After spending months away from friends and family (outside of a hometown visit to North Carolina), Fortune Feimster is in the final stretch of her latest tour, Takin’ Care of Biscuits. And it’s only fitting to bring it home to Los Angeles, the city that provided the queer stand-up comic her first live audience two decades ago.

“Every hour that I put out is very much a reflection of my life at that period of time and what I’m going through; there’s a lot of changes in my personal life, from my Mom to my marriage, so I don’t shy away from those things,” Feimster tells The Blade. “But I’m also not a serious ‘comic,’ so I still find levity in those life experiences.”

In the Takin’ Care of Biscuits tour, which is coming to the United Theater in Los Angeles on Saturday, November 7, Feimster explores some of these big changes in life, from coming out of a 10-year relationship to her Mom being diagnosed with cancer — all through the lens of confessional, feel-good style comedy, of course.

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Long before voicing a lovable beaver in Zootopia 2 or starring in The Mindy Project, Feimster got her start back in 2007 at The Comedy Store, which she describes as “bro-y.” Everything changed, though, when she discovered a local show at Akbar, run by a gay comedian named Bruce Daniels. “The queer comedy community embracing me and giving me a platform was a huge part of my foundation,” she says.

As part of her comedy, Feimster will sometimes dig up hate tweets and comments and incorporate them as part of her act (at least in the past, when she says she had “more time” to look at social media). In her 2022 special Good Fortune, the audience roars in laughter when she reads a comment calling her a “taco-licking lesbian.”

“Sometimes it’s hard to deal with some of the hateful comments, but this particular one, I was turning his comment on its head in that he referred to me as these awful things, but he did refer to my partner at the time as my wife, which meant he was recognizing my marriage!” Feimster says. “That was a huge step because guys like him, people like him, do not want me to have that right to begin with.”

As a comedian who speaks openly about sex and sexuality, Feimster has “always” taken the representation she provides “very seriously” when she steps on stage in front of an audience.

“Anytime we get to tell our stories and be on platforms like Netflix, it’s big. People from all over the world see these specials, and hopefully they see something in you they resonate with,” she says. “And then on the silly side of this, I also have some fun jokes that I tease my fellow lesbians about, which people are really enjoying. You’ve got to not take yourself too seriously.”

Outside of stand-up comedy, Feimster co-hosts the podcast Handsome, which won a GLAAD award in 2026, with Tig Notaro and Mae Martin. That has “broadened” the comedian’s horizons in the different generations of queer fans each host draws in. She also recently co-starred in Netflix’s The Hawk, holding her own alongside Will Ferrell and Molly Shannon. In addition, Feimster has been chosen as the 2026 National Grand Marshal for Palm Springs Pride, timely for her Palm Springs appearance at the Plaza Theatre on November 8th.

“Things are getting harder; this is the time to be more visible,” Feimster says. “And that’s what I try to do — just be a visible, out comedian who is not trying to shy away from being who I am.”

Feimster’s tour comes to Santa Barbara on Oct 24th, Los Angeles Nov 7th, and Palm Springs Nov 8th; get your tickets here.

When asked to think about Orville Peck, most people would immediately remember the man’s music, his time on Broadway, his many scintillating photoshoots or, of course, the ornate masks he wears throughout it all. 

Most wouldn’t, at least before a few months ago, think about the long-lasting video game franchise, Street Fighter. 

This historic fighting game doesn’t instantly mesh with the image that Orville has spent years developing. The country singer has garnered national acclaim through his four albums, sultry and often somber affairs that have earned him numerous awards and thousands of fans. Along with his voice, new listeners are intrigued by his masks; Peck always wears a face covering to protect his privacy and embody a distinctly queer flair in his work. These are only removed for very special occasions — such as his renowned turn as the Emcee in a Broadway revival of Cabaret — with even his recent centerfold in the sexy magazine Playgirl seeing Orville bare everything except his face.  

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The musician does all of this while being proudly gay, serving as one of the most notable queer celebrities we have today. This, combined with his dynamic career, has earned Peck legions of supporters, each one excited about whatever new project he decides to do next. And they were all completely shocked in early 2026 when Orville announced just what that project would be: starring in Kitao Sakurai’s live-action adaptation of the classic video game, Street Fighter. 

“They didn’t know I grew up playing this game, so it was so cool!” Peck raved as he discussed the film with the Los Angeles Blade. For the less digitally-minded of us, Street Fighter is an immensely popular gaming franchise, with this decades-spanning series offering dozens of games filled with colorful characters players can fight as. The cast for this latest adaptation dropped earlier this year and included stars like Jason Momoa, David Dastmalchian, Callina Liang — and, of course, Orville Peck.

“Fighting games probably draw a lot of queer people in [because] you can choose which character speaks to you, and they belong there,” Orville explained. “They don’t have to prove themselves…they belong, and you can connect in that way, since maybe you didn’t belong or [feel] included,” Orville admitted that it’s a connection he’s experienced himself; the man spent many hours of his childhood playing Street Fighter with his brothers. And one of his favorite characters was Vega, the bullfighting, gorgeous assassin obsessed with his own appearance (and slashing his opponents to ribbons). 

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It’s why there was no question Orville would take on the role when it was first offered to him. This may seem like an easy choice for many viewers — both Peck and Vega wear a mask — but the singer stressed that his link to the character went far beyond just the physical. “Vega did carry this kind of queer-coded energy that queer fans of Street Fighter have always picked up on and related to. And I was encouraged to not stray away from that — they wanted that to be included.”

Vega serves as the loyal henchman of Street Fighter’s main villain, M. Bison, with the claw-wielding fighter filling his screen time with snarky humor, great action scenes, and a distaste for wearing a shirt. But Vega also serves as a vital contrast in the film by punctuating the hypermasculinity of the men around him. He shows that queerness and strength can go hand-in-hand, with Orville finding it so affirming to bring out that universal truth through his performance. 

It was something that he enjoyed not only for his adult self, but for the younger version who loved nothing more than playing Street Fighter with his brothers, saying, “Being a little queer kid…I definitely did not feel at times that I was going to be welcomed into some things in life, right? Getting to be the only openly gay man in this film with a bunch of very heterosexual gentlemen running around, and then having my place next to them? I think that would be really encouraging and healing to little Orville, for sure.”

Orville went on about his amazing co-stars — he warmly referred to Callina Liang, who plays Chun-Li in the film, as ‘my sister’ — and the countless joys this role brought him. When asked whether he would return for a possible sequel, he emphasized, “We’re all so close as a cast now. Everybody loves and supports each other so much. I would 100% do it again, of course.” It’s a promising message for many queer viewers absolutely loving his turn as Vega, and it signals an uplifting development for the man himself. 

Orville Peck’s entire career is dedicated to utmost authenticity, showing your truest self in a way that feels genuine and recognizing what that truth brings to yourself and others. In a movie filled with nonstop fighting and campy chaos, he still managed to channel that into every second of his time onscreen. And whether it be as Vega or whatever role he decides to take next, it’s a vital message that this musician — and, he will remind you now, actor — will always work hard to make the center of his work.

Being an influencer seems like the easiest job in the world…to the people who aren’t actually doing it.

