In a jukebox musical twist on Romeo & Juliet, Britney Spears, Katy Perry, and Backstreet Boys songs become hilarious and endearing anthems of newfound love, self-discovery, and fresh starts in the endlessly entertaining North American tour of & Juliet.

Making its successful transition over to Los Angeles, this show’s energetic ensemble immediately stands out. While Romeo & Juliet ends with both of the star-crossed lovers tragically taking their lives, & Juliet posits a simple question — what if Juliet didn’t take her life over someone she knew for just five days?

Beyond giving Juliet a new start, this show features multiple messy relationships that are delightful to watch unfold through Luke Sheppard’s direction. There’s the central dynamic between Anne Hathaway (Teal Wicks) and the deadpan William Shakespeare (Corey Mach), which gets increasingly complicated as Anne is the one attempting to rewrite the story, questioning Shakespeare’s genius and motives in hilarious bits along the way. But the surprise standout comes in the surprise connection between Lance (Paul-Jordan Jansen) and Angélique (Kathryn Allison), Juliet’s nurse and biggest supporter.

Rachel Simone Webb, who stars as Juliet and was a member of the original Broadway cast, takes the stage with her majestic voice in a cover of “…Baby One More Time” — earning a well-deserved standing ovation during the Friday night showing. Another standout, Nick Drake, plays May, who feels a flame for the refreshingly dorky Francois (Mateus Leite Cardoso) after a chance encounter. But things get complicated as Francois proposes to Juliet, feeling like his father, Lance, won’t support him falling in love with the non-binary May.

The hilarious Ben Jackson Walker, who originated the role of Romeo in the original Broadway production, joins the company, making a meal of the moment when the once-dead lover reappears at the end of the first act. Romeo’s appearance means that the rules of the story are constantly being rewritten. And there are certainly moments where & Juliet leans into the meta, but its biggest tool is its sincerity; the show avoids relying too much on its referential framing device as a crux, which it comes close to.

While the colorful staging and costumes that play on both classic and modern fashion certainly add to the production value, there are moments when the flashiness of & Juliet becomes all too distracting. The bottom half of the stage effectively serves as Juliet’s bedroom, a street outside a ball, and a wedding venue without much re-organization needed. The issue comes with the upper half of the stage, which uses a screen with colorful designs that often appear during big music sequences. This makes it often difficult to know where to look with so much movement already happening, taking away from the undeniable stage presence of this incredible ensemble.

Thankfully, the second act of the show slows down, allowing for more intimate moments as Juliet is forced to contend with her lasting feelings for Romeo, Nick questions their place in the world and Anne sees the writing on the wall. As the show builds up to its climactic wedding (in true Shakespeare fashion), truths are forced out into the open, and these complicated love stories find their fitting conclusion.

The Los Angeles production of & Juliet makes for a fun night out on the town, and because the actors embrace the cheesiness without any hesitation, it’s hard not to be singing along by the end. Despite the premise, Juliet’s arc in the show is less about her saying no to love or no to a man, but making an active choice in her life. That’s a choice that all of us deserve to make, and this show celebrates that in true jukebox fashion.

& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

Like so many others of my generation, I first became aware of Terence Stamp when he appeared as General Zod in 1978’s “Superman,” and I was struck by the fact that, despite his relatively short screen time and the fact that I had never heard of him, he was featured in the movie’s advertising as if he were a major player.

As a budding young cinema nerd, that, coupled with the cool charisma he projected through his villainous turn as an interplanetary supercriminal, piqued my attention. It wasn’t long thereafter when a late-night broadcast of “Billy Budd” – the 1962 film version of Herman Melville’s posthumously published novella in which the then-young Stamp was first thrust into stardom – introduced me to him as he had been introduced to the world that came before me. And it was electrifying.

Here was a young actor whose breathtaking beauty was rendered even more irresistible by his palpable intelligence and his carefree disregard of contemporary standards of masculinity. I was captured by the ease with which he embodied his role as young 19th-century sailor, conscripted into service on a British warship and turned into an outcast for his gentle nature and optimistic spirit; pitted against an aggressively masculine superior whose obsessive dislike of him snowballs into tragedy, he embodied a quality that resonated deeply with parts of myself I was still not fully prepared to explore. Though I may have been too young to catch all the obvious queer subtext that was built into the story by Melville himself (Google it if you’re skeptical), I knew that there was something about this movie that had been ignored or missed outright when it was released. The film was largely dismissed as a weak and pointless effort, almost certainly because of a refusal to acknowledge its homoerotic subtext – but that I somehow understood and into which I felt immediately entwined, all because I recognized something of myself in Stamp’s near-angelic personification of the role.

