The King of Drag TV series hosted its premiere at Beaches Tropicana in West Hollywood on Sunday, June 22 uniting kings from all across the land, far and near. 

The premiere brought in a packed house with guest appearances, famous drag kings in their full regalia and guests who were more than eager to see the first episode in the historic series. 

The show was created by Damian Pelliccione and Christopher J. Rodriguez and hosted by Murray Hill, who bring together a significantly underrepresented group of performers from all across the United States for a competition show on more than just looks and ability to beat their faces. This diverse group of kings represent different cultures, inspire different communities and bring their unique skills and personalities to compete against each other for the title of king. 

And the 10 kings are…

• Buck Wyld from Dallas, Texas 
• Alexander the Great from Austin, texas
• Perka $exxx from Charlotte, North Carolina
• Pressure K from Atlanta, Georgia
• Dick Von Dyke from Minneapolis, Minnesota
• King Molasses from Washington D.C.
• Charles Galin King from Los Angeles, California 
• Tuna Melt from Queens, New York 
• Henlo Bullfrog from Philadelphia, Pennsylvania
• Big D from Bellingham, Washington

The first episode’s theme was none other than: sports. 

The first challenge was “The Weenie Challenge,” where contestants had to pose for player cards, with only five minutes to suit up in semi-used sports gear. The photoshoot was judged by Chicago king Tenderoni and WNBA all-star Layshia Clarendon.

The second challenge brought teams together to write and record a verse, while also coming up with the choreography for a performance. The teams assembled and got to planning — prizes all in mind. 

The prizes 

• Crown and scepter from Fierce! Drag Jewels 
• Custom suit courtesy of Sharpe Suiting
• Talent Management from Queer Up Agency
• Round-trip flight to Seattle to headline the Emerald City King’s Ball
• One year’s worth of e.l.f cosmetics and e.l.f skin products
• $10,000 in cash

Kings Court 

The battle for king has to be judged by the first and foremost kings, queens and icons of all the land. The Kings Court was made up of: Puerto Rican King of Charisma, Tenderoni; 

Brooklyn drag icon, author of “The Big Reveal,” and winner of RuPaul’s Drag Race, Sasha Velour; Wang Newton, from New York City; legendary director Paul Feig and last, but not least, executive producer and judge of the GLAAD award-winning series “Drag Latina,” and queer style icon Damian Pelliccione.

Episode One

Tuna Melt became the first king to be eliminated from the competition in the series premiere episode. Teo Pactong, who runs the Hause of Melt, a production brand — was voted off after a singing and dancing competition and sports photoshoot during the first episode.   

Pactong has been doing drag for four years after being introduced to drag by their drag father Theydy Bedbug. Before doing drag, they held music industry positions at Youtube Music and Google. 

Pactong says that in the process of finding their drag king persona Tuna Melt, they found Theo. In their cameo, they explain that when they came out as trans, they didn’t feel like they fit in the world of music tech anymore. 

In the episode, Pactong opens up about their identities. 

“For the longest time, I never felt like a girl and I also never felt a hundred percent a man,” said Pactong. “It’s always been this spectrum of existence.” When Pactong was put up for elimination, they also opened up about their family background and how that influences their passion for this competition. 

“I’m Asian, I’m Latin [American], I’m transgender. I come from a family of immigrants.” they said. “My mother instilled in me that I had to work two times harder than everybody else.” 

In the first round of eliminations, it was Henlo Bullfrog and Tuna Melt who ended up in the bottom two, facing off against each other in a final redemption round.
Each week the kings will fight for a last chance during “The Final Thrust” round, and this time it was a breakdancing battle. 

In the end, it was Tuna Melt who was voted off by the majority of the Kings Court.

Each week we will be interviewing the rest of the fierce competitors and getting to the bottom (and top) of their 

Where To Watch

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

Two decades after Noah’s Arc changed the game for queer, Black storytelling in Hollywood, Patrik-Ian Polk returns to Los Angeles Black Pride for a legacy celebration honoring the sparkling new chapter in the show’s story.

