Amielynn Abellera grew up with a nurse practitioner mother and a doctor father, so perhaps she was always destined to appear in a show like The Pitt. Looking at popular media as a Filipino child, though, she never saw “authentic representation” when watching shows about healthcare workers.

“If I did have representation, I would have been more curious and more celebratory, and want to investigate more and ask [my parents] questions,” she tells The Blade. “It’s never too late, and now that there is representation, it’s really making waves across the Filipino and Filipino-American community to initiate conversations.”

Acting on HBO Max’s The Pitt, as she has since the very first episode, carries a deeper meaning for Abellera, who plays the steady and empathetic Nurse Perlah. The second season once again follows a full 15-hour shift in the ER, this time taking place on the Fourth of July.

Abellera reflects on Perlah’s journey: “As a nurse, she is really good at her job, she’s really calm and composed and confident. She knows how to protect herself in such a challenging career. That has been part of how she’s able to get through it. In this season, on this particular day, she hits some challenges, and we start to see a little bit of that armor crack — just a tiny bit.”

It’s been a breakthrough role for Abellera, who previously appeared in episodes of The Cleaning Lady, Bosch: Legacy, and NCIS. The unique filming style of The Pitt, where every episode is synchronized with one hour in the hospital, has given Abellera a new experience altogether: “It feels very sporadic, very panicked, and very immediate.”

“It does feel like I’m waking up at five in the morning, starting a shift, and doing a 12-hour day. Sometimes, the reality mixed with the not-reality and the pretend can sort of meld together,” she says, while adding with a laugh, “I’m not a nurse, I’m nowhere near anything being a healthcare worker, of course, but sometimes you end up thinking, ‘I can actually put an IV in!’”

As she looks back on the season at large, one episode that stands out to her is Episode 3 (titled 9:00 A.M.), which incorporated the 2018 Tree of Life synagogue shooting that took place in Pittsburgh, where the show is also located. In a poignant moment, a Jewish patient named Yana (played by Irina Dubova) connects with Perlah, who wears a hijab.

“Quite honestly, I didn’t know so much about the shooting until we started working,” she says. “I really loved how simple the scene was, in terms of it being two people just connecting and caring for each other in that moment, and also acknowledging this bigger thing. It took both Yana and Perlah by surprise — the feelings that came up for them. I remember even filming it; it took both of us by surprise.”

When I ask about bringing both Filipino and queer representation to the show, Abellera says “I know I sound like a broken record. But I’m so proud, and it’s such an honor to be able to represent the Filipino community as healthcare workers. It’s such a big part of Filipino history and my personal history.”

On the show, she’s also found solidarity with Isa Briones and Kristin Villanueva. “Something I like about the three of us is we’re three different dimensions of Filipino,” she says.

Beyond the community she’s cultivated with her cast on-set, The Pitt has been celebrated across the entire industry, most recently winning the ensemble in a drama series prize at the Actor Awards and, of course, the Emmy award for best drama series. The Actor Award recognition was especially notable since it brought the main cast together on stage. With Season 3 already in the works, one can only imagine how many more awards the show will nab.

“I don’t think anybody knew that we were so hungry for this type of going back to how television used to be,” Abellera says, noting the 15-episode order for Season 2. “It’s taken all demographics by surprise.”

JORDY has never been one to shy away from a feeling authentic/messy/euphoric, but lately, he’s been leaning into something a touch more mischievous… the art of letting go. With “DUMB,” the GLAAD and Queerties-nominated pop auteur trades overthinking for overstimulation, bottling up that kind of night where the group chat becomes a glitter-glazed dance floor and emotional clarity is gloriously replaced with invited chaos. It’s a track that winks as much as it confesses, proving that even in his most carefree moments, JORDY’s tongue is still razor-sharp.

As he steps into a new era with his forthcoming album In Retrospect, JORDY sounds both freer and more self-assured than ever. With this new album, JORDY finds himself less concerned with chasing validation and more interested in capturing the full spectrum of being alive, from introspection to intoxication (emotional or otherwise). “DUMB” might sparkle on the surface, but underneath, it carries a self-aware pulse. Sometimes the smartest thing you can do is stop trying so damn hard.