It’s a belief that has been completely debunked in recent years, especially for diverse creators; biased algorithms have made it hard for LGBTQ+ and people-of-color to gain fame online. And even if you didn’t have strings of code fighting against your success, many creators have spoken about the tireless aspects of this job that online audiences rarely get to see. The eighteen-hour work days, the predatory brand partnerships, and the immense mental stress that comes from relying on others’ opinion of you to make rent that month. 

For a majority of the successful folks we see online today, their onscreen joy is built on years of hard work and tireless determination. It’s a part of this industry that doesn’t get enough spotlight, and it’s one that Bran Flakezz is committed to showing his many followers every single day. 

When he sat down with the Los Angeles Blade, Bran wanted to make one thing very clear: he absolutely loves his job. He detailed his early career after graduating with a degree in fashion merchandising — shoutout Elle Woods — where he went through the gamut of internships, part-time work, and official positions with various large brands. It was working with these jobs’ social media teams that he learned the ins and outs of online fame, skills that proved vital in 2021 when he decided to quit his role and commit to creating content full-time.

“It just feels so great to be in control, to have creative freedom and make my own goals,” said Bran when describing the many things he loves about his career. “Being my own boss is incredible — making my own schedule, and building a team around me of people that contribute to my success.” It’s a love that shows in his content; Bran first gained attention online by offering an unfiltered look into his daily (and often very chaotic) life as a gay man. It’s why his many fans — more than 1.5 million across TikTok and Instagram — feel like they know the LA-based creator, with each new follower learning about everything from Bran’s obsession with Bratz dolls to his thoughts on the latest season of Big Brother. 

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Bran has happily welcomed audiences into his wild life over the past few years. But though the man’s main goal is always to bring joy through his content, he also knows it’s important to educate users about the issues he and his fellow creators face today. He does this mainly through TikTok; Flakezz regularly posts videos speaking about things like the intensity of his daily work schedule and how much money people can actually make posting online (it’s a lot less than you’d think). “I never want to sound ungrateful for any of this,” Bran emphasized. “But there are prices to all of it.”

“We’re told that people’s opinions of you are not your business — but when you’re creating a business around people enjoying your content, people’s opinions of you literally become your business!” He stressed. “Your brain is always spinning [with tasks] and you have to stay consistent on all platforms, especially now more than ever, when there’s just so much saturation and competition.” It’s why Bran works so tirelessly across his many social channels and always offers a wide array of content — because he knows that in this fast-paced influencer economy, one day of rest could undo months of hard work. 

Funnily enough, Flakezz did clarify that the homophobic comments he constantly receives don’t bother him much, saying, “Everything that you can say to me online, I heard the 6th grade bullies say to me on the recess yard.” But while he can easily tune out the internet trolls, his experience with large brand partnerships — one of the key ways influencers make money — has shown him how this industry still grapples with homophobia. “Sometimes I’ll see campaigns for brands, and I’ll feel like, ‘Oh, was I a token? Was I selected because they needed me to cross off on their list that they got one gay creator?’ There’s been opportunities I say no to, and I see another gay creator get the opportunity — so they were completely profiling us as LGBT influencers.”

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While it is amazing that brands want to spotlight LGBTQ+ creators, Bran shows how this kind of ‘we only need one to look woke’ mentality both limits opportunities for queer influencers and reduces them to nothing more than their sexual or gender identity. This reveals how shallow this type of inclusivity truly is, and why creators like Bran are fighting to remedy this mindset so that brands create ample chances for diverse influencers who respect who they truly are. 

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Fans have been overwhelmingly supportive of Bran’s openness around these topics, appreciating his transparency in an industry often built on misinformation. Flakezz has been immensely grateful in turn, explaining, “I never wanted to come across as ungrateful or complaining about such a privileged life that I get to live, but…I really wanted to approach the conversation in a way of education. Because I know so many people out there want to do this career — and it’s an amazing career — but here are some of the things that people don’t always tell you.”

Through his feed, Bran offers a welcoming mix of queer humor and informed knowledge, helping his followers unwind after a long day while ensuring that they leave each scroll session with more knowledge than they had before. It’s an uplifting approach that helps improve the influencer industry for all. And it’s one that Bran Flakezz hopes to embody throughout the rest of what is shaping up to be his very bright, very long career.

YouTube has created its own style of content, whether it’s “get ready with me” videos, scene compilations of your favorite shows, or simple to-camera essays. And yet, one major milestone remains: reaching one million views. Writer/Director Charlotte Kennett has done just that with her original film Psycho Baby. 

Her dark comedy short explores the extreme side of lesbian relationship drama. Kennett managed to organically reach 1 million views in 2 years, which is no small feat. In 2025, she also participated in Amy Aniobi’s TRIBE Writers’ Fellowship. She also continues to work on the front lines of an unprecedented Hollywood, most recently working as a writer’s assistant, then director’s assistant on A Place in Hell, starring Michelle Williams and Daisy Edgar-Jones.

She took some time to chat with The Blade about her film and its success while also discussing the state of the industry for both queer content and queer creators. Her humor and passion for creativity shine through, and you can see how she’s a very distinct queer voice in entertainment. 

Congrats on reaching 1 million views on YouTube. How does it feel to reach that with scripted long-form content vs. a sketch or standard “YouTube” content? 

I’m incredibly honored that my film found its people. It’s both comforting and validating to know that other people care about longform content. I’m not interested in cutting the fat on anything. Those are the juiciest bits. We’re living in a time of bite-sized everything, from Ozempic to how short can you make this reel?  The story decides the length it wants to be, and if you’re lucky, an audience finds it. Are you reading this at 2x speed?

How would you describe Psycho Baby? 

Psycho Baby is an intimate, character-driven dark comedy where a love addict falls for a psychopath. Is it a recipe for disaster? I think we already know. 

Any secrets to your success?

Send nudes to the algo Gods. 

Manifest in the bath. 

Buy lottery tickets.

Actually, I think it’s something simpler: Never stop talking about the things you create, even when everyone else is ready to move on. You know the writing advice: kill your darlings? That’s only true at a script level, but once they’re realized, you must love your darlings FOREVER. Also, never stop creating. Not everything performs well; that’s okay. If even one person watches your work, that’s a win. Success is defined on your own terms.

What was your process for writing and directing Psycho Baby?

Long before I wrote the script for Psycho Baby, I had visions of the opening scene in my mind. I saw a girl laying on a bed with a letter on her chest. A letter that would test her and render her powerless in some way. I spent a lot of time thinking about the characters and my own romantic experiences as a queer person. 

So much of the process of Psycho Baby was allowing the idea to marinate in my head. And I’ve found that to be true for me on almost all of my projects: I don’t force an idea to come through before it’s ready. A year had passed by the time I finally sat down to write the script, but when I did, it just poured out. The short is pretty much word-for-word how I wrote the first draft, which is wild to think about.

Psycho Baby was initially inspired by a break-up. In processing with friends, I kept hearing other people calling their exes psycho an awful lot. I found the need for humans to villainize a person they once loved quite interesting. In truth, the snapping point- when the switch flips and someone has decided they can’t be with you anymore is quite jarring. I put on an ugly fedora and started to Nancy Drew my own feelings. When sapphic relationships end: who’s the crazy one? The core of Psycho Baby asks this question. Is it possible it’s both of them? 

It was cathartic to interrogate my own flaws alongside those of past partners. Sadie and Andra are the end result of my exploring queer grief and heartbreak from the heightened lens of a psychopath and love addict; two people destined to fail. Once I had the script written, we were off to the races. Everything else was fast and furious. I’m really proud of what we created together. 