Grab your popcorn…

During LABP’s finale event on Sunday, July 6 at The Abbey, the festival will present its Community Legacy Award to director, producer and trailblazing storyteller Patrik-Ian Polk. Polk is known for creating Noah’s Arc, a show that premiered 20 years ago on Logo TV — the first queer-centered commercial cable network. It’s a more-than-appropriate tribute as Polk’s iconic series helped define Black queer media and its influence remains undeniable today.

“The idea for Noah’s Arc was born over 20 years ago at the opening night party for Black gay Pride in Los Angeles,” recalled Polk. “I was struck with the idea to create a Black gay Sex and the City-type series. I literally declared to myself at that party that I was going to make it happen. I vowed that within one year the show would be a reality. And it was.”

A Polk announced that Noah’s Arc: The Movie, will debut this summer. The reunion is a nostalgic and formidable reminder of how vital Black queer storytelling remains today.

This year, LABP’s programming reflects that vision more than ever. With community panels, wellness activations, art installations and nightlife events curated specifically for Black LGBTQ audiences, the weekend is about visibility and shaping our future.

Part of this future means honoring and celebrating those pioneers who laid the groundwork.

Each summer, thousands of Black LGBTQ folks join together in Los Angeles to celebrate who we are, reclaim space, share our joy and continue to write our communal story. Over the years, LABP has evolved from a weekend of parties, into a powerful cultural movement. It serves up a dynamic blend of celebration, storytelling, wellness and activism that honors every aspect of Black queer life.

LABP is a pulsing and vibrant archive where history is not just remembered but made, where our chosen family comes together and where new generations of creatives, organizers and leaders emerge. Under the guidance of cultural producer Brandon Anthony, LABP has come to be a platform for expression and impact, holding a mic to Black and brown queer voices that are far too often left on the margins of mainstream Pride narratives.

Originally premiering in 2005, Noah’s Arc was the first scripted television series to center the lives of Black, gay men. It was groundbreaking in its portrayal of love, intimacy, vulnerability and friendship. Set against the backdrop of Los Angeles, Noah’s Arc gave us characters who felt real to those watching. For so many, it was the first time seeing themselves fully reflected in television.

“LA has always been a hub for Black queer creativity and culture,” said Polk. “But there are fewer and fewer spaces like that today and fewer events that spotlight our stories in full color. So I’m truly honored to be recognized, and I’m glad to see LA Black Pride and innovators like Brandon Anthony continuing to center and celebrate our community in meaningful ways. It is sorely needed.”

LABP’s commitment to centering and uplifting BIPOC queer narratives is genuine and intentional. As corporate Pride celebrations more often than not lose sight of grassroots needs and at times, reality, LABP’s undertaking is both critical and necessary. Here, heritage and foresight go hand in hand. Through its awards, art-centric events and community programming, LABP celebrates and sustains Black queer voices. For Brandon Anthony, who has reimagined LABP with a focus on accessibility and authenticity — the mission is clear.

 “We’re creating the space we’ve always deserved. That means programming that reflects our culture, leadership that reflects our lived experiences, and events that pour back into the community.”

As Black queer youth, elders, artists, and allies come together for this year’s festivities, they do so in celebration, more importantly, in solidarity. LABP is a sanctuary, yes, but it is also a statement.

We are here. We have always been here. And our stories matter.

Polk’s recognition at LABP is a full flex in Black queer history. A show idea that started at a Pride party two decades ago is now being celebrated by the very community that inspired it. And with a new generation of storytellers ready to make their mark. Los Angeles Black Pride continues to champion voices like Polk’s while creating space for the next wave of storytellers to rise by honoring, sharing and supporting their stories. There will be music, mimosas and maybe a few tears of joy along the way.

Jackie Tepper, Producing Partner and Documentary Programming Chair  for the 28th annual Dances with Films Festival in Los Angeles, is thrilled to have an array of LGBTQIA+ movies and series at this year’s festival.

“We feel that it’s important for the LGBTQIA+ community to be heard, especially now given our political climate,” acknowledged Tepper. “We have always championed these projects, but even more so now. We are proud to shine a spotlight on these amazing films.”

This year, three features, eight shorts, and four pilots will play at the historic TCL Chinese Theatre from Thursday, June 19 through Sunday, June 29. The 2025 outing of DWF will play a total of 254 films, with the theme “Find Your Truth,” making it Los Angeles’ largest independent film festival. A complete list of films and events, the festival schedule, passes and tickets, and more are available online here.