“DUMB” playfully entertains the idea of escapism. What was your inspiration to play with this particular theme?

I honestly was getting emotionally exhausted from writing songs on my new record that were particularly vulnerable…I needed to write a song that simply felt FUN. Like a night out. A break from reality. I got together with my best friends and did just that. 

The title comes across as tongue-in-cheek, but the song itself is emotionally complex. How did you strike that balance between humor and vulnerability?

During the creation of this song, it reminded me that we all need to just forget everything sometimes. While “DUMB” is an upbeat song, I hope it reminds listeners to take a breather and live in the present.

What was the creative process like in the studio for you when creating this track?

We honestly had the best time that day. Again, I wrote this song with my best friends. There are no limits and no rules with us. We were laughing, dancing, and eating yummy snacks. Maybe some glasses of wine. It felt like a sleepover, and I think you can feel that in the track.

How do you think your fans will relate to the theme of not taking things too seriously?

I think it’s what people NEED right now. There’s a lot of heaviness around us constantly, especially within the queer community. It’s my job to speak on those things, but also to create music that allows us to escape. We deserve those moments of happiness and euphoria. And I want to provide that.

Looking back at your breakout with “Just Friends,” how do you feel your sound and storytelling have evolved leading into this new era?

Oh my goodness – I was in such a different place back then. When I wrote that song, I was desperate for a boyfriend; someone to validate my worth. Now, being in my 30s, my priorities have shifted immensely. I am so much more in love with my own company than I was before. And I’m proud of myself for that. I really think you can hear that too in this new era.

Your projects, like BOY and SEX WITH MYSELF, each had solid identities. Where does “DUMB” sit in the larger arc of your artistic journey?

It’s a part of my next album, In Retrospect. This album means so much to me. It’s my turning 30 album. I think BOY represented me coming into my adulthood, SEX WITH MYSELF felt like a sexual liberation, and now this new record feels like the more mature and experienced version of myself. It’s exactly where I’m at right now. 

You’ve amassed a huge global audience. Does that ever influence the way you approach writing, or do you try to stay focused inward?

I want to give my fans what they want, but I think the more I feel connected to something the more they will. I try to focus on what feels good to me, knowing that it will most likely feel good to the fans. I want all of my songs to be an honest and authentic version of what I am going through. 

Your live performances are high-energy yet personal. How do you envision DUMB translating on stage?

It’s going to be epic. Absolutely EPIC. I can’t wait to premiere it at Mighty Hoopla Festival in London, May 31st!

You’ve also performed at Pride events and on national television. How have these experiences impacted your art?

It’s my favorite part of what I do. It’s the time we get to come together as a community and shower each other with love. It’s one thing to see people’s comments online, but when we all get to dance together, it’s a completely different experience. It makes it all feel real.

View this post on Instagram

A post shared by JORDY (@jordymusic)

How has it felt receiving recognition from Billboard and Rolling Stone (pretty major, let’s be real)?

I feel incredibly honored to have ever been recognized by publications like Billboard and Rolling Stone. As a gay man, it’s so important for the media to lift up queer artists like myself. There are so many incredible queer musicians who deserve the visibility, so it’s very, very impactful when the big companies promote queer art.

What does “pushing pop boundaries” mean to you at this moment in your career?

I think as a queer person, being completely authentic and honest in my music means I’m pushing boundaries. These are the perspectives that a lot of the music industry actively tries to shut down and reject. Instead of conforming, I want to be loud with my truth.

Without giving too much away, how did you go about exploring and translating themes and songs to form your upcoming album In Retrospect?

It started by getting out of a very toxic relationship. I was angry and upset for a long time, and the songs reflected that, but the further away I got from that relationship, the more I was able to reflect. I felt motivated to better myself. I feel like letting go of that relationship allowed me to let go of other things, too. Instead of guilting myself for staying in something toxic for too long, I choose to pat myself on the back for the courage it took for me to leave. 

With the assumption that the title In Retrospect suggests reflection, what were you looking back on while creating this project?