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What do you think of the state of the entertainment industry in LA right now?

I’m in active denial and have to remain delulu and think everything is fine. It’s been sad. Everyone has lost so much. Like most, I can only speak to my experience. It’s been hard to admit that the industry has changed, a lot more doors are closed, and we don’t know if they’ll ever open again. 

We’ve lost so many great storytellers. I mourn that more than anything. I think about all the stories we’ve lost, the ones that went with them when they left. Someone had the next great classic on their laptop. That haunts me. The industry is trying to recover, but it’s like an injury that refuses to heal. Everyone still here is my hero. 

How do you navigate that as a queer creator? 

I’ve accepted that this is, and will continue to be, a hard and arduous journey. I’ve fallen in love with all aspects of the process. There’s inherent value and growth in winning and losing.

Mindset is everything. You must believe that your stories matter and that there is room for you in what feels like an overcrowded industry. I know deep down in my soul that LGBTQ+ media saves lives. Shows like Heartstopper. Positive queer representation in the media has the power to reach across the aisle and connect people. 

I navigate the entertainment industry as a queer creator with the same relentlessness as AT&T Fiber sales reps: I’m showing up at your door at all hours, in a flashy vest, with the same damn offer.

What are some things you’re working on?

This past year, I’ve been working on a feature that I hope will be my debut. My manager is taking it out soon, so stay tuned and pray for me. Outside of writing specs and samples and hoping a showrunner will pluck me out of obscurity, I’m also actively developing a slate of queer narrative shows for my YouTube channel Sleep Late.

Traditional Hollywood opportunities and pipelines have all but evaporated, so I’m making lemonade out of sewer water. I’m not waiting for permission to create. I think creators have to take some of their power back and greenlight their own ideas. I’m excited to grow my audience on YouTube and dethrone Mr. Beast. Hollywood might be burning, but I’m an old-growth Redwood tree. This is all I’ve ever known… and I’m not going anywhere.

What do you think is lacking in stories of female queer love? 

First, I want to echo the culture and say we need more stories that end on a good note. People get off on queer pain, and I get it; I’m a masochist too, but let’s listen to the corporate gays and unlock queer joy.

What’s really lacking is diversity. Like, I’ve seen two white women prancing around in the English countryside and exchanging long, silent looks across ballrooms enough times now. I’d like to see more sapphic BIPOC representation on-screen. I need another Hedda immediately.

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What is your list of definitive queer movies or shows that you think should be required viewing?

The Handmaiden. Brokeback Mountain. Disobedience. Bound. The L Word. Orphan Black. Heated Rivalry. Everything Sucks!

What advice would you have for a queer young person trying to make it into the industry now in Los Angeles? 

Find your people. Look out for expanders: people who invite you into the room, laugh at your jokes, connect you with others. Stay away from people who make you feel weird; if it happens once, it’s gonna happen again. Not everyone is going to like you or your voice, and that’s okay. 

Rejection is redirection. Make things regardless of resources and release them into the world; people still love their ugly children, don’t they? Do it again and again. Continue to refine your craft with your friends and community. Also, just because you’re young doesn’t mean you can’t lead. You’re a leader the day you decide to be the connective tissue between people and projects. And the cardinal rule: always uplift other creatives and invite them into the room. 

What is your dream project or collab? 

This question lit up too many parts of my brain. In truth, my dream project or collaboration could come in so many forms. I’ll cross Genre River any chance I get. Check out the sci-fi rock banks, then wade over to rom-com island, get chased off by an Indiana Jones type who wants the girl, and getaway with stoner chicks floating the river in tubes. 

I fell in love with storytelling because of big, immersive films, so naturally I want to make movies that feel all-consuming: movies that make people feel really seen, that people want to watch over and over again. Down the line, it would be meaningful to take a stab at some of my favorite IP, to work on the stories that made me a dreamer and a storyteller in the first place.

But right now, my dream is to work with passionate creatives that make me laugh. People who need to tell stories to survive. A dream collaboration is one where I’ve brought creatives from all walks of life together to tell a story only we could in partnership with one another.

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What are your biggest inspirations? 

I’m inspired by truth-tellers and people who are willing to say the things everyone else is afraid to say. Activists like Greta Thunberg inspire me, but so do survivors, my community, and the people I meet every day. I’m especially inspired by neurodivergent and queer people and the ways we move through a world that wasn’t necessarily built with us in mind.

I’m inspired by radically honest people, even when it’s uncomfortable or dangerous. People who are strange, resilient, uncompromising, deeply themselves. I’m inspired by risk takers and troublemakers. Those are also the kinds of people I want to uplift and make stories about. I’m a filmmaker who enjoys boundary-pushing work and unconventional characters who question the systems we live in. I’m inspired by everyday people who demand better for our world.

You can learn more about Charlotte’s work on her website or YouTube channel and follow her and her production company on Instagram( @charkenni  @motherfever)

One might expect when Laura Benanti comes to town that they are in store for a feast of recognizable standards from the veteran of ten Broadway shows, as well as having a strong presence in television and film.  Her new show, Nobody Cares, is not that show.  Written by Benanti in collaboration with songwriting partner Todd Almond and Director Annie Tippe, this show is a surprising, personal, and hilarious take on what it is to be a 40-something woman in today’s world.  It takes on subjects from motherhood to aging to relationships and perimenopause.  Fresh from a run at The Wallis in Beverly Hills, she brings the show to South Coast Repertory in Costa Mesa from October 8-11.

My first exposure to Laura Benanti, the person, was on The Broadway Cruise in 2023.  Unbeknownst to the audience for her featured performance on the poolside stage was that Benanti was in the middle of a miscarriage.  When I asked her about that experience, she shared something important she has learned from life.  “Not that I’m trying to win here, but that was my fourth miscarriage! I could have done what I did in the past and spent my time alone and sad. Instead, I wanted to do the thing I love with my audience and feel that joy of performing for and with them.” That authenticity is what she brings to this show that is so revealing and personal. The result is connection and “laughter of recognition.”  In other words, she invites the audience in to laugh with her and inspires them to laugh at their own similar life experiences.

What inspired you to write Nobody Cares?

I had done ten Broadway shows and was always cast as the ingenue.  Finally, I decided that the only way I was going to get a role written for me was to do it myself.  What’s interesting is that when I started writing the show, in my mind, I was like, what are you doing?  Nobody cares.  This is so narcissistic! Then, I would read parts of it to my girlfriends, and they were like, “I do care about this, and that’s because I care about you.” And then, ironically, I was having a conversation with my 4-year-old.  I was telling her something that was important to me, and I felt like I was imparting my wisdom.  She stopped me and went, “Mommy, nobody cares.”  I thought, she’s right, actually.  All of the things I used to worry about – am I pretty enough? Am I thin enough? Am I successful enough?  Nobody cares!

So, maybe it really isn’t a show about not caring, but caring about the right things?

I think it’s that, you know, I talk about going from a people pleaser to a recovering ingenue.  Starting out in this business so young (she first starred in The Sound of Music at the age of 18), I started to inadvertently live out my characters in real life.  I took on this persona of never upsetting anybody, being what people wanted me to be, especially men. I got caught in a trap of not living my own life, becoming whatever another person wants me to be.  It’s taken a long time to unravel that.

Has there been a specific experience that helped the unraveling?