The features slate begins with the World Premiere of Lane Michael Stanley’s “T” on Friday, June 20 at 7:15PM. Filmed over lead actor Mel Glickman’s real-life first year taking Testosterone, “T” is a fictionalized, never-before-seen journey of nuanced transmasculine discovery, authentically portraying the moving struggles and joys encountered in friendships, family, and romantic relationships.

“We are incredibly honored to present such a diverse queer slate each year, added DWF co-founder Michael Trent. “Pride Month is a time of celebration and visibility for the LGBTQIA+ community, and we are so proud to shine a spotlight on these exceptional filmmakers who use their voice and art to promote acceptance and understanding.”

One of the highlights of the festival is the queer comedy TV pilot, “Gasbag,” which had its World Premiere at Dances With Films NYC last December. It screens in Pilots Block 6, Saturday June 28 at 3:30PM.

“Gasbag is the epitome of the scrappy ‘can do’ spirit that Dances With Films celebrates,” said writer and producer Lynn Rosen. “I often write about subjects that mystify me as a way to understand them, and overtalkers like George Nordstrom, my lovable protagonist, fit that bill. So when Covid lockdown struck, I wrote Season 1 for a few theatre friends, including fabulous character actor and co-EP, Chad Kessler, as a way to stay connected and keep our spirits up. We shared this DIY inaugural season with friends as a way to spread the joy we felt making it. People loved George and his band of merry misfits so much we felt we had to make Season 2.”

One notable film in the feature documentary category is Chris Coats’ “FLAMINGO CAMP,” where a group of young queer and trans anarchists create a thriving safe space for themselves in the squatter town of Slab City, known as Flamingo Camp.

The shorts programming kicked off on Friday, June 20 at 4:45 PM in the Documentary  Shorts Block 1 with DWF alumna Cheri Gaulke’s LA premiere of the documentary, “Old Girl In a Tutu: Susan Rennie Disrupts Art History,” in which feminist scholar Susan Rennie seizes her iPhone and sneaks her queer, octogenarian body into master works of art, disrupting the narrative of the male gaze.

Head of Narrative Short Film Programming Lindsey Smith-Sands loves the brief glimpse that short films give viewers into other people’s lives. 

“One thread throughout the short films this year is finding your true self and LGBTQIA+ stories work well with those themes,” Smith-Sands noted. “The exciting shift is seeing how LGBTQIA+ characters are portrayed in many of these narratives as the confident, assured ones, whereas the other characters are still struggling with who they are.”

When most people think of Pride they more often than not relate it to parades parties. Far too many often forget that it is also a platform. Los Angeles Black Pride (LABP) isn’t just raising the flag. They are raising community consciousness at a time when white, mainstream aesthetic often enjoys borrowing from Black, queer culture without acknowledging the appropriation at hand. LABP does the work to flip the script.

This year, the celebration takes a bold economic stance. Visibility is cute, but viability pays the bills.

BLQ+MKT: Not Your Average Pop-Up

Enter BLQ+MKT, LABP’s unapologetically Black, queer vendor marketplace that’s one part business expo, one part cultural homecoming and all of the parts hustle. It’s not just about selling candles and tees, no matter how hard those candles do slap. It’s about building an ecosystem where Black LGBTQ entrepreneurs are seen and supported. This marketplace is not a low-key side attraction — it’s the main stage for economic empowerment.

By centering queer-owned brands, LABP is addressing a long-overdue market correction. Black LGBTQ folks represent a whopping $113 billion in spending power. That’s not just an audience, it’s a full-on economy. And yet, less than 10% of advertising content reflects this reality. BLQ+MKT says what the mainstream won’t  — put some respect and revenue on our names.

Lakeyah: Headliner meets head-turner

Speaking of showstoppers, LABP’s Sunday Night event will feature none other than Lakeyah – rapper, baddie, and blueprint for how queer-centered entertainment can drive community dollars. Her presence isn’t just a vibe, it’s part of a larger economic strategy. When you book talent that reflects the community, you do more than just fill seats. You circulate wealth, amplify voices, and make it very clear who this party is really for.