I am not in my 20s anymore, and my priorities have changed. This album is truly a reflection of that and where I’m at mentally at this moment. I look back on that time with zero regrets. 

As you enter this next phase of your career, what do you hope your audience takes away from your music, performances, and art as a whole?

I just always want my listeners to feel heard and understood, and safe and loved. It’s easy to bury your feelings, so I like to create spaces for us to feel those feelings together. So we can support each other through it. And of course, I want them to dance the night away and have the best time. 

View this post on Instagram

A post shared by JORDY (@jordymusic)

Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.

Taking place on Monday May 11 to Wednesday May 13, the event honors the most charismatic personalities and creative artists in entertainment.

“I am honestly so excited–getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade. 

“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.

While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.” 

Santini loves how DJ-ing brings people together. 

“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”

 Santini describes DJs as the “modern rock stars” in today’s world. 

“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ- I love when I get those types of compliments!”

While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.

Santini, who had previously identified as trans, recently decided to transition back to being gender fluid.

“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.” 

Santini acknowledged they felt respected more when dressed as a woman.

“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”

Recently, Santini has been embracing their feminine side more.

“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.” 

And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”

Santini is already working on big plans for the future.

“I’m opening up for a huge Pride block party in my hometown, Albuquerque, New Mexico, on June 12 and 13.  It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers & a choreographer.”

Santini plans to go “all out” for this show. 

“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”

Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.

“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”

Santini acknowledged that, in the recent past, it was a struggle.

“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”

In addition to being a DJ/artist, Santini is starting college next semester. 

“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”

Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”

As the ever-fashionable Glenn Close walked out in front of the TCL Chinese Theatre sporting a pair of circular shades, sitting down in a chair to block out the sun from her view, she looked a lot like Norma Desmond, the character she brought new dimensions to while starring in Sunset Boulevard on Broadway.

Unlike the famous character she played that lost touch with reality decades after finding success as an actor, Close is one of the rare actors to continue finding success decades after achieving stardom. The eight-time Oscar nominee, who landed her first nomination back in 1983 for The World According to Garp, was surrounded by her family, including her granddaughter, and a very well-behaved white dog that accompanied her on stage. Many of her close collaborators were also in attendance, including Melissa McCarthy and Hunger Games: Sunrise on the Reaping director Frances Lawrence.

The crowd, which included select press and TCM passholders, hung on Close’s words as she reflected on the kind of career most aspiring actors dream of. This was the kind of event the TCM Classic Film Festival does best — not just the yearly Hand & Footprint Ceremony where stars get their hands and feet imprinted by the TCL Chinese Theatre, but the daily programming that connects passionate film fans with the female icons they grew up watching and idolizing. It was a true celebration of both past and present. Where else can classic movie fans not only see an icon like Close receive their dues, but share that moment with the actor’s loved ones?

Close’s ceremony was just the beginning of the action. The festival also gave attendees the chance to hear Carol Burnett and Barbara Hershey speak in dedicated one-hour Q&As; Faye Dunaway, Laura Dern, Sharon Stone, Julia Sweeney, Lorna Luft and Lesley Ann Warren all presented different screenings throughout the four-day festival in Los Angeles (read The Blade’s coverage of Warren’s talk before Victor/Victoria here), while Close herself presented a screening of 1988’s Dangerous Liaisons.

View this post on Instagram

A post shared by Turner Classic Movies (@tcm)

The line just to get into Burnett’s conversation was the longest I saw at this year’s festival, quite literally spiraling around the lobby of the historic Roosevelt Hotel to the point where people couldn’t locate where it even ended. The crowd immediately took to their knees once Burnett walked into the room. In a conversation with TCM host Ben Mankiewicz, the seven-time Emmy winner looked back on the origins of her TV career and the women who mentored her.

Burnett would go on to make history as the first woman to host a variety show with The Carol Burnett Show, which ran on CBS from 1967 to 1978. One of the most surprising bits of her conversation was her freeing experience working with studio executives.

“When we got our show, [William S. Paley] said to us, ‘You’re the artist, I’m the businessman. You do what I do, I’ll do what I do. Go do your thing. If it’s not working, I’ll be in touch,’” Burnett recalled. “We never had a sponsor bothering us, or the network bothering us,” adding that the writers’ room was free of outside influence. In today’s media landscape, such a story is unheard of.