Being a parent.  My children put the nail in the coffin for needing everybody to like me all the time.  They’ll never like me all the time, and it can’t be their job to like me all the time.  It’s my job to not need them to.  I had to develop an internal fortitude.  I tell some really out-there stories, very private stories that used to hold shame for me.  In telling them, it takes that shame away.  What I hope is that it involves people enough to release their own.

Is there a particular moment in the show that you still say, “OMG, I can’t believe I’m actually telling them this?

There is definitely one song where it’s hit or miss.  I tell a story about when I was 21.  A man proposed to me, and he would not take no for an answer.  He just kept at it.  And because I’m such a people pleaser, I didn’t have the heart to say, “Listen, I don’t love you.”  I didn’t want to hurt his feelings…so I told him I had cancer…and that I didn’t want him to have to see me like that.  It’s a song called “Marry Me,” and either you’re on board and you love it, or you hate me.

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You have explicitly described the show as a love letter to women of all ages, mothers, and your “beloved gay men.”  As you know, gay men have a long history of embracing glamorous, funny, complicated, and authentic women.  What is it about you and your particular brand of comedy and performance that attracts your beloved gay men to you?

I think that’s true, and I love it.  I believe it’s my sense of otherness that I have always felt since I was 11 years old.  My main interests were Murder, She Wrote, the music of Steven Sondheim, and the 1944 psychological thriller Gaslight.  I was so on the outs!  I was so not cool.  And, please know that I am in no way comparing this to the challenges of coming out.  That is not the correlation.  I always say I was born like a 45-year-old gay man in a little girl’s body.  I just wanted to sit in a well-knit room and listen to good music and watch movies.  So I think there’s a similar sense of culture.  My Uncle Bob was an incredible drag queen named Wanda May Wanaburger and one of the founders of the Gay Men’s Chorus in Washington, DC.  I grew up with him.  Actually, the last time I ever saw him, we were singing together on stage at the Kennedy Center.  I was playing Maria (Von Trapp from The Sound of Music), and he played the Mother Abbess.  It was so great to have that moment with him before we lost him suddenly.  I worshipped him.  I grew up under his wing…or wigs, as it were!  I think on some level I share the recovering people-pleaser identity with gay men.  So many of us can’t change it until we have the courage to do so.  I always knew, on some level, that people-pleasing was a survival strategy, not some altruistic trait.

You have spoken about women and the influence they have in your life.  

Yes, when I turned 30, I met some truly wonderful women who are some of my dearest friends to this day.  They just moved through the world in such a different way than me.  I just started mirroring them.  I started thinking, “What would Sara do? What would Kelly do? What would Celia do?”  Then, I would sort of act accordingly.  It became a freedom.  I also had them loving and supporting me and cheering for me.  That was really the beginning of a big shift in me.  Having my children was the second phase of that.

How do you feel now that you’re touring the show you’ve written after becoming frustrated with waiting for other people to write a role for you?

It’s been extremely empowering in that I get to use my own words.  I’ve written for a very long time, and I’ve written comedy for a while for a lot of award shows.  I would write my own monologue and bits and even the sort of Broadway cabaret shows that I would tour.  I would have someone who didn’t want to be there come up to me afterwards and say they really like the stand-up part.  That’s when I realized that’s what I was doing, and it was ok.  It didn’t make me a fraud to pursue that.  And this level of authenticity that I want to bring forward, this level of connection with the audience, it’s really become my favorite thing I do.  I’ll always love playing characters, but this is a real departure for me.  

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Do you believe that your queer fans have helped teach you about being able to be who you are and be this person you’ve become?

Yeah, because my road is so much easier than theirs, and they do it.  I think about that with my uncle.  He lived.  He was in a long-term relationship with a black man in Washington, D.C., in the 80s.  It was not a time to be gay.  I think about him all the time when I’m like, it’s so hard to be a woman.  I just so admire the people I know in the LGBTQIA+ community.  And right now, it feels like we’re sort of going back in time.  You know, to see joy, to see a Pride Parade, to see people, even if they are afraid, walking and talking and being themselves, and trans people, having the courage to live their truth.  I am so inspired by that. If they can find joy, I can find joy.

Tickets for Nobody Cares are available at SCR.org.

Every musical theater actor has certain roles they’d love to play; Christian Tyler Dorey is no different. He’s starred in recent musicals like Sister Act, Beautiful: The Carole King Musical, and The Wedding Singer. He’s also starred in classics like Cabaret and Les Misérables, and he played Teen Angel in Grease. 

To celebrate the 40th Anniversary of the musical Into the Woods, South Coast Repertory has a fresh version of the show with Dorey starring as Jack. It’s already received rave reviews, with Dorey being described as a “showstopper” and a grounded performance making him Reel.com’s “the most believable person in this fantastical world.” 

Dorey took some time to chat with the Blade about this experience, his experiences in LA, and his dreams for his career. 

How does it feel to play Jack in Into the Woods? 

It is truly a dream come true to get to play Jack at this moment in my life. It has been a huge dream role for me since I was first exposed to the score after seeing Rob Marshall’s film in 2014. I immediately became obsessed with Sondheim’s lyrics and score, and I then turned to the original Broadway cast album. It was full of even more information that the film left out.  It was some of the most gorgeous orchestrations and lyrics I’d ever heard in my life. I was moved to tears by Bernadette Peters singing “Children Will Listen.” Safe to say, I was obsessed. 

What makes this rendition of Into the Woods different? 

This production of Into the Woods is unlike any production I’ve ever been a part of. From the cast’s performances to the set, lighting, costumes, and sound design, there are so many elements that make this rendition of Sondheim’s classic one to remember. 

At the heart of it is the incredible direction by Peter Rothstein, whose expertise with the material played a huge part in the specificity of the choices found throughout the production. The carnival concept is brought to life beautifully through Adam Koch’s expressive set design, as well as the gorgeous costumes designed by Danielle Nieves. The projection and lighting design help bring a mythical essence to so many moments in the show, thanks to Greg Emetaz and Lonnie Alcaraz. The crisp, booming sound design by the brilliant Noel Nichols ensures that audiences don’t miss a syllable of the show’s incredibly complex score. 

This score is unlike anything else in musical theatre in terms of its difficulty, and the brilliant music direction of Wiley DeWeese is a huge reason we’re all able to navigate it. His music direction is unlike any I’ve experienced for this show. His ear for Sondheim is so incredibly keen, and it allows him to make clear, motivated choices with us as an ensemble, as well as with our incredible 11-piece orchestra, who conquers this behemoth of a score masterfully. There is so much artistry happening in every department of this production, and I feel incredibly lucky to be surrounded by so many people who are bringing such specificity, imagination, and care to this show. 

How would you describe your version of Jack? 

I would describe my version of Jack as optimistic, impulsive, carefree, and warm. This role has been a huge dream role for me since I was first exposed to the musical. Jack being raised by a single mother and living in a world that forces him to grow up before he truly feels ready are both things I can relate to in my personal life. I think those similarities have fueled a lot of what I bring to him onstage.

“Giants in the Sky” is a beast unlike any other. I’ve been singing it in my room since I was in middle school, and it STILL feels like a feat getting through it every night. It’s truly a challenge in enunciation, timing, and range. But the beauty lies in the challenges written into the score, which make it just as rewarding as it is difficult. I feel like it adds to the stakes present in the show at that moment for Jack and allows me to really activate his childlike optimism. 