I was not the only one, nor was I the first. Coming into the public spotlight in a time when post-war British austerity was yielding to new and more socially aware attitudes toward masculinity and sexual expression, Stamp – who received his first and only Oscar nomination for “Billy Budd,” despite its lukewarm reception – soon became a fixture of “mod” popular culture, parlaying his confidently androgynous appeal into international stardom. He was a film star who worked with revered artists like Fellini and upstart auteurs like Pasolini, half of the era’s “it” couple with model Jean Shrimpton, and a jet-setting fashion plate as famous for his sense of style as for his skills in front of the camera.

Indeed, while he was the embodiment of his era’s particular flavor of fame and glamour, the kind of stardom afforded to more conventionally masculine UK-born contemporaries – like Sean Connery, Michael Caine, or Peter O’Toole – eluded him. Adored by the glitterati, he was ignored by the mainstream, who found his work in films like “The Collector” (as a deeply repressed sexual predator who kidnaps a young woman) or “Far From the Madding Crowd” (opposite fellow “mod” icon Julie Christie) too challenging, too ambiguous and vaguely transgressive to fully embrace, no matter the considerable appeal of his physical beauty. In hindsight, it’s easy to recognize the brilliance of his boundary-pushing work during these early “salad days,” but to the masses of the time, there was perhaps something too uncomfortable about the feelings he evoked onscreen.

And then, there was Pasolini’s “Teorema,” in which he played an angelic, otherworldly figure who seduces an entire Italian bourgeois family – mother, father, son, daughter, and maid – without regard for conventional notions of sexuality or socially condoned boundaries. More than any other film, perhaps, it was the lightning rod through which his entire film career would eventually be illuminated. Confidently embodying a radical vision of sexual fluidity before the language for such things was even available in common public discourse, he became a symbol of gender ambiguity decades before appearing in the film that would eventually cement his legacy as a queer cinema icon: 1994’s “The Adventures of Priscilla, Queen of the Desert,” in which his stately portrayal of a transgender drag performer mentoring a pair of younger queerlings earned him a well-deserved and long-overdue “comeback.”

In the intervening years, of course, there was “Superman” and its 1980 sequel, in which he turned a one-dimensional villain into a fan-favorite symbol of elegantly campy outsider-ism. Before that, there was a retreat from the spotlight, during which he explored his spiritual side in India; after, he embarked on a whole new career of boundary-pushing projects (like Stephen Frear’s 1984 gangster-centered character study “The Hit”) and mainstream cameos (as in 1987’s “Wall Street” and 1988’s “Young Guns”). But it was “Priscilla” – despite a later appearance in the “Star Wars” franchise (in 1999’s “The Phantom Manace”) – that permanently cemented him in the cinematic firmament, embodying a dignified, confident, and utterly aspirational portrait of queer identity that continues to inspire today.

After my discovery of “Billy Budd,” all of Stamp’s work was on my radar; but alas, in an industry that values easy conformity over open-minded exploration, so much of his career remained obscured in the public eye by indifference; I went on the journey undertaken by countless fans before me, disturbed by “The Collector,” titillated by “Madding Crowd,” and thrillingly corrupted by the radical transgressiveness of “Teorema.” I was further drawn to his performances in “The Hit” and “The Limey,” and forever empowered by his unflagging commitment to challenging his audiences in a way I had to assume he wanted to challenge himself. In the end, there was far too little of Terence Stamp in the public imagination than he deserved – and that, perhaps more than anything else, made me enthralled by his unique place in pop culture history.

And while it may have been “Priscilla” that introduced him to a new audience of queer fans, just as “Superman” had brought him back into a spotlight he had long since abandoned, it was ultimately his fearless dedication to stretching cultural boundaries around sex, gender, masculinity, and identity itself that made him the unsung giant we are left to mourn in the wake of his passing last week, at age 87 – a personal hero for myself and the countless other queer people who saw what he was doing and found themselves magnified, validated, and truly seen because of it. Never content to be defined as a sex symbol, a leading man, or any other easily-categorized “type” (though he openly discussed his non-conforming sexual leanings, he always declined to identify as “bisexual” or “queer” or any of the other labels we all feel so compelled to embrace in our militant modern age), he instead embodied a spirit of open-minded exploration and individually-defined humanity, in which cultural boundaries and expectations are not only unnecessary, but counter to our national inclinations to live an authentic life.

If I had been a movie star, I would have wanted to be the kind of movie star that Terence Stamp was – and that is saying a lot.

‘Hotshot: A Life on Fire’
By River Selby
c.2025, Atlantic Monthly Press
$27/326 pages

How you doing?

Everything good? You need anything, something to drink, a plate of food, a hug, just say the word. If you’re here, you should at least be happy about it. As in the new book “Hotshot” by River Selby, there’s a problem if something’s wrong.

River Selby never set out to be a hotshot firefighter.

They never set out to do anything, in fact, but to stay alive while doing drugs, selling sex for food and money, working as a stripper and a waitress, and living for a time with a man under a bridge. It wasn’t the life they imagined when they became a runaway as a tweenager. Fighting fires was never on the radar until too many losses and an “unraveled” life, bulimia, and a series of fast-food jobs sent them into a deep depression. The suggestion from a friend, a lifeline thrown, made Selby realize that they “would have tried anything.”