View this post on Instagram

A post shared by Turner Classic Movies (@tcm)

Beyond these incredible stories shared by beloved actors, the festival was also an opportunity for different generations to connect through their shared love of film. As a young queer person myself, I’ve noticed how TCM can sometimes be unfairly labeled as a network solely for older people. While the festival’s attendees certainly skew older, the wide variety of female stars drew in multiple different generations; from the women who grew up on Burnett’s variety show in the ‘60s and the ‘70s, to today’s young audiences — mainly gay men! — who fell in love with Laura Dern through more recent hits like Big Little Lies and Marriage Story.

That’s part of what makes the festival so wonderful: the opportunity to connect with all different kinds of people while waiting in line for screenings and panels, and reflecting on how everyone came across a piece of media at a different point in their life. As a queer person, many of these actors resonate with me in a completely different way than they might for older women who grew up seeing a female comedian like Burnett pave the way for more representation.

The opportunity to see living legends in person hits even harder after the recent passing of Catherine O’Hara, Diane Keaton, and Rob Reiner. This theme of crossing generations and passing the baton down couldn’t have been made clearer than the way Mankiewicz chose to close his conversation with Burnett, who reminisced on how I Love Lucy star Lucille Ball became a crucial mentor and friend before her death in 1989.

“I’m listening to you with Amy Poehler and the way she talked about you … the way Tina Fey feels about you,” Mankiewicz said. “To that generation of these brilliantly funny women — and plenty of men, too — you’re Lucille.”

It was impossible to leave that room without thinking about Burnett’s signature line: “I’m so glad we had this time together.”

In 2024, when Richard Gadd’s “Baby Reindeer” became a stock-boosting hit for Netflix, there were few Americans who knew his name.

In the UK, however, the Scottish writer/comedian/actor had already emerged as a talent to be reckoned with, blending autobiographical stand-up comedy with theater to create a reputation as an edgy and provocative creator whose shows tended to be equal parts divisive and successful. One of these, his fictionalized true-life story of being stalked and sexually harassed by a female fan, became an Olivier Award-winning hit in the London theater; that was “Baby Reindeer,” and – in the form of a seven-episode miniseries adaptation – it became the vehicle that carried him to wider fame.

Two years later, Gadd has returned with another high-profile miniseries, this time for HBO Max, and like its predecessor, it’s a story that deals with queer sexual repression, unhealthy attachments, and a central relationship that can safely be described without exaggeration as “toxic” – and it’s an even darker (and more twisted) ride that stretches across decades. 

“Half Man,” which debuted on April 23 and continues with one episode per week through May 14, is the story of two “brothers” – Niall (Jamie Bell) and Ruben (Gadd) – whose mothers (Neve McIntosh and Marianne McIvor) have become a lesbian couple after leaving their relationships with the boys’ respective fathers. They are seeming opposites in personality; Niall is quiet, sensitive, and secretly unsure about his sexuality, while Ruben is tough, rebellious, and prone to violence – and unsurprisingly, it’s a match made in hell.

We meet them at the top of the first episode as adults, on the day of Niall’s wedding, when Ruben shows up without warning; his appearance triggers what looks like fear in his “brother from another lover,” and a private meeting between them in a barn at the wedding site turns ugly, launching a flashback format that takes us back to their schooldays, when young Ruben (Stuart Campbell) – already in trouble with the law and trying for a new start – comes home from juvenile detention to become roommate, protector, and bully to young Niall (Mitchell Robertson), all in one.

It’s the dawn of a new and epic relationship, despite a history that has made Niall terrified of the older boy; their seemingly opposite qualities somehow mesh into a kind of symbiotic bubble, in which a tense equilibrium turns them into unlikely allies. Ruben makes sure Niall has nothing to fear from the sniggering schoolyard homophobes who target him, and Niall helps Ruben pass the tests he needs to pass in order to stay in school, Nevertheless, their dynamic is equal parts surprisingly tender and alarmingly lopsided. Though they form a bond, it’s a volatile one, and by the end of episode one – after an uncomfortable-to-watch late night incident that amounts to a sexual assault – there is little doubt that Ruben is a psychopath. By then, however, it’s too late; Niall has become hopelessly ensnared by his manipulations, and their dangerous attachment has taken permanent root.