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You’re playing Jack, and you’ve played Teen Angel in Grease. How does it feel to bring audiences a POC version of these beloved characters? 

It really is such an honor to get to breathe new life into these characters. Getting to show audiences that art is full of possibility is truly something that fuels my art. I’m very grateful that I’ve been able to work with such great directors who are able to look at the heart of the work rather than just what’s on the surface. I’m hopeful that I’ll get to play even more roles like this and open the eyes and hearts of even more audiences. 

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How did you get into musical theater? 

I was first exposed to musicals at a very young age. I was able to see Dreamgirls at the Ahmanson in 2010 when I was seven, and it played a huge part in me falling in love with musical theatre. My middle school years also played a huge part in growing my love for the art form. I was always listening to new cast albums to grow my knowledge, and I had an incredible theatre teacher who taught me so much about what it meant to be a theatre artist. 

I was lucky enough to participate in Broadway Dreams Foundation’s LA Intensive from 2015–2023, starting in sixth grade, and I was able to fall even deeper in love with the discipline and beauty of the stage. I’ve had the theatre bug ever since. 

How does it feel to be in Los Angeles? 

I was blessed to have grown up here! I grew up in Studio City, lived in Hollywood during my middle school years while attending Le Conte Middle School, and then attended CSArts in the San Gabriel Valley. I felt like I wanted a change of pace after living in California all my life, so I really only applied to schools outside of California so I could gain some life experience elsewhere. 

I then attended Texas State University’s Musical Theatre Program under the direction of Kaitlin Hopkins. THIS is really where I was able to come into my own as an artist. I learned so much from my time in San Marcos. Both about myself and what it means to truly be a great artist in every aspect present in musical theatre. I then moved back to LA and have gotten to work at 5-Star Theatricals, the gorgeous Wagon Wheel Theatre in Warsaw, Indiana, the incredible Tuacahn Amphitheatre in Utah, and now the beautiful South Coast Repertory. 

What’s your favorite thing to do in Los Angeles?

One of my favorite things to do in LA since I was in elementary school is to spend an afternoon or evening at The Grove. Getting to walk under the stars with the beautiful music, gorgeous fountains, and all the lights is something I never get tired of. Grabbing a bite at The Cheesecake Factory and then ending the night with a great movie- nothing beats it in my mind. 

What are some of your dream roles? 

I have so many of them! I’ve always wanted to play Tobias in Sweeney Todd, Hedwig in Hedwig And The Angry Inch, the Leading Player in Pippin, Cornelius in Hello Dolly, Man 1 in Songs for a New World, Youth in Passing Strange, and Éponine in Les Misérables! 

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What were your inspirations growing up? 

My mother was a huge inspiration for me growing up. As the youngest of four, she was the only one who left home immediately to follow her dreams. She has always been my number 1 supporter. Whenever I said I wanted to do something, she did everything in her power to make sure I was set up for success. 

The minute I said I wanted to start acting, she found the best acting classes and teachers for me so I could become immersed in the discipline required to do it at a high caliber. My mother is my everything, and I think that’s partly why playing Jack has always been such a dream for me. We both are the only children of single mothers, and there is a bond that comes from those circumstances that is unlike anything else. My vocal heroes growing up were the likes of Audra McDonald, Whitney Houston, Patti LuPone, Luther Vandross, Barbara Streisand, and Stevie Wonder. 

What are your goals for your career?

As an LA native, film has always had such a special place in my heart. I have always loved the beauty of film and television and the life that can be created on a screen. I would love to be a part of a film or television ensemble. 

Is there anything from LGBTQ culture that you’re currently obsessed with? 

Queer culture always has something to be obsessed with! Right now, I’m especially obsessed with the creativity and community within it. There’s always something new to discover, whether it’s a new artist, a new drag queen, music, fashion, or just some ridiculous piece of queer internet culture that makes me laugh. I’ve recently been rewatching episodes of Ryan Murphy’s Pose, partly to relive the incredible performances in the show. But mainly to remind myself that my dreams are obtainable by hard work, perseverance, and ferocity.

You can find Dorey on Instagram and see Into the Woods at South Coast Repertory now through October 18th. You can purchase tickets at the theater’s website.

In his career, Joey Zauzig has built a unique space in our online community. Self-branded as “the internet’s best friend,” a title that stuck after an appearance on Good Morning America, Zauzig has created a digital place where humor, food, fashion, and advice all come together. Whether he’s encouraging someone to leave a relationship that no longer serves them, sharing a skinty recipe, or making his audience giggle, Joey has a way of keeping folks engaged. At the core of it all is the idea that showing up as yourself and making others feel less alone can be impactful.

Having experienced bullying for being gay before he was ready to come out, Zauzig understands what it means to search for acceptance and not find it when you need it most. Rather than allowing those experiences to own him, he has transformed them into a commitment to creating the kind of supportive space he wished he had growing up. In our conversation, Zauzig reflects on finding purpose through his platform while staying authentic and continuing to evolve. He also shares his love of food, his dream collab (you’ll have to read to find out), and what folks can look forward to as he takes his next big step with Bravo.

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What does that title “the internet’s best friend” mean to you personally, and how did it come about?

It was coined when I was on Good Morning America a few years back and it just stuck. I love giving advice and being a virtual shoulder to lean on for my audience. I hope that people feel like I am a safe space for them when they come to my page and make them feel good and that I’m a friend they can rely on to be there for them.  

You were bullied for being gay before you were ready to come out. In hindsight, how did these experiences impact the person and creator that you’ve become?

Those were some really tough periods in my life, but looking back, they shaped so much of who I am today. Going through that helped me develop a stronger sense of who I was and taught me the importance of accepting myself, even when it feels like the world isn’t ready to. I also didn’t have someone I felt I could look up to or turn to during those years. Because of that, I’ve always wanted to create the kind of space I wish I’d had growing up, where people feel safe, supported, and accepted exactly as they are. If sharing my experiences helps even one person feel a little less alone, then those difficult moments have found a greater purpose.

Instead of allowing those painful experiences to overtake your narrative, you’ve built a platform centered on positivity and empowerment. Was there a specific moment when you realized your story could help other folks?

I wouldn’t say there was one moment in time, but overall, as I went through these times, I found myself always wanting to make people feel good and smile. I have been so fortunate to have a platform where I’m able to give that to people, and I can’t wait for it to grow into something even bigger. 

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What’s the biggest responsibility that comes with being someone that thousands of people genuinely turn to for support?

I think the biggest responsibility has been being intentional with the content I make and finding a balance between putting out content that resonates with people and staying true to myself. I don’t want people to follow me because they think I have life figured out. I want them to feel like they’re hanging out with a friend who’s figuring it out too. 

What’s the most meaningful message you’ve ever received from someone whose life was changed by one of your videos?

I receive messages every day, and it truly is the most meaningful part of what I do and makes it worth it. Those messages remind me that content is about so much more than entertainment. You never really know what’s happening on the other side of the screen, and it’s incredible to think that something as simple as making someone laugh, sharing a meal, or being honest about your own experiences can make another person feel seen.

You often encourage people to leave unhealthy relationships and believe in themselves. What’s one piece of advice you wish someone had given you when you were a wee one?

