For someone who’s been dead for 160 years, Abraham Lincoln is still hot.

No, we don’t mean it that way, though if we were talking about the Lincoln of “Lavender Men” – a new movie starring and co-written by queer playwright Roger Q. Mason, who also wrote the acclaimed play from which it is adapted – we certainly could be. We’re really just making the observation that the 16th POTUS continues to occupy a central place in America’s national imagination. And in an age when our America is torn by nearly as much division (over many of the same core values) as the one he presided over, it’s impossible not to compare the ideals he has come to stand for with the ones currently holding sway over the country’s political identity, and wonder at how short we have fallen from the mark.

Yet there has always been a gap between the historical reality of Lincoln’s “Great Emancipator” reputation and the romanticized pedestal upon which he has been placed; and if he looms large as an influence over American identity, it’s as much for his enigmatic nature as for the values he represents. Was he a true believer in the principals of “liberty and justice for all” or a political pragmatist who recognized that preserving the nation – and its growing power in the larger arena of world affairs – required the abolition of an increasingly unsustainable system that had divided it? Your answer to that rhetorical question will likely depend on which version of “American Identity” aligns most closely with your own.

It’s also a question that’s further complicated in the context of Lincoln’s private life, something that has itself been the subject of debate as modern historians and scholars consider the questions about his sexuality unavoidably implied in his well-documented biographical record, which reveals not only a pattern of closely bonded male “friendship” with various companions throughout his life but plentiful evidence that the romantic nature of these relationships was something of an “open secret” in his lifetime, as explored in last year’s brash but scrupulously documented “Lover of Men.” If Lincoln was himself an “other,” a queer man who had risen to position and power in a world that despised and shunned people like him, what new light would that cast on his legacy?

That’s the crux of the premise behind “Lavender Men,” which builds a “fantasia” around one of Lincoln’s most intense male relationships – with Colonel Elmer Ellsworth, a young family friend who helped him carry out his 1860 campaign for president and would later become the first “notable” casualty of the Civil War when he was shot while removing a Confederate flag from the window of an inn facing the White House. The film, however, doesn’t take place in a period setting; instead, it happens in an empty modern-day theater – an apropos allusion to the location of Lincoln’s ultimate fate – where the overworked and underappreciated Taffeta (Mason) oversees the production of a play about the romance between Lincoln and Ellsworth (Pete Ploszek and Alex Esola). After a particularly demoralizing performance, the put-upon stage manager ponders alone about their own life – as a queer, plus-sized, Black Filipinx TGNC person trying to find connection and community in a world where they feel invisible – through an imagined retelling of Lincoln’s doomed love story in which the narrative is projected through the lens of their own struggle to be seen, loved, and accepted,

Expanded from the play and directed by co-screenwriter Lovell Holder, a lifelong friend of Mason who helped develop the project and oversaw the original 2022 stage production at Los Angeles’s Skylight Theater Company, the film was in his own words “shot over 10 days on a shoestring budget” – and it admittedly shows. However, it leans into its limitations, letting the spare, isolated atmosphere of the empty theater exert its own influence over the material. In this framing, Taffeta becomes something like a reverse ghost, a spirit from the present haunting a past in which their own unfulfilled longings – and resentments – are reflected through the rumored romance of a president and his “little” man, and their exploration of the narrative, with all its inherent observations about the dynamics of power, gender, status, and physical attraction, ultimately becomes a meditation on the importance of redefining personal identity free from the shaping influence of other people’s experience or expectations.

Needless to say, it’s not the kind of movie that will appeal to every taste; highly conceptual in nature, with a nonlinear storytelling pattern that frequently calls attention to its own artificiality, it might prove perplexing to audiences used to a more traditional approach. Even so, it’s refreshingly unpretentious, acknowledging its own campiness without undercutting the authenticity of the voice which drives it – which is, of course, Mason’s.

Delivering an entirely charismatic, commandingly fabulous, and palpably honest tour de force, the playwright/actor is at the center of “Lavender Men” at every level, evoking our delight, laughter, tears, discomfort, and myriad other shades of response as they take us on their historically themed tour of queer identity, which involves its own collection of repressive and/or demeaning social expectations about “fitting in” – and illuminate this hidden chapter of queer history along the way. Indeed, capturing their performance – which Mason reprises, along with fellow original co-stars Ploszek and Esola, from the stage production – is arguably the film’s most significant accomplishment. It’s a powerful example of the kind of fierce, spirited expression that is rarely seen outside the half-empty houses of underground theaters, well worthy of several repeated viewings.