“A week later,” they said, “I was hired. Two weeks after that I was on my way to New Mexico for my first fire assignment.”

Quickly and clearly, a big goal became apparent: Selby wanted to be a hotshot, to feel the “reverence” and camaraderie that elite firefighters enjoy, to know the excitement of chasing a raging fire – but they were told, “You can’t be a hotshot. You’re a girl.”

Two years later, the dream was realized after all when they were hired as “the first woman” of a hotshot crew, a fact of which the supervisor reminded Selby constantly. Sexual harassment and constant put-downs instantly became on-the-job concerns, none of which could be reported for fear of reprisals. That intensified Selby’s bulimia, sending them on an emotional tailspin, unsure of themselves and the root of the anxiety and feelings of inadequacy.

They sought therapy – and things again became clear.

“If you really believe that about yourself,” a therapist told them, “then someone taught you to believe it.”

In the past few months, there have been a lot of new memoirs about fighting fires, each as timely as the last. In the midst of them comes “Hotshot,” which is absolutely not a made-for-TV book. It’s different.

Yes, you’ll find some danger inside here and some edge-of-your-seat pages but mostly, fires aren’t all that need fighting in author River Selby’s account. From the opening pages, they plainly let readers know that their back story isn’t what you might expect from someone in a gutsy profession; in fact, this memoir might instead change your definition of “gutsy” as the actual fires they battled take somewhat of a back seat. In the fiery wake of #MeToo, that can get squirmy but Selby’s stories from history, ecology, and geology make great ballast.

This is a worthy book for adventurers, and for readers who wonder what it’s like for a nonbinary person in a deeply swaggering world. “Hotshot” may rankle you, it may inspire you, it may open your eyes to your own soul, so find it and read. With this book, you’ll love doing it.

The Blade may receive commissions from qualifying purchases made via this post.

The recently released Weapons is already being lauded as the scariest film of 2025.

Directed by Zach Cregger, this story about an entire class of third graders running away is a twisty tale of dark magic, visceral bloodshed, and unnerving women (who gay men are already labelling as icons). The movie’s trailers are filled with uncanny imagery, yet one of these clips never fails to unsettle: a woman’s blood-caked face slamming through a wooden door, desperately trying to tear apart the young boy within. That woman is Mrs. Lilly, and when actress Callie Schuttera isn’t trying to massacre children onscreen, she’s working with her wife to uplift LGBTQ+ stories today. 

The Los Angeles Blade sat down with the performer to discuss her role in Weapons and how much LGBTQ+ horror fans have been loving the film since its release — not only for its inclusion of non-straight characters, but the many “bad women” that fill its plot. The performer was thrilled to be in the latter category; Mrs. Lilly is the mother of the only child not to run away, who only gets a few speaking scenes before transforming into a bloodthirsty puppet. When asked her approach to portraying a character that oscillates wildly between maternal and murderous, Schuttera explained, “It was important to show what our family looked like before the outside influence came in…that maybe we weren’t a perfect family, but a normal [one], and we loved each other.”

She spent a majority of the conversation gushing about her place in the film, particularly how much Mrs. Lilly’s wanton violence has been terrifying everyone watching. “I think it’s because it subverts that motherly expectation,” she remarked, on why your average (and usually non-Queer) viewer is so disturbed by villainous mothers. “We expect comfort and nurture from mom. To see the opposite than what we expect, it really messes with our heads.” She continued about how much she appreciated this role, not just because it let her become her most gruesome self, but for how it offers an exceptional model of ‘casual Queerness.’

“My favorite part about [Weapons] is that we are showing Queer characters without having to explain or justify their queerness — they can just be [who they are]!” She exclaimed, when breaking down the film’s non-straight storylines and what she hopes they mean for the future of horror. “I think for so long, [horror has] cornered LGBTQ stories into this trauma box. That if we’re going to tell a story of Gay and Queer people, it has to come with heartbreak…I think one of the keys to integrating ‘us Gays’ into society fully is [making it clear that] we are just doing normal things.” It’s a type of casual representation that LGBTQ+ creators have spent the past few decades pushing for, and while Schuttera helps the cause through her acting roles, she went an extra step further in the fight for inclusion: she started her own production company.

Co-founded by Schuttera and her partner, Gabriela Ledesma, Poison Pictures works with the ‘best up-and-coming filmmakers in LA and around the world to create high-quality products from start to finish.’ When asked why her and Gabriela felt the need to start the production company, Schuttera explained, “If you want to make original stories, that is the best way to refine your skills and learn the industry — especially if you want to be part of producing your own work, and not just handing it over to someone else.” 

