I do have to say that within those red pockets, LGBTQIA people are there. They are part of the fabric. They are accepted, they are beloved. They are part of the world. 

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