For Mason, however, the thing that matters most is not their performance, nor even their brilliantly conceived script. Discussing the movie, he describes it as something much bigger than that: “I hope this film serves as a rally cry, a fountain of joy and a grounding of purpose for the LGBTQIA+ movement in the U.S. and abroad at a time when we need stories which affirm, empower and embolden us more than ever.”

“Lavender Men” is showing in limited theaters now. Watch for information on streaming/VOD availability.

With the current administration taking over the Kennedy Center and threatening
programming at the Smithsonian Institution, art that challenges the heavy hand of
censorship has never felt more important.

“A Man of No Importance” will run May 10 through June 1st, at A Noise Within theatre, with 7:30p.m. showtimes and weekend 2p.m. matinee showtimes.

That aura of encroaching repression can’t help but penetrate A Noise Within Theatre’s
upcoming revival of the musical “A Man of No Importance,” which centers around a
closeted bus driver in 1960s Dublin who attempts to stage a community theatre
production of Oscar Wilde’s “Salome” over the objections of the local church.

Based on a 1994 film of the same name, and with a book by Broadway legend Terrance
McNally and music by Stephen Flaherty and Lynn Ahrens – the trio behind the smash
Ragtime – the 2002 musical tackles themes of courage in the face of repression with wit
and humor and a memorable score infused with Irish rhythms.
For Kasey Mahaffy, who plays the beleaguered bus driver and theatre director Alfie in A
Noise Within’s production, the show is deeply personal.

“I have never felt a more personal connection to a role than I have with Alfie. He’s a gay,
middle-aged Irishman who grew up Catholic and is obsessed with theatre,” he said. “I
mean this thing is in my DNA.”

Mahaffy says the show fits into a long tradition of theatre challenging authority through
humor, satire, and empathy.

“Since its inception, theatre has always questioned authority. The most arresting art
often urges you to think critically and challenge oppression. That’s what Alfie is doing by
putting on these little plays in the church rec room – plays like Saint Joan and Salome
that hold up humanity while challenging the rigidity of Catholic society in 1963,” he said.
Indeed, the objections of the authorities within the play to the production of Salome
echo the sorts of objections that Republican lawmakers have levelled against drag,
queer performance and the mainstream arts generally.

Salome is Wilde’s 1893 tragic play about the seduction of John the Baptist by King
Herod’s stepdaughter Salome, and the subsequent murder of both John and Salome.
Wilde himself never saw the play produced – the only production in his lifetime occurred
in France in 1896, while he was in prison on his conviction for homosexuality. And the play was officially banned in Britain until 1931, due to a rule forbidding the depiction of
biblical characters on public stages.

Even once the ban was lifted, objections to the show’s frank sexuality, blasphemy, and
authorship by a queer man persisted in the public sphere.

Is that surprising, given that even in 2025, American lawmakers are attempting to ban
drag shows and remove books by queer authors from library shelves?
Perhaps what’s most important about A Man of No Importance in 2025 is that it provides
a pathway and hope for artists to fight back against this new age of repression.

“This show is all about building community with people who may not look like you or act
like you, but you come together anyway to create something bigger and more powerful
than any one of you alone,” said Mahaffy. “That is what art is. That is what art does.
And in these confusing times of divisiveness and anger, I can’t imagine a stronger
antidote.”

Queer theatre fans may remember Mahaffy from Geffen Theatre’s production of The
Inheritance, but he says playing this part at A Noise Within, where he’s a resident artist,
has been particularly rewarding.

“What I’m most excited about is sharing this story with our audience. I have been with A
Noise Within for over 10 years now, and this is the first time I’ve gotten to play a gay
man on my home stage. Incredibly meaningful to me,” said Mahaffy.

“And the show itself is my favorite kind of theatre: it’s absolutely hilarious but also
possesses deeply moving moments. And it’s all accompanied by a beautifully written
score filled with pulsing Irish music.”

A Man of No Importance plays at A Noise Within Theatre, tickets and more information can be found at their website.