I wish someone had told me that the way people treat you is never a measure of your worth. When you’re young, it’s so easy to think that being rejected, judged, or made to feel like you’re “too much” or “not enough” means there’s something wrong with you. It took me a long time to realize that other people’s opinions are usually a reflection of where they are, not who you are. The right people will never require you to shrink to be loved. They’ll celebrate who you already are.

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How do you protect your own mental health while constantly giving emotional support to others online?

I’ve learned that I can’t be there for everyone if I’m not taking care of myself first. I try to set healthy boundaries, spend time with the people I love, and remember that social media isn’t real life. I care deeply about the messages people send me, but I’ve also accepted that I can’t solve every problem. The best thing I can do is show up authentically, offer encouragement, and remind people, including myself, that it’s okay to ask for help and protect your own peace.

Your Skinty recipes have developed a fan base of their own. Where did that idea come from, and what makes a recipe Skinty?

Skinty came from me wanting to enjoy the foods I love while making them the healthiest version possible. I’ve never believed that eating well has to mean giving up the meals you’re craving. To me, a recipe is “Skinty” when it feels balanced. It’s satisfying, packed with flavor, made with better-for-you ingredients where it makes sense, and still feels indulgent enough that you actually want to make it again. That’s always been the goal: healthy without feeling restrictive.

Your content blends humor, fashion, dating, wellness, and food. How do you stay creative while producing content that feels green and not yet seen every day?

I think the biggest thing is that I create from my actual life instead of chasing trends. If something makes me laugh, inspires me, or feels like a conversation I’d have with my friends, that’s usually where the best content comes from. I also don’t put pressure on myself to reinvent the internet every day. I just try to tell familiar stories in my own way. If it feels authentic to me, it’ll feel fresh because no one else has my perspective.

You’ve covered plenty of viral food trends. What’s your humble opinion on folks queuing up for the latest candy-coated culinary creation sweeping TikTok? 

I honestly love that food brings people together. If standing in line for the latest viral dessert or trying a crazy new food trend makes someone happy, I’m all for it.

I think the best meals are usually the ones you keep coming back to, not just the ones getting millions of views. I’ll always try the viral spot, but I’m just as excited to find those hidden gems that deserve the same attention. At the end of the day, if it tastes good, brings people together, and creates a fun memory, that’s what really matters.

Social media has blurred the line between creators and their audiences. What’s your take on parasocial relationships, and how do you balance being authentic without feeling like you owe followers access to every part of your life?

I think it’s a really interesting balance. I’m incredibly grateful that people feel connected to me; that’s honestly one of the best parts of what I do. If someone feels like they’re catching up with a friend when they watch my videos, I’ve done my job. At the same time, I’ve learned that authenticity doesn’t mean sharing everything. Some parts of my life are just for me, my family, and the people closest to me. I think it’s possible to be open, honest, and genuine while still having healthy boundaries. The goal has never been to let people into every part of my life. It’s to make people feel seen, entertained, and connected without losing myself in the process.

If you could collab with any celebrity chef or food personality, who would you be stepping into the kitchen with?

Without a doubt, Martha Stewart. She’s an absolute icon. I feel like we’d be the perfect duo; she’d be teaching me the proper way to do everything, and I’d be over there trying to convince her to make a Skinty version of one of her legendary recipes. If I could leave with one hosting tip, one recipe, and maybe an invite to Thanksgiving, I’d consider it a successful day.

Without giving away any surprises of course, what can your followers expect from you over the next year that they haven’t seen before?

Lots of exciting things are coming. You can expect to see me on Bravo, which I’m incredibly excited about. Beyond that, I’m continuing to expand my brand and platform.

With the midterms fast approaching and Donald Trump’s malignant whimsy dictating the American agenda, many of us feel unsafe as scraps of hard economic and political news randomly swirl around our lives like debris in the swelling tornado outside Dorothy’s Wizard of Oz window. What’s happening? Will I get hit? Who can I trust to help me?

But all may not be what it seems. As America faces a reckoning with Trumpism and Trump’s cratering approval ratings, new leaders are emerging, standing in the breach to help reclaim our common humanity.

Anti-trans political spots blight the airwaves, for instance, driven by Elon Musk’s America PAC, “which has dropped $100 million on anti-transgender ads targeting Democrats,” trans columnist Erin Reed writes in her Erin in the Morning Substack.

The ads are proving largely ineffective. “Anti-trans ads may scare Democratic candidates, but among the general public, polls consistently show that voters rank transgender issues among the lowest-priority issues they care about and vote on, with less than 1% of respondents naming ‘wokeness/transgender issues’ as a top issue,” Reed notes.

However, by saturating the airwaves, trans people are constantly bombarded by “hateful messaging” that also hits unsuspecting viewers.

“They paint transgender people as predatory and disgusting to a national audience in a cheap attempt to win votes, and every viewing raises the temperature of the hate and abuse directed at a community that is already a target,” Reeds writes.

While trans people make conscious existential choices every day, many also live fulfilling lives and seek to be of service in unexpected ways and places.

Take the purple state of Wisconsin. Out lesbian Sen. Tammy Baldwin has won 17 general election races since 1986. Out trans candidate Dina Nina Martinez-Rutherford recently won her Democratic primary for a State Assembly seat representing the 76^th District in Madison. And TikTok star and New York Times best-selling author Mercury Stardust, an expert in home repair, also lives in Madison with her trans spouse.

“I was a burlesque and drag entertainer, and I was also a maintenance technician for a property management company and for various companies in tropical Madison, Wisconsin,” Stardust says during an interview while on a book tour for her second book, Lost and Found, A Compassionate Guide to Home Repair.

She became well known on the internet for helping strangers learn how to fix their pipes and drywall, helping a lot of renters – which led to her first book, Safe and Sound: A Renter-Friendly Guide to Home Repair.

Stardust now lives in a home in Madison with her “wonderful spouse, Mouse ZZ” to whom she has been married for 10 years. ZZ (Ari) was also born and raised in Wisconsin, went to Cleveland, Ohio, for their undergraduate college degree, and returned home to get their master’s degree at UW-Madison.

“My trans journey is a fairly small part of my entire journey as a content creator, but I have kind of been really public about me raising money for gender-affirming care and helping other trans people access gender-affirming care” through Point of Pride, Stardust says.

And with confidence, you get to show up as all of who you are. “It’s like being a maintenance technician in those spaces, you know? And there is no joke there. It’s like, this is a real aspect of who I am,” Stardust says, “where I’m gonna show up as who I am and just live my life the way that anyone would, because I’m just a human being. There’s nothing necessarily uniquely special about that. It’s just the fact that I’m also a trans person who happens to be really good at maintenance and is also very good at educating people” on DIY home repairs.

But Mercury Stardust’s big laugh and positive attitude, teaching DIY as The Trans Handy Ma’am, is also quietly empowering, building confidence for vulnerable people that they can fix something and not have to rely on a landlord or strangers. And if the need for maintenance is greater than their capabilities, learning how to pick professional help is important, too.

Practicing self-confidence and showing up safely can also be developed as skills to help build community at this dangerously precarious time when more and more tornadoes, real and imagined, increasingly swirl around us.

The tornadoes are a shared common problem that supersedes petty divisiveness while at the same time elevating and listening to the intersectional experience of those hit the hardest.

Here are some scraps of hard news swirling around in today’s tornadoes, issues we all have to deal with now and whenever Trump crashes.