In episode two, the timeline moves the past forward several years (while rolling the wedding-day story back a few hours as well), bringing Niall forward to his college years. Ruben is once again absent from his life, but the bond is still deep. He struggles to make connections in his new setting – including with another student, the openly gay Alby (Bilal Hasna), who recognizes a side of him that he has still yet to accept for himself. Though he gradually begins to adapt to his new social circle, his insecurities get the better of him – and despite warnings from his mother not to do so, he calls Ruben to come and visit. His arrival triggers another escalating series of incidents, this time entangling Niall’s new friends and culminating in a shocking, jealous-fueled explosion of violence.

Without going on with the story – after all, the two remaining episodes have yet to be released, so we wouldn’t want to spoil anything – it’s safe to say there’s a pattern here, and it’s intentional.

Gadd has already been public about his own struggles with repression, which were directly explored (albeit fictionally) in “Baby Reindeer,” and it’s clear that he had more to say about the effects they had on his life and identity.

As he put it himself, in an interview with the Hollywood Reporter, “Themes of, I guess, masculinity, or what it means to be a man, or ‘I’ve gone through a masculinity crisis’ come into [the show] probably because I’ve been through that in my life, and I feel I can write to it and speak to it.

“I always think that the best kind of art is kept close to your chest, kept close to your heart, kept close to your experiences, and I guess with ‘Half Man,’ there’s a lot in it that I relate to. It’s not an autobiographical piece by any stretch, it’s purely fiction, but it certainly borrows from themes and struggles and issues that I understand.”

That understanding translates to the series through its focus on tracing the roots of Niall and Ruben’s relationship by methodically tracking the cause-and-effect chain that links the major events of their lives together. It explores the contradictory combination of worship and terror, the transgressive eroticism that intertwines danger and desire, the power of the forbidden to make us want it more, and the self-loathing that punishes itself through violence toward others. The inverted framework of the storytelling, which works both forward and back to meet at (we assume) some definitive point, makes following it a bit like putting together a puzzle, which also has the effect of building suspense as we wait to see the “moment of truth.”

Of course, those who prefer a more straightforward narrative might not appreciate the additional challenge, especially when the subject matter – which revolves around experiences, feelings, and behavior that might be entirely unfamiliar to many audiences – is challenging enough by itself, in its own way. Likewise, and for much the same reason, there will be viewers who are unable to relate to its characters, as some of the show’s less-favorable reviews have pointed out.

But it would be naive to assume that the themes in “Half Man” – of fragile masculinity, internalized homophobia, misdirected rage, nihilistic rebellion, conflicted desires, projected shame, and the other ingredients that infuse this shadow-boxing psychodrama with such a distinctive musky odor – do not apply to more men in today’s culture of incels, “looksmaxxers,” and “the Man-o-sphere” than any of them would like to admit. We’d wager that its portrait of a same-sex, sub/Dom, borderline incestuous relationship might resonate more urgently there than within a queer community that has been grappling with those issues for generations already and are just waiting for everybody else to catch up.

In any case, Gadd’s newest variation on a theme is a solidly crafted, well-acted, and hypnotically fascinating (if sometimes uncomfortable) exercise in the kind of “can’t look away” drama that makes for a perfect binge watch. Or, at least, it will once all the episodes drop.

Uncloseted Media published this story on May 7.

By SPENCER MACNAUGHTON | In 2025, the global cannabis market size was valued at nearly $103 billion. By 2034, that number is expected to explode by roughly 1,400 percent to more than $1.43 trillion.

In short, as an increasing number of countries legalize marijuana use, everyone is starting to consume a lot more weed. And LGBTQ+ people tend to use cannabis at much higher rates than the general population. One study found that 55 percent of lesbian and 45 percent of gay young adults use marijuana, compared to about 33 percent and 37 percent, respectively, of their straight counterparts.