The LGBTQ Comic Con event returned for its fourth iteration last weekend at WeHo’s Plummer Park, with Prism Comics — a nonprofit that spotlights LGBTQ artists — once again hosting Southern California’s newest Queer comic convention. This free, day-long event has become a mainstay for local communities; each year brings together countless comic book creators, visual artists, industry professionals, and more in celebration of LGBTQ fandom today. 

From insightful panels to dozens of distinctly talented vendors, interested guests could spend hours roaming the aisles learning how each creator spotlights their community through art. 

“I loved being surrounded by other Queer artists and being able to share my work with so many people,” said Deja Prieto, an LA-based illustrator who spent Q Con selling paintings that explore the complexities of female expression through sapphic relationships. “Representation for queer and BIPOC folks in comics is something that the world needs more of, and being able to support creators directly is what makes Q Con truly special.” 

Prieto wasn’t the only person proud to share their art with the convention. There were Drag Queens decked out in Deadpool costumes, cosplayers dazzling with their intricate creations, and many fans thrilled to show off their passions to the equally excited attendees around them.

Yet, underlying all of this visual exhilaration was the message that Q Con is based on: comics and fandom have always been essential to the LGBTQ+ rights movement. 

This shone through most in the day’s many panels. Whether it be deep-dives into how the X-Men represent modern-day discrimination or conversations about how cosplay helps people find their authentic selves, these hour-long discussions were as enlightening as they were intriguing. One of the true stand-outs was Queer Comics and Resistance, a panel that saw comic legends like LA’s very own Sina Grace discuss how the medium has been utilized to fight back against discrimination. 

They spoke about things like the historic use of zines in advocacy, portraying transgender characters when no other medium would, and the countless ways comic creators have worked to grant LGBTQ communities the respectful portrayals they deserve. It was an illuminating conversation for all, and it provided an in-depth understanding that made the entire day feel so much more significant.  

Above all else, Q Con was a fun time for all. The crowd’s excitement was tangible, with people you would usually see dancing the night away at Revolver, giddily decked out in dazzling costumes and posing with kids whose parents saw Q Con as the fun event it has proven itself to be.

Combine this with the many LGBTQ vendors in attendance and the day was not only a joyful way to support Queer art, but a reminder of the many people fighting for this community in uniquely powerful ways today. It was a cavalcade of Queerness that reminds everyone about how valuable “nerdy” spaces like these are to the LGBTQ rights movement.

With the assurances from its hosts that this is only setting up an even bigger convention in 2026, West Hollywood locals can be glad that they have a new, annual fixture to look forward to each year.

On May 10th, West Hollywood will witness a wedding unlike any other — one that’s equal parts celebration and cultural statement. The Scarlet Vows is a fiery fusion of love, Black queer joy, and unapologetic nightlife, wrapped in a bold, red bow.

Celebrating the union of David Brandyn and Matthew Brinkley, Ph.D., this wedding transcends tradition, turning a day of commitment into a night of unforgettable energy, connection, and liberation. Picture a nightclub alive with lights, music, and bold red gowns swirling on the dance floor. Laughter fills the air, and joy radiates through every glittering detail. This isn’t just a wedding, it’s a love story turned party, turned cultural statement.

“We hate tradition,” said Brandyn, one half of the couple, co-producer of the event, writer and sexual health educator. “We wanted to celebrate in a place that actually feels like us — and that’s the club,” .

Together, he and Brinkley — a relationship therapist and dating coach — have built their careers around supporting Black queer communities. 

“We’re not just partners in love — we’re partners in purpose,” explained Brandyn. “This celebration is a tribute to the spaces and people that raised us, healed us, and reminded us we were never alone.” 

Their story began, like many queer romances today, with a match on Jack’d. 

“But I avoided meeting up,” said Brandyn while laughing. “I knew if we met in person, I’d fall in love — and I wasn’t ready yet.” Brinkley, determined, found another way — showing up at David’s job picnic. As a QTBIPOC couple, the meaning behind this union goes far beyond the personal. “We are what we didn’t see growing up,” said Brandyn. “We’re living proof that Black queer love exists and deserves to be celebrated loudly.” 