The Business of being seen

LABP is turning Pride into praxis. By shaping spaces where artistry and ownership meet, they’re shifting the focus from being seen to being paid — and paying it forward. This is about building power without waiting around for permission. Applause is adorable. Ownership changes everything.

Come for the music, the joy, the lewks that will leave zero crumbs. And while partaking in all of the Pride, take a closer look. Every booth at BLQ+MKT, every track Lakeyah drops, carries the architecture of a future rooted in Black queer autonomy. In LABP’s world, Pride isn’t solely a performance. It’s a goddamn power move.

Fresh off his performance in Bat Boy: The Musical, actor Branden Lee Roth is back onstage with yet another show — this time at the Hollywood Fringe Festival in. The show is not only a cabaret-style celebration of the composer’s lesser-known works, but also an opportunity for Roth to perform his powerful vocals and emotional depth. 

Tomorrow, the show will have its last two showings at the Hollywood Fringe Festival at 2p.m. and at 10p.m.

“Bat Boy was one of the most challenging [shows] I’ve done — both physically and vocally,” said Roth. The story’s message stuck with him: a character on a profound journey of acceptance and belonging. With such a demanding role — and one carrying so much emotional weight — the pressure was on for Roth to deliver. To make matters more intense, he had little time to prepare. 

“I had to jump into the role with minimal rehearsal time,”said Roth. “But the cast and crew were so supportive.” 

As the show concluded, he described the performance as a show that will “stay with me forever.”

Now, audiences have yet another chance to see Roth perform — this time in a completely different musical world, but one with just as much passion. Lost & Found offers a rare glimpse into the deep cuts of Frank Wildhorn, the Broadway composer behind Jekyll & Hyde and The Scarlet Pimpernel. However, audiences shouldn’t expect the usual hits. 

“The music itself will be something most audiences haven’t heard,” explained Roth. “The show is set up as a cabaret-style with a full band to back it up in an amazing venue.” And it’s not just the instruments or venue that shine. 

Roth describes the vocals as “pretty epic.”

Set at The Cat’s Crawl, a speakeasy-style venue, Lost & Found embraces the stripped-down intimacy of cabaret. “Each song stands alonewith no scenes in between outside of some hosting.” It is evident that the opportunity to see Lost & Found live is a chance to really live in the music. There are no flashy sets or scenes between songs — it is purely storytelling through song.

This is Roth’s first time performing in the Hollywood Fringe Festival and he is fully embracing the experience. “The Fringe is an annual celebration of theatre in Hollywood. It’s a really awesome opportunity for creatives and artists to showcase their talents,” he said. 

As an openly LGBTQ artist, Roth is no stranger to the challenges of navigating identity in a sometimes rigid or problematic industry. “Being part of the LGBTQ community and being in the arts hasn’t always been an easy journey.” He explains  that it took him time to feel confident —specifically when pursuing roles that might not have identified with him. However, Roth recognizes that powerful stories transcend one’s personal identity. 

“I start by finding where [a character and I] are similar and build from there.”

Roth encourages folks to get their tickets with only one day left.

“I think audiences are going to really enjoy themselves and leave humming a few new songs to themselves,” he said. You can watch Lost & Found: The Unsung World of Frank Wildhorn at The Cat’s Crawl during the Hollywood Fringe Festival. Tickets are available here, and fans can use the discount code BRANDEN at checkout. To keep up with Roth’s performances, follow him on Instagram at @brandenleeroth.

Nonbinary, Puerto Rican icon, comedian, actor and activist, Vico Ortiz, 33, binds and weaves awkward childhood moments, family expectations, Walter Mercado and the love of their life embodied by a household mop, to tell the story of the rise of a king. 

During the peak of Pride month, Ortiz gifted the Los Angeles queer and trans communities with a spectacularly queer, solo show featuring themself in their quest of self-discovery, a profound sense of connection and reconnection with their femininity and masculinity through growing pains and moments of doubt. This is a show that Ortiz describes as “wholesome, but burlesque.” 