As LGBTQ+ people face a mental health crisis, the mainstream stereotypes that depict weed as an antidote for anxiety, panic and depression aren’t painting the full picture. And that could be exacerbating the mental health struggles so many queer people, and especially youth, face.

Here’s what the research demonstrates about marijuana and its effects on mental health:

• Multiple studies suggest a link between marijuana use and an increased risk of mental health disorders, including schizophrenia, depression and anxiety in individuals who are genetically predisposed.
• One study found that daily marijuana use, especially among younger people, makes some individuals seven times more likely to develop psychosis.

The increase in higher-potency strains of marijuana could pose unknown risks. In 1995, the average content of Tetrahydrocannabinol (THC) in confiscated marijuana was less than 4 percent. In 2022, it was more than 16 percent. Researchers don’t know the full extent of the impact that these higher concentrations can have on mental health and especially on younger people whose brains are still developing.

• A systematic review of studies published between 2013 and 2025 found damning results for the mental health of young cannabis users:

They were 51 percent more likely to experience depression, 58 percent more likely to experience anxiety, between 50 and 65 percent more likely to experience suicidal ideation and 80 to 87 percent more likely to have attempted suicide.

• While the above stats paint a grim picture, there is also some research that suggests benefits of cannabis use:
  • A 2025 systematic review found that “medicinal” weed showed some efficacy in relieving withdrawal symptoms of opioid use disorder. THC use has been associated with improvement of post-traumatic stress disorder symptoms, bipolar symptoms and sleep quality.
  • Other studies found that THC administered in a controlled setting was associated with a decrease of symptoms and adverse effects for a range of mental health disorders, including schizophrenia, psychotic symptoms, and anorexia nervosa.

Beyond what we pulled from academia, there is an astounding lack of information about the interplay between weed and mental health. As we dive deeper into Mental Health Awareness Month, I hope advocacy organizations, influencers and news outlets ramp up their coverage of this important topic that affects the countless LGBTQ+ weed smokers, many of whom are already struggling.

When Lesley Ann Warren first watched a cut of the campy musical comedy Victor/Victoria, in which she plays Norma Cassidy, the extravagant showgirl known for shouting “Pookie!”, she thought she’d never land a part again.

“I was so shocked to see myself that way, and I went home, and I cried, for a long time, I thought my career is over. It’s just over!” Warren said before a packed Saturday, May 2 screening of Victor/Victoria at the TCM Classic Film Festival in Hollywood, California, moderated by TCM’s Dave Karger. “So I never thought about [an Oscar nomination].”

Directed by Blake Edwards (Breakfast at Tiffany’s), the film stars Julie Andrews as Victoria Grant, a down-on-her-luck performer who meets an older gay man (played by Robert Preston) and winds up posing as a man impersonating a woman on stage. As her artistic career takes off, though, so does her romantic one, as the insecure gangster King Marchand (played by James Garner), who starts off in a relationship with Norma, begins wondering if his attraction to Victoria (or Victor, as she’s known to the outside world) makes him gay. Following the 1982 film, Victor/Victoria was adapted into a 1995 Broadway musical; Andrews was the only part of the production to be Tony-nominated (she famously declined the recognition.)

In 1983, Warren would go on to receive an Oscar nomination in the supporting actress category; Andrews and Preston also earned acting nominations, and the film was recognized for adapted screenplay, production design, and costume design, even winning for its music. Warren’s nomination was surprising because the Academy rarely values comedic, over-the-top performances.

“I honestly didn’t even keep track. I knew that MGM was doing this incredible campaign for me, but I wasn’t a part of it because I was working [on A Night in Heaven], and different times,” Warren recalls, explaining she found out about the nomination after producer Joel Silver called her early in the morning. “It was an out-of-body experience. They had to stop filming that day — all these outlets like Entertainment Tonight flew in to see my reaction … It was thrilling.”

Even more so than the Academy’s recognition in 1983, Warren’s status as a queer icon who resonates deeply with LGBTQ+ audiences has stuck with her, mainly for her work in Victor/Victoria, Cinderella, and, of course, cult favorite Clue. When asked about what that status means to her, Warren expressed strong enthusiasm for her queer fans.