And that’s exactly what Scarlet Vows is: loud, proud, and deeply intentional. With every detail, the couple is reclaiming what weddings can look like for those of us who’ve been told we’re “too much, too queer, too different.” “We didn’t want perfection or tradition — we wanted sweat, sparkle, laughter, and love,” shared Brandyn. “So we created something that combines a ball, a house party, a love story, and a family reunion.” 

The name Scarlet Vows is more than aesthetic. “Scarlet is bold, sexy [and] powerful. Vows are sacred. Together, it’s a declaration: this isn’t love whispered in secret. This is love out loud, in full color, surrounded by chosen family.” 

From the moment guests walk in, they’ll be immersed in a world where Black queer joy is not only centered but celebrated. And when they walk out? 

“We hope they feel more alive, more hopeful, and more connected to what’s possible,” said Brandyn. 

Hosted at Beaches Tropicana, The Scarlet Vows promises an unforgettable night filled with live performances, giveaways, and vendors. The vibe? Elevated, emotional, and full of bold fashion. The dress code is red — think high glam, full drama, and statement-making looks. 

But beneath the sequins and spotlight is something even deeper: purpose. 

This celebration comes at a time when QTBIPOC communities are facing escalating attacks — politically, socially, and economically. The couple has weathered hardships planning this event too, including being robbed and experiencing sudden venue cancellations. Yet, they’ve persisted — reaching out to community members and aligned brands to co-create something powerful. “Nightlife saved us,” David reflects.

“It gave us safety, friendship, release. This is us giving back. This is joy without apology.” That joy is contagious. Whether you’re a longtime friend or a first-time guest, Scarlet Vows invites everyone to come as they are — whether in a gown, a jockstrap, or both. “Think warmth meets wild,” David smiles. “We want people to cry during the vows and then immediately turn up on the dance floor.” 

What happens after the last dance? “Maybe this turns into something bigger,” he muses. “A recurring event, a documentary, a community tradition. Either way, the impact is already bigger than just one night.” 

And if you’re still on the fence about attending? “You’ll miss the wedding of the year. A celebration of love, culture, and freedom. A ball, a rave, a healing circle, and a Black queer love story all in one,” said Brandyn. “If you’ve never seen what it looks like when we build something just for us — this is your chance.”

Long Beach Pride 2025 will take place on May 17 and 18 at Marina Green Park, emphasizing focus on grassroots organizations and local community performers. 

“Long Beach Pride has always been more than just a festival—it’s a movement,” said Elsa Martinez, interim president of LB Pride. “This year, more than ever, we’re celebrating the strength, creativity, and unity of our local community.” 

Martinez also notes that all the ticket sales directly go toward funding on-the-ground resources. 

“As a nonprofit organization, every aspect of the Pride Festival—from ticket sales to vendor partnerships—directly funds our work in the community,” noted Martinez. “This is a festival with purpose.”

As LB Pride amps up for its 42nd annual celebration, the organization has stated that this year marks the return to the roots of Pride. LB Pride stated that they are committed to emphasizing what makes the local community so special and spotlighting local performers, musicians and entertainers. 

The organization has also stated that they are committed to ‘justice, inclusion, and the celebration of queer joy.’ 

“Our strength has always been our solidarity,” said Martinez. “This year’s festival is a reminder of what we can achieve when we lift each other up.”

This year, the main stage will feature a lineup of pop, Hip-hop and Latin talent. 

Performers include HYM the Rapper, George Michael Reborn Tribute, Tori Kay, Jewels Drag Show Extravaganza, Secret Service, Tiancho and music mixes by DJ BSelecta, DJ Icy Ice and DJ 360. 

For updates, tickets, and volunteer opportunities, please visit https://longbeachpride.com and follow @LongBeachPride on social media.

Brazilian police have arrested two people who allegedly sought to detonate explosives at a free Lady Gaga concert that took place on Rio de Janeiro’s Copacabana Beach on Saturday.

The Associated Press reported Felipe Curi, a spokesperson for the city’s Civil Police, told reporters the men who authorities arrested hours before the concert took place wanted to target LGBTQ+ Brazilians. Civil Police Chief Luiz Lima said the men posted hate speech and violent content online “aimed at gaining notoriety in order to attract more viewers, more participants — most of them teenagers, many of them children.”