Whether it’s the couple’s own projects or various TV commercials, Poison Pictures has quickly proven itself to be one of the best resources for indie creators — and it couldn’t exist at a better time. Because while Schuttera is happy to have an avenue to tell truly authentic stories, she recognizes that artistic creation free from discrimination is a right that people are being denied now more than ever. And that, with discriminatory groups and prejudiced politicians feeling emboldened to share their hateful rhetoric, it’s becoming scarier for Queer people to tell their stories without fear of backlash today.

This unfortunate truth is what makes Schuttera so grateful not only for her company, but for how her role in Weapons can help other artists realize that their dreams aren’t impossible. This is the mission that drives her through every project —  whether she’s onscreen or behind the camera — and it’s why she works so hard to make it easier for Queer filmmakers to access the resources and support they need. When asked to finish the interview with some advice for those LGBTQ+ creators who are afraid to tell their stories right now, she said, “Don’t be afraid to keep running at the problem. Don’t be afraid to keep having conversations. Don’t be afraid to stake your worth.”

“Because when you show up for yourself, all those people who have a certain idea about you, they’re going to learn. You’re going to educate them by standing up for yourself and showing them how to treat you.”

On Thursday, August 28th, 6 pm at the Abbey in West Hollywood, the business, political, and entertainment community will come together to celebrate queer joy and the cannabis culture for “Loud and Proud.” The event is free.

The connection between cannabis and the LGBTQIA+ community is rooted in activism, care, and survival. During the height of the AIDS crisis in the 1980s and ’90s, queer activists and allies fought to decriminalize and legalize medical cannabis as a vital tool for pain relief, appetite stimulation, and quality of life for those living with HIV/AIDS. Figures like Brownie Mary and Dennis Peron risked arrest to provide cannabis to patients, sparking the movement that led to California’s Proposition 215 — the first law in the U.S. legalizing medical marijuana.

This evening will also celebrate the “Loud & Proud” digital docuseries produced by
Culture Machine, in collaboration with The Last Prisoner Project, spotlighting the intersection
of queer identity, activism, and cannabis culture — celebrating joy as resistance and honoring the communities that built the movement. Featuring prominent voices such as Laganja
Estranja, Jorgeous, Justin Simien, Luke Anderson, and other leaders in the space, “Loud &
Proud” blends history, storytelling, and cultural commentary to highlight how cannabis has been used as a tool for healing, protest, and liberation.

This event at The Abbey brings that mission to life, with live performances, a panel discussion, and a community gathering, to celebrate the past, uplift the present, and inspire the future of cannabis justice.

The evening will feature live performances by Maris and S.I.A.T. Los Angeles Blade publisher Alexander Rodriguez will moderate the evening and feature panelists Andrés Rigal (co-founder of Green Qween), Maha Haq (cannabis educator, consultant, and activist, founder of UCLA’s Cannaclub, Head Coach for Social Equity Development at the LA Department of Cannabis Regulation), Vanessa Oliver (CEO of Cloud9 Studios and founder of the Cannabis Wedding Expo), and West Hollywood City Councilman John Erickson.

The event is FREE, RSVP HERE.

“Loud and Proud,” Thursday, August 28th, 6 – 9 pm,

The Abbey: 692 N ROBERTSON BLVD, WEST HOLLYWOOD

For more than two decades, Andrés Rigal has been a fixture in Los Angeles’s LGBTQ nightlife scene, pioneering a diverse portfolio of events from EVITA to Summertramp and DTLA Proud. But recently, the nightlife mogul expanded his business holdings by launching Green Qween, LA’s first cannabis retailer dedicated to serving the LGBTQ+ community.

Green Qween officially launched in 2022 as a partnership between Rigal and Taylor Bazley with its first location in DTLA. After overwhelming success, it has expanded to a new location in the heart of West Hollywood at San Vicente and Santa Monica, in partnership with “CEO of Everything Gay” Tristan Schukraft.

With Rigal set to be a featured panelist at Loud & Proud, an event celebrating the same-titled digital docuseries about the history of the queer cannabis community at the Abbey on Aug. 28, and presented by the Los Angeles Blade, Culture Machine, and the Last Prisoner Project, we spoke with Rigal about the challenges and opportunities that come with being a queer retail pioneer.

(This interview has been edited for brevity.)

Blade: How did your background in queer nightlife prepare you for the cannabis retail business?

Andrés Rigal: For more than 20 years, I’ve had the privilege of producing queer nightlife in Los Angeles, always with the community at the heart of every brand I create. My focus has always been on creating spaces that celebrate the full spectrum of our vibrant, multifaceted LGBTQ+ community. 

Early on, I recognized a gap. So much of queer nightlife felt exclusive, catering to narrow circles instead of embracing our diversity. That realization became my mission: to break down silos and create events where every corner of the LGBTQ+ family feels seen, celebrated, and invited to the party.

At Green Qween, we’ve centered the queer community in every aspect of our brand. Proceeds go directly to local queer-led nonprofits, ensuring our success supports the community that laid the foundation for this industry.