King Vico Ortiz rises

The show, which premiered on June 12, details Ortiz’s childhood, vignetting and transforming through their most formative years and through canon events that led them to their gay awakening, such as watching Disney’s Mulan (in Spanish) and the moment Ortiz cut their hair in honor of the scene where Mulan cuts hers off. Ortiz took the audience on a journey through their inner monologue during the moments in their childhood and into adulthood, where they not only come to terms with their identity, but also learn to understand the internal battle their parents went through as they watched their king rise. 

Though Ortiz mostly only acted prior to writing and producing their first solo show, they finally took their opportunity to do things a little differently. Last June, their friend Nikki Levy, who runs a show called Don’t Tell My Mother, coached Ortiz to dredge up childhood memories and tether them in a way that could be told and understood by an audience as a show about queerness and self-discovery.  

“[Levy] started asking me those questions that dig deeper into the emotional journey of the story, not just ‘hehe’ ‘haha’ moments, but there’s something a little deeper happening,” said Ortiz in an interview with the L.A. Blade. This is when they asked Levy to help coach them through the process of putting the story together in a way that Ortiz imagined it, but also in a way that made sense to the audience.

Ortiz says that with a little bit of ‘astrology woo-woo-ness, a little bit of magic woo-woo-ness, drag and fabulosity,’ they tether together the story of the relationship between them and their mother. 

“Astrology had a huge influence in my life growing up from the get-go,” said Ortiz. “I was born and [my mother] printed my birth chart.” The Libra sun, Sagittarius rising, Scorpio moon and Venus in Virgo, says they have always known their chart and that not only did astrology play a huge role in their life growing up, but so did astrologer-to-the-stars Walter Mercado. 

The solo was partly influenced by their mother and partly influenced by the iconic, queer, androgynously-elegant Mercado, who famously appeared on TV screens across homes in Latin America and the United States for a segment on that day’s astrological reading. 

Seeing Mercado on that daily segment shaped Ortiz’s view of gender and began to understand themselves in a new-found light — one in which they saw their most authentic self. 

“Seeing that this person is loved and worshipped by all these people who are like: ‘we don’t care that Walter looks like Walter, we just love Walter,’” said Ortiz. This is when they realized that they too, wanted to be loved and adored by the masses, all while fully embracing their masculinity and femininity. 

Closing Night of ‘Rise of a King’

The closing night show of ‘Rise of a King’ was a reminder of how unpredictable life can be and how darkness comes in on some of our brightest moments. Ortiz brilliantly pulled off an improv monologue during a 15-minute power outage. Though it was unpredictable, it was on theme. Ortiz owned the stage, going on about childhood memories that shaped them into who they are today and how they have reconnected with the imaginative child that once told the story of a half-butterfly, half-fish.

The rest of the show went according to plan, immersing the audience in a show that took us straight into the closet of Ortiz’s parents and where Ortiz not only discovered, but learned to embrace who they truly are — to the first moments they embraced the king within and outwardly began to show it to audiences, and eventually their mother. 

The set, designed by Jose Matias, functioned as a walk-in closet that transforms throughout the show against the backdrop of drawings of Ortiz and their family memories projected on a big screen on the stage. 

Ortiz’s original, solo-show had its world premiere at FUERZAfest in New York City, then its west coast premiere at L.A.’s own Hollywood Fringe Festival.

Follow @puertoricanninja for more updates on their upcoming work.

You’re invited to Diálogo – Pride, Power & Progress, an intimate evening dinner and conversation taking place on Thursday, June 26, 2025, 6 p.m., at The Abbey in West Hollywood.

An intimate in-person gathering that brings together powerful voices at the intersection of journalism, identity, and social impact.

This monthly Diálogo series is presented by the Latino Media Collaborative (LMC) and hosted by CALÓ News. This month, the Los Angeles Blade joins LMC and CALÓ News to host this event on Pride, power and progress at the intersection of LGBTQ and Latinx issues. The ongoing collaboration between the CALÓ News and LA Blade newsrooms bridges a gap between some of the largest communities across Los Angeles County with the goal of covering issues and highlighting the stories that matter to us.

This special evening will feature a welcome cocktail reception, appetizers and an informal but intentional conversation among local and national leaders in journalism, philanthropy and civic engagement.

Together, we’ll explore the evolving landscape of Latinx journalism and its critical role in advancing equity, representation and lasting social change.