“They were clearly saying that they were planning an attack at Lady Gaga’s concert motivated by sexual orientation,” said Cury, according to the AP.

An estimated 2.5 million people attended the concert.

A Lady Gaga spokesperson told the AP the singer learned about the threats on Sunday from media reports.

“Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risks,” said the spokesperson. “Her team worked closely with law enforcement throughout the planning and execution of the concert and all parties were confident in the safety measures in place.”

Lady Gaga in an Instagram post thanked her Brazilian fans.

“Nothing could prepare me for the feeling I had during last night’s show — the absolute pride and joy I felt singing for the people of Brazil,” she wrote. “The sight of the crowd during my opening songs took my breath away. Your heart shines so bright, your culture is so vibrant and special, I hope you know how grateful I am to have shared this historical moment with you.”

“An estimated 2.5 million people came to see me sing, the biggest crowd for any woman in history. I wish I could share this feeling with the whole world — I know I can’t, but I can say this — if you lose your way, you can find your way back if you believe in yourself and work hard,” added Lady Gaga. “You can give yourself dignity by rehearsing your passion and your craft, pushing yourself to new heights — you can lift yourself up even if it takes some time. Thank you Rio for waiting for me to come back. Thank you little monsters all over the world. I love you. I will never forget this moment. Paws up little monsters. Obrigada. Love, Mother Monster.”

An estimated 1.6 million people attended Madonna’s free concert on Copacabana Beach last May.

‘When the Harvest Comes’
By Denne Michele Norris
c.2025, Random House
$28/304 pages

Happy is the bride the sun shines on.

Of all the clichés that exist about weddings, that’s the one that seems to make you smile the most. Just invoking good weather and bright sunshine feels like a cosmic blessing on the newlyweds and their future. It’s a happy omen for bride and groom or, as in the new book “When the Harvest Comes” by Denne Michele Norris, for groom and groom.

Davis Freeman never thought he could love or be loved like this.

He was wildly, wholeheartedly, mind-and-soul smitten with Everett Caldwell, and life was everything that Davis ever wanted. He was a successful symphony musician in New York. They had an apartment they enjoyed and friends they cherished. Now it was their wedding day, a day Davis had planned with the man he adored, the details almost down to the stitches in their attire. He’d even purchased a gorgeous wedding gown that he’d never risk wearing.

He knew that Everett’s family loved him a lot, but Davis didn’t dare tickle the fates with a white dress on their big day. Everett’s dad, just like Davis’s own father, had considerable reservations about his son marrying another man – although Everett’s father seemed to have come to terms with his son’s bisexuality. Davis’s father, whom Davis called the Reverend, never would. Years ago, father and son had a falling-out that destroyed any chance of peace between Davis and his dad; in fact, the door slammed shut to any reconciliation.

But Davis tried not to think about that. Not on his wedding day. Not, unbeknownst to him, as the Reverend was rushing toward the wedding venue, uninvited but not unrepentant. Not when there was an accident and the Reverend was killed, miles away and during the nuptials.

Davis didn’t know that, of course, as he was marrying the love of his life. Neither did Everett, who had familial problems of his own, including homophobic family members who tried (but failed) to pretend otherwise.

Happy is the groom the sun shines on. But when the storm comes, it can be impossible to remain sunny.

What can be said about “When the Harvest Comes?” It’s a romance with a bit of ghost-pepper-like heat that’s not there for the mere sake of titillation. It’s filled with drama, intrigue, hate, characters you want to just slap, and some in bad need of a hug.

In short, this book is quite stunning.

Author Denne Michele Norris offers a love story that’s everything you want in this genre, including partners you genuinely want to get to know, in situations that are real. This is done by putting readers inside the characters’ minds, letting Davis and Everett themselves explain why they acted as they did, mistakes and all. Don’t be surprised if you have to read the last few pages twice to best enjoy how things end. You won’t be sorry.

If you want a complicated, boy-meets-boy, family-mess kind of book with occasional heat, “When the Harvest Comes” is your book. Truly, this novel shines.

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

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.

Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.

Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.

Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.

Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it

That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.

Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.

As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.

But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.

Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.

That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.

Queer poetry is well and alive in Los Angeles as OUTSpoken Verse, an evening of poetry, music, open mic and more, comes to The Wild in West Hollywood.