For me, entrepreneurship is about more than building businesses. It’s about creating platforms that amplify voices, foster inclusivity, and celebrate the diversity that makes our community so extraordinary.

Blade: Why do you think it’s important to have an LGBTQ-focused cannabis store? What does Green Qween provide that other cannabis retailers don’t?

Rigal: To open Green Qween WeHo, we had to first transfer our cannabis license from a previous address to our current location. This meant we had to make our case for the transfer in front of the West Hollywood Business License Commission. That night we had more than 30 people from the community show up and speak on our behalf, something the commission said was unprecedented. Community members shared personal stories about the importance of seeing queer and trans employees at the DTLA store, and why queer representation matters even when shopping for cannabis. The commission then voted unanimously to approve our license transfer and said Green Qween would be “a net positive for the community.” 

At Green Qween, we invest in our community with the intention that the community’s success is an indication of our success.

Blade: How has business at the new location in Weho been going? How does the store experience compare to the downtown location?

Rigal: Green Qween WeHo is a runaway hit. Before we opened, people were clamoring to know when our grand opening would take place. Now that we’re open, it’s been non-stop. People love our friendly and knowledgeable staff, the delicious interior design and, of course, the five-foot disco ball that sparkles day and night.

The WeHo experience is similar to our downtown location. Although the color palette of the stores are slightly different, you know it’s a Green Qween when you walk in. In DTLA you get the same amazing service, the top selection of cannabis, and our stunning post-modern design with an enormous, shimmering disco ball. Our DTLA store is an icon while our new WeHo store points toward the future.

Blade: How do you see cannabis culture intersecting with queer identity/community? Do queer people have a special connection to cannabis?

Rigal: The LGBTQ+ community significantly shapes pop culture, and this includes the intersection of cannabis culture. LGBTQ+ activists created the medical market in California during the HIV/AIDS epidemic of the ‘80s and ‘90s. Since then, we’ve been pushed out of the industry, which is one of the reasons we’re here to take up space and reclaim our legacy.

Blade: How have you seen the queer community’s relationship to cannabis change or evolve over your time as a figure in the community?

Rigal: I’ve seen the queer community embrace cannabis more over time, especially as stigma is reduced and it becomes more mainstream. People turn to cannabis for so many reasons, including medical, recreational, spiritual, and even as a more mindful alternative to alcohol. Cannabis truly is plant medicine and can help people just as much as it can facilitate a good time.

Blade: What are you planning to discuss at the Loud and Proud panel? What do you want people to take away from it?

Rigal: At the Loud and Proud panel, we’ll cover nightlife and cannabis in the queer community. I hope people will take away a feeling of pride in our community’s contribution to cannabis culture and a sense of ownership to further steward a future of plant medicine that honors this history.

(Green Qween is located at 802 N. San Vicente Blvd in West Hollywood. “Loud and Proud: Tracing the Smoke Back to Its Source” will take place at the Abbey, 692 N. Robertson Blvd. on Aug. 28 from 6-9 p.m.) 

There’s subversive theater, and then there’s the visually intoxicating whirlwind that is & Juliet. A re-imagining of Romeo & Juliet, this jukebox musical envisions what would’ve happened if Shakespeare’s young heroine hadn’t joined her love in an early grave. Shirking its inspiration’s problematic themes, it sees Juliet embark on a colorful journey of self-discovery (while belting out some of the best pop songs of this century).

The show has earned international acclaim since its premiere in 2019, with thousands of fans delighting not only in & Juliet’s music but also in its portrayal of something that is unfortunately rare nowadays: healthy, non-tokenizing LGBTQ+ representation. The LA Blade caught up with the cast of & Juliet’s North American tour during their stop in Los Angeles and learned how they feel sharing this kind of show all over the U.S. — and what they hope it means for the future of musical theater as a whole. 

& Juliet finds its Queer voice in the character of May, Juliet’s non-binary best friend. The plot sees May join the young woman’s liberating adventure, not only supporting her but finding out more about themself as they absolutely conquer Britney Spears classics and fall in love with the timid Francois. May’s performer, Nick Drake (who identifies as non-binary in real life), summed up what this role means to them in one phrase: “I have the greatest job in the entire world.”

They raved about how important it feels to bring this character to audiences all across the United States, exclaiming, “To share the [message] that queer people not only exist, but deserve the same amount of love and passion that everybody else [receives] every single day…that is such a great, great gift.” It was a sentiment that their co-star, Kathryn Allison (who plays Juliet’s put-upon caretaker Angélique) shared, adding how this has been especially valuable when performing in conservative states. Knowing that so many viewers will be returning to non-supportive homes, she says, “I think people being able to see themselves represented in the show…it’s really powerful. To make sure that they know that they’re not alone, right? We really provide a safe space for [them] to be themselves, when maybe in their own communities they can’t be at the moment.”