In the last two years, the Trump administration’s enforcement of Project 2025 has resulted in trans people receiving greater hostile visibility and political scapegoating, in addition to shared cold, hard healthcare issues, food insecurity, housing insecurity, and high home heating and gasoline prices.

Right now, it’s hard to know who’s telling the truth and who’s offering credible ideas and solutions.

Since his first term, Donald Trump’s Orwellian version of truth as “alternative facts” has poisoned the well of discourse and promoted cruelty and division. Journalists were finally forced to call him a liar, question his mental stability and acuity, and peg him as a wannabe dictator.

“We do now live in a country that has an authoritarian leader in charge. We have a consolidating dictatorship in our country,” out MSNBC anchor Rachel Maddow said Monday night, Aug. 4, 2025. “The question is no longer how to prepare for this risk or how to try to avert it, but rather how to fight it now that it is here and in effect.”

Just over a year later, Trump banned broadcast TV press pool coverage from the White House campus while his Justice Department essentially lied for him in court proceedings. Trump launched his own authoritarian-like Trump TV programing to try to control the narrative. On Sept. 24, a Trump-appointed judge issued a temporary restraining order requiring the restoration of press passes.

But with the specific issue of pool coverage still unresolved, the Oval Office meeting between Trump and China’s dictator Xi Jinping was covered by Chinese state media but not covered live by US cameras, with BBC reporters noting, “we’re not sure exactly what they spoke about.” Reminder: at a two-hour private meeting with Russian dictator Vladimir Putin in 2018, Trump told the press that he believed Putin over US Intelligence.

Vice President JD Vance’s announcement of the administration’s intention to remove 760,000 Affordable Care Act enrollees from public healthcare exchanges adds to the five million people who dropped their ACA insurance after Trump and the Republican Congress let premium prices skyrocket. “Give us another chance — or, give us another couple of years to continue to work on the amazing things that we’ve been doing for the past two years,” Vance said on the All In podcast.

Meanwhile, more than 4 million people lost access to critical food aid between last July and April — many of whom are children – because of cuts to the Supplemental Nutrition Assistance Program (SNAP/food stamps), which the White House called “bloated.” More cuts are expected by the end of 2026, NPR reported last month.

Meanwhile, more than 160,000 pounds of raw meat with fake USDA inspection labels were recalled on Sept. 24; the CDC reports that as of September 17, 2026, 3,471 confirmed* measles cases were reported in the United States in 2026; and university scientists think outbreaks of infectious diseases like Ebola, hantavirus, bird flu and COVID-19 are on the rise.

And as Trump’s war of choice in Iran expands throughout the Middle East, home heating oil and gas and diesel prices continue to climb. An estimated 4 million to 5 million households use heating oil for homes during the winter, according to the U.S. Energy Information Administration. Massachusetts is already reporting that for the week of Sept. 21, 2026, the average retail price for heating oil hit $6.15 per gallon. That’s a 74.7% jump compared to last year, or a $6,000 bill compared to previous years of maybe a $3,500 or $4,000 bill.

And what’s going to happen when the nor’easter storms hit the East Coast? California Gov. Gavin Newsom has already declared a state of emergency to prepare for being the epicenter for a predicted “historically intense El Niño,” according to a news release from the governor’s office. There’s a 75% chance this super storm will become the strongest since 1950, according to the latest reliable forecast.

While Trump is bored with the war and calls the affordability crisis a hoax, community grassroots organizations such as Indivisible help produce No Kings protests nationwide, and individuals like Mercury Stardust help empower people to show up as who they are where they live.

Maybe they will also show up and share common ground over a common issue and create a new kind of real equality-based intersectional democracy, a more perfect union, in the process.

This is a cross-post from Karen’s LGBTQ+ Freedom Fighters Substack.

For most of history, performers have been forced to hide their queer identity to succeed — Rosslyn Luke is determined to do the exact opposite. 

The past few years have been a professional whirlwind for the actress; she just starred in NEON’s Paper Tiger alongside Scarlett Johansson, Adam Driver, and Miles Teller. This comes after almost a decade of Rosslyn making a name for herself in the indie filmmaking world. It’s promising to be the first in a new wave of large-scale features, with Luke being announced alongside Emma Roberts and Leslie Bibb for a new film focused on renowned advocate Hal Donaldson. 

It’s been amazing for Luke’s many longtime fans to see the actress finally receive the appreciation she deserves. And, especially for LGBTQ+ film-lovers, it’s so much better when viewers learn she’s doing all of this while being openly, proudly queer. 

“Getting the role in Paper Tiger was a dream come true,” raved Luke. “My first day on set, I was sitting at a kitchen table with Scarlett Johansson and Adam Driver — my heart still kind of races when I think about it — and there was very much a feeling of, ‘Oh, I’ve done it.’” 

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It was a defining success for Rosslyn’s long career, with the actress joking about her first big role: starring in her Washington state elementary’s school’s Christmas play. Little Luke instantly fell in love with the versatility that acting entailed, a passion she still feels in every role today, saying, “I think it’s the exploration…I’m really curious about what makes everyone who they are. I really enjoy research and trying to figure out who my characters are, and all of the humanity that exposes me to. I think that is a huge gift.” 

This sense of exploration not only fuels Rosslyn’s love for acting but also helped her realize and embrace her truest self when she came out seven years ago. 

“I didn’t come out until I was 30,” the actress reminisced, thinking about the journey it took to understand her sexuality. “And the exploration it took to get there [is] a lot like the exploration I do through roles. I would take characters that weren’t necessarily gay and twist them to have queer backstories. And I think that was…my way of exploring in this safe world as an actor, before bringing it into the real world.”

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And since bringing it into the real world, Luke has refused to hide her sexuality. She remembers that moment at the table with Driver and Johansson and how invested each actor was in her upcoming nuptials, with Rosslyn laughing, “It was very present in the room, my queerness. They both asked a gazillion questions — Adam was extremely invested in my engagement and how I was going to do the proposal. Yeah, it was very sweet!”

Luke’s genuine excitement over being able to pursue these large roles as an out queer woman is refreshing within an entertainment industry that still struggles with homophobia. It’s a fact that may shock some viewers; we’ve been lucky to see many queer-centric projects in the last few years. But there is still a great stigma against LGBTQ+ performers and creatives, with these people not only facing immense hurdles, but outright discrimination when trying to get their art made while being open about who they are. These lingering stigmas are ones that Rosslyn knows well and refuses to put up with in this new phase of her career, stating, “It’s such a big part of my identity, being a queer woman. And I feel like every time it’s ignored, it’s kind of… it feels like this huge boulder that I have to go around as I’m talking about myself.”

“As a queer person now, you know, years after coming out, I’ve spent so much time rediscovering who I am. Re-finding bits of myself that I now understand better. And that just brings so much more clarity to each of my performances and each of my characters. Because I feel like the more that I understand myself. the more that I can understand the world around me, and hopefully represent it in a…more accessible way.”

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Luke’s deeper understanding and love for her sexuality clearly show in the powerful performances she’s offered in recent years, ones that are gaining her more attention than she’s ever had before. It’s clear that the actress is preparing for a whole new wave of big features like the ones she’s been proud to work on. And Rosslyn knows that not only do these projects mean so much to her, but also to the many viewers who want nothing more than to see an LGBTQ+ person winning today. 