Taking place on Wednesday, April 30, the evening will begin with a writing workshop from 7 p.m. to 8 p.m., with an open mic session for the remainder of the evening. There will also be a special book reading and signing by author Manuel Betancourt.

The Wild, the little club that could, continues to make a name for itself and despite its compact size, hosts a variety of dynamic events that represent many under-sung facets of the queer community. Tod Hallman and Joseph Soto — the masterminds behind many of these events — are on a mission to fill the venue by expanding on the view of who a typical WeHo club go-er is.

OUTSpoken is hosted by Brian Sonia-Wallace, who served as the City of West Hollywood’s 4^th Poet Laureate — will highlight the thriving, queer spoken, word L.A. community.

Tongue Tied, the last event hosted by Sonia-Wallace, featured some of the top queer poets and authors from around the nation. The evening was hosted at Precinct DTLA to a standing room only crowd. One of the only positives from the nation’s social and political climate towards queer folk is the fire that it has ignited as art and literature continue to be the community’s most powerful weapons.

We talked to promoters Hallman and Soto about OUTSpoken and how The Wild continues to represent the diversity of queer Los Angeles.

How did you get into the nightlife scene?

Hallman: My background is rooted in fashion and fashion event production—curating experiences where creativity, style, and storytelling intersect. (Soto) I come from a background of creating brands and shaping how people experience them. As a creative, I specialize in branding, marketing, and experiential activations, with a focus on building authentic connections between people, ideas, and culture. (Tod/Joseph) Believe it or not, we’re neighbors, and through casual conversations while walking our dogs, we realized we shared a passion for building community. That’s how Viberocity was born: out of a desire to create intentional, welcoming spaces where art, fashion, culture, and self-expression collide, and where everyone feels part of something meaningful.

What do you love most about queer nightlife in Los Angeles?

Hallman: Los Angeles is a city defined by its diversity, and that’s especially true within its queer community. The beauty of queer nightlife here is that it holds space for so many different stories, identities, and creative expressions. Every night offers an opportunity to celebrate that diversity.

What sets The Wild apart from other venues in West Hollywood?

Hallman: As event producers, Joseph and I recognize that what truly sets The Wild apart is the communication and support we receive from its owner, Bryan Patrick Franklin. Bryan understands the importance of offering diverse, inclusive events to the community. Some of the experiences we bring to the space include Laugh Out Proud, Purely Wild, The Last Disco, and OUTSpoken Verse. That level of collaboration and support is rare, and it’s why The Wild feels like home for so many of these events. 

What is most important to The Wild in putting on an evening?

Hallman: The Wild truly understands that in today’s world, it’s not enough to simply host an event… you have to create an experience that resonates emotionally with people. Every Viberocity event we produce here is built around that idea: that when you bring together intention, creativity, and community, something meaningful happens. Events like Purely Wild grew directly from listening to what the community was asking for: a vibrant, safe space where people could enjoy crafted mocktails and connect without the expectation of alcohol. The Wild helped us bring that vision to life.

What are the biggest challenges in promoting nightlife in WeHo? How have you overcome those challenges?

Hallman: When I first moved to West Hollywood in the mid-80s, the Rainbow District had about six bars. 

Soto: Now, with more than 17 bars and countless event options, plus the rise of social media, people have limitless choices every night. As event producers, it challenges us to go deeper. When you create something with real heart, the right audience finds you, and they come back. 

You’re bringing poetry to WeHo with OUTSpoken Verse. What can attendees expect from the evening?

Soto: OUTSpoken Verse is truly one-of-a-kind because no two events are ever the same. Every night, there’s an electric unpredictability that makes the experience so special. Our core group of OG poets anchors the evening, but it’s the new voices, the open mic participants, who bring a freshness and vitality to the space. It’s a celebration of raw expression, courage, and artistry. Attendees can expect to leave feeling inspired, moved, and connected to something greater. 

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What do you love most about open mic nights?

Hallman: Coming from a background in acting and dance, I find it thrilling to see artists step into the spotlight, many for the very first time. Providing a space for them to express themselves creatively is deeply rewarding. [Joseph] I love the spontaneity of it. Every artist brings their own style and energy to the mic, making each OUTSpoken night a completely unique experience. 

Why are poetry and music in queer culture so important right now?