These performers work hard to leave their audience with a sense of belonging, something that is felt in every scene of & Juliet; the story sees Juliet struggle to find herself in a rigid society where people refuse to understand her. Luckily, with people like May and Angélique, she finds comfort in a chosen family like no other, with each jaw-dropping performance bringing her new people to cherish and new spaces to be her most authentic self in. It’s a comforting narrative that, during a time when discriminatory politicians and hate groups are becoming more vocal, audiences need to hear more than ever. But this cast isn’t willing to let the musical’s message end just because they take their final bow. They imagine a future where musicals offer nuanced LGBTQ+ characters that any viewer can really learn from — not just quirky sidekicks good for a few laughs. 

One of this cast’s biggest advocates for inclusion is & Juliet’s leading lady herself, Rachel Webb. She doesn’t take her role as Juliet lightly and is proud of the massive work this show does for Queer representation, saying, “I’m really grateful [for] what & Juliet does with May; they’re not just the funny best friend. They have their own storyline, and they have their own “falling in love” story.” When asked what she hopes for the future of representation in musical theater, she continues, “I think I would love to see more trans voices in the writing rooms. I would love to see more trans voices on stage, [and in] stories in which they’re centered as love interests and not just comedic characters.” It was a desire that Drake shared wholeheartedly, proclaiming, “It’s now a tokenized plotline to have [someone] be hurt because they’re Queer — I think that’s tired, y’all!” They agreed, along with the rest of their cast, that the best future for musical theater is one where LGBTQ+ characters are truly allowed the spotlight. Are given the chance to be nuanced, well-rounded individuals, ones who don’t get used as easy sources of dramatic trauma or insignificant streams of self-deprecating jokes. It would be a monumental future for a medium that has historically benefited from the Queer community while failing to respectfully portray its members. 

And, with shows like & Juliet bringing a signature style of radical, musical inclusion all over the world, it’s a future that may arrive sooner than any of us can expect. 

& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

When Hollywood forgets the full flavor of storytelling, artists like Cecilio Asuncion bring the spice. With a creative compass pointed at authenticity, Asuncion has been serving up stories that go deeper than big box office regurgitations and sanitized clichés. In an industry that still misses the mark on nuance, especially when it comes to marginalized folks and their identities, Asuncion steps in with work that doesn’t just “check boxes.” He builds entirely new platforms, like Cinepride, a film festival born from the need to showcase stories that Hollywood still sidelines.

Let’s be honest –  representation isn’t just about who gets the spotlight—it’s about who gets to hold the camera, write the script, and take a stab at tweaking society for the better through film. Whether he’s reframing tired tropes or elevating new voices through a cultural lens, Asuncion proves that storytelling is in need of purpose, not permission. We recently had the chance to talk with Asuncion about reclaiming narratives, making room for honest expression, and  creating Cinepride from the ground up, and why the future of film might just be found far from the studio lot.

What was the moment when the idea for CinePride ignited? What was that creative process like?

CinePride actually came from a really difficult place. My husband passed away the night before Thanksgiving in 2023, almost two years ago now. Because I come from the independent filmmaking world, I thought, “You know what? This could be a meaningful legacy project.” Looking back at my career, I realized that so many doors had been opened for me, and I wanted to create a space where people could come together. Not in competition, but in collaboration.

That’s one of the things I’m most proud of with CinePride. We’re not trying to create another competitive film festival. I mean, you know how festivals can feel, so cutthroat, like a pageant. But that’s not the point. Especially as a gay Filipino immigrant, I’ve been taught that there’s only so much space for someone who looks like me. So naturally, we begin to see each other as competition. But CinePride is about dismantling that mindset. We’re starting fresh.

It’s like the whole “only one seat at the table” concept.

Exactly.

What sets CinePride apart from other LGBTQIA+ film festivals?

We’re kind. That’s probably the biggest thing. And I mean that genuinely. Also, our programming is deeply intentional. We owe a huge thanks to the screening committee, our Programming Director Miguel Santos, and our Development Director Michael Daly. We made a conscious decision that “community” doesn’t just mean “gay.” It means honoring all the different colors, identities, and orientations that make up our world.

Because I’m still actively working in the industry, I know what it feels like to be a filmmaker submitting to a festival. I remember when I did the rounds with my first documentary, What’s the T? I was so excited to meet people, but I got treated like I didn’t belong – classic mean-girl energy. Even that needs to change. Kindness and grace matter, especially when you’re already in the room. And for those submitting, whether to us or anyone else, graciousness will take you far. This industry is small. People remember how you treat them. We might not always be nice, but we’re always kind. That’s a big distinction.

One of your awards is for Best Micro-content. Can you talk about what that category includes?

It’s for films under five minutes. But we created it to make space for people without access to big budgets or fancy gear. Maybe all they have is their phone. It’s especially geared toward youth and emerging creators. And in a world of reels and short-form storytelling, that kind of work deserves to be seen too.

Another award that stands out is the Social Impact Award. What led you to create that, especially in our current climate?