“I wouldn’t say it’s a surprise, I’m thrilled because I love them,” Warren said. “Especially Clue and Victor/Victoria, there’s such larger-than-life women in a way, and that’s really part of the appeal. But I was telling you backstage, I have gotten incredible responses from many people, but two specific people who happen to be brilliant directors.”

Warren said she heard this feedback from openly queer filmmakers Rob Marshall, who went on to direct Chicago and Into the Woods, and Lee Daniels, who helmed The Butler and Precious. “The pain that Cinderella went through and the ostracizing, [Daniels] felt as a child,” she recalled. “He said he used to sit in the corner of his bedroom and sing ‘In My Own Little Corner,’ and it gave him comfort.”

It didn’t take Warren nabbing the Oscar nomination, or the queer community’s love and admiration, for her to come around on her performance in Victor/Victoria, though: everything clicked at the film’s premiere. “I heard and saw the reaction of the people in the flesh, in the moment, and I thought, ‘Oh, I’m going to be OK!’”

Based on the contagious, uproarious laughter that could be heard across the entire TCL Chinese Theatre on Saturday night, Warren’s campy-as-hell performance in Victor/Victoria continues to steal the show nearly 45 years later.

With all the devastating anti-LGBTQ news that we have to report on every week, it is always nice to have an excuse to take a breath, celebrate fellowship, and remember that queer joy is a very real thing. The Los Angeles Blade was invited by the Abbey this last weekend to join in the festivities for Andy Santiago’s Sunday Service drag brunch, with a special appearance by Bravo’s Real Housewives of New York City personality Sonja Morgan.

Now, being a certified Bravophile, there was no way I was missing an appearance from one of my favorite reality TV divas. While Sonja didn’t join the show until its third season, she is always considered one of the franchise’s formidable personalities. We’ve been through it all with Sonja – the good, and the so bad it’s good TV moments. (Side note: I have met her show co-star Ramona Singer during one of her West Coast appearances…it wasn’t as fun…by a long shot.) Above Sonja’s goodheartedly crazy antics on the show, she has remained a staunch LGBTQ ally, even before the cameras showed up.

The weather was overcast, but the day was shining bright as Sonja entered to thunderous applause and fan clacking from the packed Abbey. Wearing a rhinestone crown, it was clear that the Queen had entered the building (flashback to Madonna’s visit to the Abbey the weekend before). Yes, there are many queens who come to The Abbey.

As a fun bonus, Below Deck Mediterranean’s Captain Sandy and wife Leah Rae Yawn joined the fun, as well as entertainment host, podcaster, and Andy Cohen’s right-hand gal, Daryn Carp. MISTR models in tinier than tiny undies flanked Sonja and her crew, and Misty Violet took to the stage hosting with HBO’s Legendary divas Becky Peach and Calypso Jete, with fun Housewife-remixed performances by Annie Biotixx. Sonja’s infamous tooth-popping-out moment was revisited…IYKYN.

The Brunch even had a fun stop by from the TMZ touring bus. Of course, Sonja had to entertain the tourists.

The day was a much-needed Sunday Funday addition, remembering that even among the chaos of queer politics and activist fatigue, we can still let loose a bit and enjoy some unfiltered time with our local queer community and allies.

Every table was occupied to the brim, and placed close together to allow for the full crowd. Drinks and laughs were flowing from table to table, and friendships were quickly made (even if just for the Brunch) in this varied crowd. This was a party that didn’t care who showed up, just that you did show up.

Diversity and queer joy were alive and well.

Writing about the reign of Nicole Murray Ramirez and the close leadership of King Father Terry Sidie requires far more than listing achievements, because what has been built over these years cannot be reduced to titles, ceremonies, or public recognition. It must be understood as the result of a sustained vision rooted in service, memory, solidarity, and the real ability to build bridges within and beyond the LGBTQ+ community.