Hallman: With everything happening in the world—and within the LGBTQ+ community in particular—spaces for expression, solidarity, and support are more important than ever. Poetry and music allow us to share our stories, our emotions, and our resilience in powerful ways.

Manuel Betancourt is stopping by OUTSpoken Verse. What do you love most about his work?

Soto: We rely on the expertise of our OUTSpoken host, Brian Sonia-Wallace, to bring us artists who are a great fit for the evening. When Brian introduced us to Manuel Betancourt’s work, we were excited. His voice and storytelling are a perfect addition to the energy of the night, and we’re thrilled attendees will have the opportunity to hear him read and purchase copies of his book, Hello Stranger. 

What else can we expect from your events at The Wild in the future?

Soto: While we can’t reveal too much just yet, we’re working on a large-scale activation that will bring a wide range of experiences together to celebrate culture and community in a new way. 

What is your message to the WeHo nightlife community?

Hallman & Soto: Our message is simple: we see you, we celebrate you and we’re here to create spaces where you can truly belong. In a city with endless options, it means something special when people choose to come together to share music, creativity and connection at one of our events. 

OUTSpoken Verse is produced by Viberocity partners, Tod Hallman and Joseph Soto.

Get your tickets for OUTSpoken

Local actor Mike Bowers is no stranger to Live Spot at Musical Mondays at The Abbey. He has been a part of the MuMo family for quite a while now, returning to the live performance spotlight several times a year. This Monday, Bowers will take the stage again for the themed night, “Aspects of Love.”

Bowers is a true man of the theatre. He has produced a number of musicals, cabarets, and plays in Los Angeles, after moving here over a decade ago. Bowers received his theatre degree from Florida State University and moved to Seattle to pursue a career in stage management. But the stage continued to call and pivoted back to his love of acting and directing.

He came to Los Angeles with no theatre contacts, working at a retail job. Fueled by his passion, he infiltrated the theatre community and hasn’t looked back since. He is the founder of Southern Bard, a theatre company that does readings of Shakespeare with Southern accents at The Roguelike Tavern in Burbank.

We caught up with Bowers as he prepares for his return to MuMo.

What first inspired you to fall in love with the stage? 

I’ve enjoyed performing ever since I was little, but it was in high school that I really started singing, and it’s been my favorite thing in the world ever since. 

You came to LA without any industry contacts, working retail. How did you become such an integral part of the LA theatre community? 

I really owe it to my friends Madelyn Hayman and Becker Grumet, who cast me in my first stage musical in LA in 2016. I found my theatre community with them, and it only grew from there. 

What do you bring to the theatre community that is unique? 

I feel like I have a really innate sense of what works and what doesn’t, and I’m not overly precious about ideas. 

You produce, act, and direct – what aspect do you enjoy doing the most? 

Nothing brings me greater joy than singing, but I think if I had to pick a forever career, it would be directing. 

What has been a favorite LA theatre project you’ve worked on so far? 

I’m really proud of the work I did with Conundrum Theatre Company while I was there, and in 2022 I directed a production of Cabaret that I wish could have run for years. 

What was your first exposure to Musical Mondays? 

Gosh, it’s been so long! I think it was through my friend Mandie Hittleman, who invited me to one when it was still at Rage (RIP).

What do you love most about performing at the Live Spot at Musical Mondays? 

It’s a great, supportive, low-pressure way to explore music and push myself vocally in a welcoming, safe space. 

What can we expect from this upcoming Musical Monday Live Spot? 

Great vocals!

What do you love most about Musical Monday audiences? 

Just how supportive they are of the entire theatre community. 

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You are also the mastermind behind Southern Bard. Shakespeare with Southern accents? What inspired you to put the company together and was in the connection between the Bard and the South? 

There was a trend on social media of people doing Shakespeare monologues in Southern accents and I was surprised at how well the language fit in that dialect. Taking it further, many researchers believe that the Southern accent is closer to what the British accent was in Elizabethan times. We’ve found that the accent can make the language more accessible to audiences, and it’s been fun to explore that with different plays and through a queer lens.

What is your message to MuMo fans? 

Thank you for always being there! 

Los Angeles theatre audiences will next see Bowers in a unique adaptation of the classic novel, The Time Machine, at this year’s Hollywood Fringe Festival in June.