Look at the world we’re in right now. I’m Gen X, and we didn’t grow up with social media. But today, I think we confuse posting with activism. And that’s not enough. We need to do something – whether that’s running a festival, helping at a food bank, or just showing up for our community.

When I worked on Strut and with Slay Model Management, I made it a point to connect with nonprofits doing real work for the trans community. They’re doing the heavy lifting – housing, healthcare, survival. Film and entertainment get all the attention, so it’s our job to spotlight the people who don’t get enough of it.

That all really resonates. It’s frustrating when people give a shout-out during an awards speech and then do… nothing.

Yes! I call it “fad-vocacy.” Like, don’t thank the trans community in your Emmy speech and then never hire them. Don’t wear a “Protect Trans Kids” shirt and then disappear. That doesn’t help anyone pay for groceries or hormones.

CinePride also includes panels and Q&As. Are there any you’re especially excited about?

Absolutely! We’re partnering with NBCU Launch, and I’m really excited about that. We’re bringing our community in front of actual decision-makers, people who might not have had that kind of access before.

I really believe in what Michelle Obama said: when you walk through doors of opportunity, you keep them open for others. I’m where I am because so many people helped me. I got to executive produce my first TV show with Whoopi Goldberg. That doesn’t happen to everyone, and I’ll never forget it. So now I ask myself: how can I do the same for others?

That’s powerful. What does “advocacy through film” mean to you? And how do you think Hollywood might be falling short?

Advocacy through film means telling the stories that matter and making sure they’re seen by people outside our community. We already know our own struggles. The goal is to reach others.

Now on Hollywood, It’s tough. Advocacy and business don’t always coexist easily. That’s why independent film is so important. Most of these filmmakers aren’t doing it for money – they’re doing it because they have to tell these stories. We’ve made progress in Hollywood, especially with authentic casting and representation, but we still have a long way to go. And honestly, I think when the current gatekeepers retire or… move on, your generation will do things better.

Were there any unexpected challenges that came up while planning CinePride?

Surprisingly, no major wrenches. People warned me it’d be a huge undertaking – and it is – but when you’ve produced a full season of TV, a three-day film festival feels manageable. The bigger challenge is funding, especially from government sources. That’s why we leaned into private sponsors instead. I didn’t want to take money from trans organizations that need it more than we do. Thankfully, I’ve been able to invest in this project myself.

That’s both incredibly generous and intentional. You mentioned you moved from the Philippines at nineteen. How has your Filipino background shaped your work?

Honestly, my family wasn’t traditional. My mom was always supportive. We weren’t raised with rigid gender roles or cultural expectations. So I didn’t have a hard time adjusting when I moved here. But I’ve come to see how different that experience is. A lot of Asian peers have learned to stay quiet, to fly under the radar. I was never taught that. I’ve always been encouraged to speak up.

If you could make a cameo in any LGBTQ+ film, which one would it be?

It’s not technically LGBTQ+, but I’d say Death Becomes Her. That’s ours now, right? That or Soapdish. I watched that movie over and over with my best friend Marco. So when I got to work with Whoopi? Full circle.

Would you rather watch a tearjerker or a campy comedy?

Sad movies are like porn – you should watch them alone. But comedies? Definitely with friends. I love ridiculous stuff like Scary Movie – Regina Hall’s Brenda is iconic.

How do you see CinePride evolving in the future?

Bigger and better. I want CinePride in Asia, in Europe, everywhere. And I want us to reach a point where we don’t have to talk about representation – because it’s just the norm.

CinePride runs September 11 – 14, 2025 at Landmark Theatres Sunset.

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media. 

‘Just Good Manners’
By William Hanson
c.2025, Gallery Books
$28.99/272 pages

So. Many. Forks.

You’re glad you’re not doing the dishes at the end of this dinner – but in the meantime, what’s protocol? If this event wasn’t a make-or-break, filled-with-repercussions kind of deal for you, you wouldn’t care; you’d use one fork, one spoon, and enjoy your meal, thank you. So please pass the salt and the new book “Just Good Manners” by William Hanson.

Dining at a restaurant not long ago, Hanson noticed a glaring difference between how his fellow Brits order a meal, and how Americans do it. We might share a language, he says, and we’re a lot alike but we’re also different in many ways. Manners are one of them.

It may seem that formal manners are archaic, even quaint, but Hanson says that they’re needed now more than ever. Manners help smooth social transactions. They leave room for grace in many situations, and they help put people at ease.

“Contemporary etiquette,” he says, “is rooted in six key principles.”

Humility is what ensures that everyone at your meeting or dinner is comfortable, not just you. Hospitality welcomes everyone to the table. Knowing one’s rank shows respect. Says Hanson, “politeness takes patience” and humor, as manners evolve. And although it sounds counter-intuitive, manners are somewhat based on passive-aggressiveness, which helps you be direct, but not too much.