Speakers include Salina EsTitties from RuPaul’s Drag Race, Andrés Palencia, CEO & Co-Founder, LatiNation, Liliana T. Pérez, Sr. Director of Cultural Affairs, L.A. Chargers, Bamby Salcedo, Bamby Salcedo, CEO & President, TransLatin@ Coalition and Jorge Reyes Salinas, Communications Director, Equality California.

The panel will be moderated by Los Angeles Blade Editor, Gisselle Palomera, with opening remarks by Los Angeles Publisher, Alexander Rodriguez and Managing Director of Latino Media Collaborative, Esperanza Guevera.

The event is free, RSVP here and follow CALÓ News and Los Angeles Blade on Instagram.

The Abbey: 692 N Robertson Blvd, West Hollywood, CA 90069

You’re going to be on your feet a lot this month.

Marching in parades, dancing in the streets, standing up for people in your community. But you’re also likely to have some time to rest and reflect – and with these great new books, to read.

First, dip into a biography with “Marsha: The Joy and Defiance of Marsha P. Johnson” by Tourmaline (Tiny Rep Books, $30), a nice look at an icon who, rumor has it, threw the brick that started a revolution. It’s a lively tale about Marsha P. Johnson, her life, her activism before Stonewall and afterward. Reading this interesting and highly researched history is a great way to spend some time during Pride month.

For the reader who can’t live without music, try “The Dad Rock That Made Me a Woman” by Niko Stratis (University of Texas Press, $27.95), the story of being trans, searching for your place in the world, and finding it in a certain comfortable genre of music. Also look for “The Lonely Veteran’s Guide to Companionship” by Bronson Lemer (University of Wisconsin Press, $19.95), a collection of essays that make up a memoir of this and that, of being queer, basic training, teaching overseas, influential books, and life.

If you still have room for one more memoir, try “Walk Like a Girl” by Prabal Gurung (Viking, $32.00). It’s the story of one queer boy’s childhood in India and Nepal, and the intolerance he experienced as a child, which caused him to dream of New York and the life he imagined there. As you can imagine, dreams and reality collided but nonetheless, Gurung stayed, persevered, and eventually became an award-winning fashion designer, highly sought by fashion icons and lovers of haute couture. This is an inspiring tale that you shouldn’t miss.

No Pride celebration is complete without a history book or two.

In “Trans History: From Ancient Times to the Present Day” by Alex L. Combs & Andrew Eakett ($24.99, Candlewick Press), you’ll see that being trans is something that’s as old as humanity. One nice part about this book: it’s in graphic novel form, so it’s lighter to read but still informative. Lastly, try “So Many Stars: An Oral History of Trans, Nonbinary, Genderqueer, and Two-Spirit People of Color” by Caro De Robertis (Algonquin Books of Chapel Hill. $32.00) a collection of thoughts, observations, and truths from over a dozen people who share their stories. As an “oral history,” you’ll be glad to know that each page is full of mini-segments you can dip into anywhere, read from cover to cover, double-back and read again. It’s that kind of book.

And if these six books aren’t enough, if they don’t quite fit what you crave now, be sure to ask your favorite bookseller or librarian for help. There are literally tens of thousands of books that are perfect for Pride month and beyond. They’ll be able to determine what you’re looking for, and they’ll put it directly in your hands. So stand up. March. And then sit and read.

Let’s get one thing straight… or should I say,  gay. At Los Angeles Black Pride (LABP), queerness shines brighter than the glitter under the spotlight and struts fiercer than any size 11 stilettos. LABP has long been the beating pulse of Black queer excellence in the City of queer Angels, not just a party but a proving ground. A space where legends are honored, careers are catapulted, and chosen family comes together.

This year’s theme, Legacy & Leadership in Action, is not another Pride month mantra. It’s a  whole mood. It serves a reminder that we will not stand idly and wait for our recognition. We create it. And if you’re looking for receipts, meet three creatives whose glow-up journeys began with LABP and have not lost momentum since.

Before they were booked and busy, they participated in Los Angeles Black Pride, a place where Black queer excellence rises, where glam meets grit and where legends are born.