At this point, looking back and assessing this period means acknowledging that this was not just another chapter in the history of the International Imperial Court System. It was a time shaped by far-reaching initiatives, a clear commitment to concrete causes, and a style of leadership that moved confidently between symbolic representation and public action. In that context, Nicole Murray Ramirez’s announcement that her reign will conclude in February 2027, along with the coronation of the person who will assume the throne as the new Queen Mother of the Americas, should not be read simply as the end of an era, but as a moment to fully recognize what has been built while also understanding that a new chapter is about to begin.

One of the most defining aspects of this reign has been its understanding that visibility alone is not enough. Visibility matters, but it only becomes meaningful when it leads to action, support, and measurable change. That has been a consistent strength of the work led by Nicole Murray Ramirez alongside key figures such as Terry Sidie.

The Jose Nicole Terry Scholarship and Educational Fund reflects that commitment. Reaching $400,000 is significant, but what matters most is what that represents in terms of opportunity and access.

This leadership also prioritized historical memory through initiatives like the National LGBTQ Wall of Honor at the Stonewall Inn and the recognition of Jose Julio Sarria.

Efforts such as the Harvey Milk postage stamp, the USNS Harvey Milk, and multiple recognitions for Sarria reflect a sustained commitment to public recognition and justice.

International outreach, financial support to global causes, advocacy for transgender communities, and engagement with organizations beyond national borders further define this period.

The expansion into Canada and the opening of a new chapter that includes Puerto Rico highlight the evolving nature of this leadership. The upcoming June coronation marks an important step in that direction.

Acknowledging that the reign was not perfect does not weaken its legacy. It reinforces its authenticity.

This was not an individual effort. It was collective work supported by a broad network.

As the transition toward Feb. 5, 2027, continues, what remains is a legacy built on action, commitment, and responsibility.

Books about Fashion and Style
By various authors
c.2026, various publishers
$19.95 – $29.95

Don’t look now, but your legs are showing.

It’s OK, it’s almost summertime and you want to show both skin and style. So how about a few hints for looking your best? Check out these great books and get stylin’.

Who says there are rules about fashion? Wearing white before Memorial Day is OK; socks with sandals not so much? Fine, but in “Bending the Rules: Fashion Beyond the Binary” by Camille Benda with Gwyn Conaway (Princeton Architectural Press, $29.95), you’ll see that any guidelines that hint about gendering clothing are oh-so-last century.
Along with lively, fun narrative, there are lots of photos in this book, ads for how clothing used to be worn along male-female lines, and short biographies of some of today’s best designers. Here, you can check out prom dresses from the 1950s and new haute couture gowns practically right off the runway – and see how one parallels with the other. The timeline reaches back centuries, so you get a nice idea of where certain kinds of clothing originated and how it’s relevant today – making what’s inside here perfect for browsing.

Pick up this book, in fact, and you might also pick up some ideas for filling your closet and creating your very own style.

The fashion you wear on your body isn’t all you’ll find in “Pretend to Be Fancy: A Field Guide to Style and Sophistication” by Whitney Marston Pierce (Chronicle Books, $19.95). You’ll also read about other nice things you can have.

So you’re not a pinky-in-the-air kind of person, whatever. You can easily hang with those who are, once you read and absorb this book.

Tongue-tied at fancy soirees? Not anymore, there are tips for talking here. What do you know about canapes, hors d’oeuvres, and the kind of foods you don’t get at the corner c-store? How do you make a charcuterie that everyone will Ooooooh over? And how do you give a gift for the person whose taste seems scads better than yours? That’s all in here, along with what to drink, how to dress, and how to make every corner of your home look like something right out of a high-end magazine.

Will this book make you chic? Possibly, yes. Will it help you get invited to all the best parties? Maybe, but for sure, it’ll make you laugh, it’ll make you feel fabulous, look fabulous, and live your best life with the surroundings you deserve. Out May 5, so put it on your list.

But let’s say you need more ideas. You have questions or thorny issues with fashion that you really need answering. That’s when you ask for a talented fashionista at your local bookstore or library, that knowledgeable someone knows books and knows how to get what you need to be your most dazzling, best-dressed, finest-appointed self in a home you can be proud of, with comfortable furniture that will be the envy of everyone who sees it.

In the meantime, grab the above titles, because these books got legs.