Here, you’ll learn how to deal with introductions in different situations and what to do with a pronoun faux pas. You’ll see that merely greeting someone can be fraught with danger, so be sure you know who’s who before you enter a room. Learn to avoid five “taboo” topics when engaging in small talk. If you’re interrupted, know how to kindly gain control of a conversation again. Find out how the use of slang tells a listener who you really are. Know how to be a good guest, and the kind of host people appreciate.

And yes, you’ll learn about those many, many forks.

You do not live in a bubble. You don’t work in one, either, and smoothing ruffled feathers is needed more than ever in today’s world so maybe it’s time to learn how to do that from a very unruffled source. With “Just Good Manners,” it could even set you apart.

Indeed, author William Hanson makes a case for politeness-as-diplomacy here, in a book that’s very Brit-centric but that includes anecdotes about disastrous situations in other countries. Tales like those are fun to read, in a Schadenfreude way, but they also illustrate why it’s essential to understand other cultures in business settings as well as in many casual events. If that sounds daunting, rest assured that Hanson uses his own advice, putting readers at ease with humor and charm and by taking the scariness out of manners by making them an easy, maybe even enjoyable, challenge.

You won’t feel scolded when you read “Just Good Manners,” but you will learn enough to be someone people want around. It’ll give you confidence. Before your next big event, it’ll give you something to chew on.

The Los Angeles Blade will serve as the official media partner for CinePride Film Festival, debuting from September 11th to the 14th. The four-day celebration of queer cinema will make its debut at Landmark Theatres Sunset in Los Angeles, presenting a powerful lineup that reflects the richness, resilience, and diversity of the global LGBTQIA+ community.

Thirty one films have been selected, featuring a dynamic mix of feature-length narratives, documentaries, and shorts spanning a wide range of genres, including drama, comedy, romance, thriller, and experimental film. Six films will make their world premieres at CinePride, with an additional four celebrating their U.S. or North American debuts. Ten more will be screened for the first time on the West Coast. Showcasing both international voices and emerging homegrown talent, CinePride 2025 provides a bold and inclusive platform for queer storytellers to share their visions on the big screen.

“We are thrilled at the response of the global LGBTQIA+ community of filmmakers who submitted for CinePride’s inaugural edition,” says Cecilio Asuncion, Executive Director of CinePride Film Festival. “This year’s selections are excellent and are a strong testament that LGBTQIA+ voices and stories from around the world will not be erased! We can’t wait to welcome audiences to celebrate these incredible stories with us in LA this September.”

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Highlights from the 2025 official selection include: 

◊ QUEERBAIT – A precocious classics student is invited to dinner after he piques the interest of a tenured professor. But when his teacher’s mentorship starts to push boundaries, he’s forced to make a choice: protect his academic future, or preserve his dignity? This intense drama is executive-produced by Cate Blanchett and makes its film festival debut at CinePride. 

◊ Maxxie LaWow: Drag Super-shero – an animated musical fantasy featuring  the voices of Jinkx Monsoon, BenDeLaCrème, Heide N Closet, Monét X  Change, and Rosé. When drag queens start disappearing, a shy young barista must summon his inner super-shero to rescue them from an ambitious evil drag queen bent on harvesting their magical anti-aging tears. CinePride marks the first time this fun animated feature will be screened theatrically in Los  Angeles.  

◊ A Life Inside Me – Set in rural South Asia, this captivating drama tells the story of a terminally ill father who wishes to live his final days as his true self  — a woman — and his daughter who is trapped in an abusive marriage. The U.S. premiere of this groundbreaking Indian film will happen at CinePride. 

◊ And You Are…? – Jane Seymour stars in And You Are…?, a most unlikely buddy film that follows Lynn, a grandmother suffering from Alzheimer’s who only has the past to prove she exists. Her grandson Max desperately wants to erase his past, as it has never proved his true existence. Already winning acclaim on the international festival circuit, the film makes its Hollywood premiere at CinePride! 

◊ Lip Sync Assassin – Sampaguita, a fabulous drag queen moonlights as a hired killer to earn extra money and provide a good life for her talented daughter and sickly mother. Just when she thought she could handle any contract killing mission, her new target tests how far she can go to support her loved ones. The thrilling Filipino short film makes its world premiere at  CinePride! 

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Screenings will be enhanced by workshops, filmmaker Q&As, panel discussions, and a  Director’s Brunch. Additionally, CinePride Film Festival will present awards in categories  including Best Narrative Feature, Best Documentary Feature, Best Lead Performance,  Best Director, and the Trailblazer Award. The coveted Audience Choice Award will be  decided by festival goers. 

“CinePride isn’t just a film festival; it’s a movement that belongs in Los Angeles, the epicenter of the film industry,” declares Programming Director Miguel Santos. “It’s about creating space for globally resonant queer stories that challenge conventions, defy genre, and deserve to be seen in theaters. We’re setting the stage for the next generation  of storytellers who will redefine what’s possible in film.” 

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media.