Ebony Lane – Beating Faces and Breaking Barriers

You know when someone walks into a room and suddenly everyone checks their posture? The person walking into that room is  Ebony Lane. A Trans make-up artist (MUA) whose brushes do more than blend — they command. Lane’s artistry is lush, precise, and glistening with resilience. She’s made her name crafting unforgettable looks for film, fashion and fierce femmes who command the world’s attention.

But before the gigs, the gloss and the gag-worthy lewks, there was LABP, a space where Lane Lane found alignment between her artistry and her identity. As a longtime fixture in the Crenshaw beauty scene and a pioneer in L.A.’s ballroom and pageant community, Lane has used her platform to uplift young Black and trans folks by encouraging them to carry themselves boldly in their own truth. Her presence at LABP was never just about beauty but visibility and leadership. Today, Lane doesn’t just beat faces, she beats the odds flawlessly. 

Berkley The Artist – The Soundtrack to the Revolution

Grammy-nominated and gloriously ground-breaking, Berkley The Artist is proof that soul hits differently when it’s sung with purpose. Blending funk, truth, and a whole lot of Black queer excellence, Berkley’s music is equal parts hype and healing. Before the world heard his music, LABP passed him the mic.

As a performer who’s graced both intimate community stages and major music platforms, his rise in the music industry is deeply intertwined with spaces like LABP, that amplify Black queer expression. His artistry both entertains and empowers. Whether through healing lyrics or community-centered collabs, his work is a love letter to liberation. 

KJ – The Lens That Loves Us Back

Some people take pictures. KJ tells stories with a camera. The creative force behind My Black Is Gold, KJ’s photography turns everyday Black queer life into poetry for the eyes. His work feels like a love letter and a clapback all in one — soft and defiant all at the same time.

He first learned to capture folks in their full power at LABP.His work, now featured in exhibitions, digital campaigns and community projects, centers the intersection of softness and strength that is so signature to Black queer life. LABP provides a creative ecosystem where self-definition thrives.

These artists are proof that LABP doesn’t just celebrate Pride but cultivates legacy. It’s a space where Black queer brilliance isn’t just exhibited but elevated. It’s where identity and artistry work together. From makeup chairs to music stages, the impact of LABP is alive in every brushstroke, every beat, and every shot. As we honor these artists and uplift the next generation, one thing is clear — the future is Black, the future is queer, and at Los Angeles Black Pride, it is beautifully unstoppable.

When “Brokeback Mountain” was released in 2005, the world was a very different place.

Now, as it returns to the big screen (beginning June 20) in celebration of its 20th anniversary, it’s impossible not to look at it with a different pair of eyes. Since its release, marriage equality has become the law of the land; queer visibility has gained enough ground in our popular culture to allow for diverse queer stories to be told; openly queer actors are cast in blockbuster movies and ‘must-see’ TV, sometimes even playing queer characters. Yet, at the same time, the world in which the movie’s two “star-crossed” lovers live – a rural, unflinchingly conservative America that has neither place nor tolerance for any kind of love outside the conventional norm – once felt like a place that most of us wanted to believe was long gone; now, in a cultural atmosphere of resurgent, Trump-amplified stigma around all things diverse, it feels uncomfortably like a vision of things to come.

For those who have not yet seen it (and yes, there are many, but we’re not judging), it’s the epic-but-intimate tale of two down-on-their-luck cowboys – Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhall) – who, in 1963 Wyoming, take a job herding sheep on the titular mountain. There’s an unmistakable spark between them, and during their months-long shared isolation in the beautiful-but-harsh wilderness, they become lovers. They part ways when the job ends and go on about their lives; Ennis resolutely settles into a hardscrabble life with a wife (Michelle Williams) and kids, while Jack struggles to make ends meet as a rodeo rider until eventually marrying the daughter (Anne Hathaway) of a wealthy Texas businessman. Yet even as they struggle to maintain their separate lives, they reconnect, escaping together for “fishing trips” to continue their forbidden affair across two decades, even as the inevitable pressures and consequences of living a double life begin to take their toll.