To these fans, Rosslyn says, “I hope…I hope they feel seen. I hope that I can present an authentic version of myself as I go out into the world, as I move forward in my career. And I hope that having my performances be respected and grounded in reality will allow other girls to know that they can do whatever they want to do. Even if they’re gay, even if they’re from a small town in Washington where there’s not a lot of representation. You can do it…you can kind of be whatever you want to be.” 

And then, after thinking a moment, Rosslyn laughed and added, “You might have to get out of that town, though.”

At long last, Celia Rose Gooding can talk about the Star Trek: Strange New Worlds Season 4 finale. And it’s a finale that belongs almost exclusively to her.

In the finale episode, now available to stream on Paramount+, communications officer Nyota Uhura (Gooding) comes face-to-face with an older version of herself.

In order to save Scotty (Martin Quinn), Uhura must uncover a mystery and confront the leader she was always destined to be.

It’s one step closer to Strange New Worlds closing the gap between The Original Series, where fans were first introduced to Uhura through Nichelle Nichols’ iconic performance back in 1966.

“We see them confront each other and love each other in a way that can only breed more self-acceptance, self-understanding and self-actualization, which is what fans have been hungry for this whole time,” Gooding says of Uhura’s interaction between past and future self.

Gooding spoke with The Blade to break down the emotional final episode, why she was hesitant to pay homage to Nichelle Nichols’ beehive hairdo, and her hopes for the future of Black and queer representation on Star Trek amid the Paramount-Warner Bros. merger. This interview has been edited and condensed.

I know you’ve already finished filming the upcoming fifth and final season, so first of all, congratulations! This finale is such an exciting showcase for you. Can you break down this time travel twist and how you approached playing these two different versions of Uhura?

So much of what this episode meant to me was about honoring everything Uhura means — not just to me, but to Trekkies across the world, to people who’ve seen themselves in Uhura, and most importantly to Nichelle Nichols. I didn’t get the opportunity to meet her, although I’m desperate to have had that. But I think there’s something really special and unique about being able to have a conversation with a version of yourself that you no longer recognize in the past, and also a version of yourself that you do not recognize in the future. So much of the conversation between the two Uhuras in the beginning is filled with tension; they’re not super fond of each other just because they are so different. There’s so much growth and separation between their two mentalities. Given the stakes of the episode, Strange New Worlds is hearing things and is called on in a way that she does not understand. And so much of Uhura’s job, as a communications officer, is to understand — especially the things that she’s hearing, the conversations that are going on. When she is detached from that understanding, she’s left floating in this really uncomfortable space. The first thing that she can reach out and grab onto is something that should not be happening; she should not be able to speak to a version of herself that exists in the future. It breaks so many directives; she is breaking a lot of rules about time travel and temporal anomalies.

And then on the flip side, we have TOS [The Original Series] Uhura, who gets back on this mission, and something has gone terribly wrong. That tenacity, that perseverance, that reminiscent characteristic between both of these Uhuras is that they’re not going to give up. I love that in Uhura’s mind, if something doesn’t make sense to her, it’s because something is wrong. And not because she is incapable of understanding what’s happening; it’s that something has happened and it must be corrected. I love the confidence that we see in TOS Uhura of talking to her friends and crewmates and being like, “You aren’t listening to me. You need to listen to me!”

What was the most challenging part of playing these two parts?

The time jump between the two of them. Originally, it was three years, but now in the edit it’s just one. And playing Strange New Worlds Uhura, who knows all of this time has passed but doesn’t know what’s in it that makes her future self so unrecognizable — at first, I was trying really hard to make sense of that tension, trying to establish something. I kept coming up against the obstacle of, “How can I make this make sense?” Even when we only had 16 hours until shooting, I was down to the wire. I had conversations with director Chris Fisher, and he really implored me to not focus so hard on trying to make it make sense; the moment it makes sense is the moment we don’t have a story anymore. So much of the tension and conflict is that we don’t understand how this has happened; these two characters have to make it make sense together, and they do, because they always do! But it was a real challenge as an actor to live in that liminal, unknown, uncharted space and let that discomfort be the fuel for the engine that is the story. Even as I talk about it now, I fear that I’m not making any sense!

Finally, I think fans of Uhura have been so hungry for her to just inch closer and closer and close that gap, and I think while [the Season 4 finale] doesn’t completely close that gap all the way, we see them confront each other and love each other in a way that can only breed more self-acceptance, self-understanding, and self-actualization, which is what fans have been hungry for this whole time. 

And you get to pay homage to Nichelle Nichols with that iconic beehive hairdo.

Story-wise, it was important for us to give the audience a way to immediately recognize who was talking because they’re both me, with my face. And it wasn’t just my hair that established the timeline change — it was the lighting, color grading, and everyone else’s different looks and costume changes. But the conversation around that iconic beehive- at first, I was a little resistant. I’m not gonna lie to you. I didn’t love the idea of recreating this iconic hairstyle because I have such admiration for Nichelle Nichols. God, I owe her so much for this era of my career. It is all thanks to her and what she has done, and so it felt like blasphemy, sacrilege. I was like, “I don’t know if this is right, guys; I think some things are just meant to be precious.” And then I saw it on camera, and I was like, “You know what? Maybe there’s a reason why they’re the showrunner, and maybe I should just do my part and let everybody else do their part.” It’s so recognizable, iconic, and immediately present.

I’m just filled with pride. I’ve been holding on to this episode for so long. I’ve been dying to talk about this episode because we shot it a year and four months ago, in June 2025. And I’m just really excited for fans to see it. It was a labor of love. It is an ode to Nichelle, but it’s also an ode to the version of Celia that said yes to playing Uhura because she had no idea what she was fucking in for. She had no idea, and just as Uhura held her hands and said, “You’re doing great,” I just want to hug that version of myself who was so hard on themselves, the same way the Strange New Worlds Uhura is, and just tell her to exhale and be like, “Baby, you got it. The hard part is behind you now. You get to just show up, do your job, and learn the lessons day-by-day.

As we’re celebrating Star Trek’s 60th anniversary this year, it’s been a moment to recognize the show’s diversity and inclusion. There are, naturally, some fears about what the future of the show will look like considering where the industry is going amid the Paramount merger. As a queer person, how do you feel about the potential for the show to continue embracing diversity and perspective?

I know my publicist is holding her breath right now! I am really excited to be surprised about the future of Trek because right now, realistically, there is no Trek in production. We have another season of Starfleet Academy to release, and another season of Strange New Worlds to release, and then it gets quiet for live-action Star Trek. I know there’s a Nickelodeon show coming; there’s a lot of animated Trek happening, but when it comes to Gene Roddenberry’s vision, I don’t know what the future holds. The unknown can mean so many different things, and I am really excited about what I’ve been able to donate to this franchise. I’m so excited about what it means as a dark-skinned, Black queer individual to exist in Trek, to have my vessel that Uhura lives on in, and what it means for me and my community.

I can’t imagine that Strange New Worlds is going to be the last of Trek. I hope that is not the case because Trek has done so much for how people think about the future and how people embrace the future. There is so much positivity and diversity embraced in Trek, and the world is only going to get more diverse, despite what the powers that be want you to believe. We’re not going back, and I am excited for Star Trek to continue to be at the forefront of the stories that are told about how we do not go back, about how we move forward and embrace each other and embrace the unknown, embrace the diversity of opinion and experience. I’m just really excited to be surprised. I want to wake up one day and be like, “I could never have imagined this for Trek!”