Adapted from a novella by Annie Proulx, (in an Oscar-winning screenplay by co-producer Diana Ossana and acclaimed  novelist Larry McMurtry), and helmed by gifted Taiwanese filmmaker Ang Lee (also an Oscar winner), the acclaim it earned two decades ago seems as well-deserved as ever, if not more so. With Lee bringing an “outsider’s eye” to both its neo-western setting and its distinctly American story of stolen romance and cultural repression, “Brokeback” maintains an observational distance, uninfluenced by cultural assumptions, political narratives, or traditional biases. We experience Ennis and Jack’s relationship on their terms, with the purely visceral urgency of instinct; there are no labels, neither of them identifies as “queer” – in fact, they both deny it, though we know it’s likely a feint – nor do they ever mention words like “acceptance, “equality,” or “pride.” Indeed, they have no real vocabulary to describe what they are to each other, only a feeling they dare not name but cannot deny.

In the sweeping, pastoral, elegiac lens of Lee’s perceptive vision, that feeling becomes palpable. It informs everything that happens between them, and extends beyond them to impact the lives they are forced to maintain apart from each other. It’s a feeling that’s frequently tormented, sometimes violent, and always passionate; and while they never speak the word to each other, the movie’s famous advertising tagline defines it well enough: “Love is a force of nature.”

Yet to call “Brokeback” a love story is to ignore its shadow side, which is essential to its lasting power. Just as we see love flowing through the events and relationships we observe, we also witness the resistant force that opposes it, working in the shadows and twisting it against itself, compelling these men to hide themselves in fear and shame behind the presumed safety of heterosexual marriage, wreaking emotional devastation on their wives, and eventually driving a wedge between them that will bring their story to (spoiler alert, if one is required for a 20-year-old film) a heartbreaking conclusion.

That opposing force, of course, is homophobia, and it’s the hidden – though far from invisible – villain of the story. Just as with Romeo and Juliet, it’s not love that creates the problem; it’s hate.

As for that ending, it’s undeniably a downer, and there are many gay men who have resisted watching the movie for all these years precisely because they fear its famously tragic outcome will hit a little too close to home. We can’t say we blame them. 

For those who can take it, however, it’s a film of incandescent beauty, rendered not just through the breathtaking visual splendor of Rodrigo Prieto’s cinematography, but through the synthesis of all its elements – especially the deceptively terse screenplay, which reveals vast chasms of feeling in the gaps between its homespun words, and the effectiveness of its cast in delivering it to performance. Doubtless the closeness between most of its principal players was a factor in their chemistry – Ledger and Gyllenhall were already friends, and Ledger and Williams began a romantic relationship during filming which would lead to the birth of their daughter, just before the movie’s premiere. Both Williams and Hathaway remain grounded in the truth of their characters, each of them earning our empathy and driving home the point that they are victims of homophobia, too. . 

As for the two stars, their chemistry is deservedly legendary. Ledger’s tightly strung, barely-articulate Ennis is a masterclass in “method” acting for the screen, with Gyllenhall’s brighter, more open-hearted Jack serving in perfectly balanced contrast. They are yin and yang to each other, and when they finally consummate their desires in that infamous and visceral tent scene, what we remember is the intensity of their passion, not the prurient details of their coupling – which are, in truth, more suggested than shown. Later, when growing comfort allows them to be tender with each other, it feels just as authentic. Both actors were outspoken allies, and though neither identified as gay or bisexual, their comfort and openness to the emotional (as well as physical) authenticity of the love story they were cast to play is evident in every moment they spend on the screen. It’s impossible to think of the movie being more perfect with anyone else but them.

As iconic as its starring pair have become, however, what made “Brokeback” a milestone was the challenge it threw in the face of accepted Hollywood norms, simply by telling a sympathetic story about same-sex love without judgment, stereotype, identity politics, or any agenda beyond simple humanistic compassion. It was the most critically acclaimed film of the year, and one of the most financially successful; though it lost the Oscar for Best Picture (to “Crash,” widely regarded as one of the Academy’s most egregious errors), it hardly mattered. The precedent had been set, the gates had been opened, and the history of queer cinema in mainstream Hollywood was forevermore divided into two eras – before and after “Brokeback Mountain.”

Still, its “importance” is not really the reason to revisit it all these years later. The reason is that, two decades later, it’s still a beautiful, deeply felt and emotionally resonant piece of cinema, and no matter how good you thought it was the first time, it’s even better than you remember it.

It’s just that kind of movie.