Just when you thought there were already more than enough real-life monsters on your TV screen, Ryan Murphy has served up another one.

Fortunately, unlike most of the others, this one is no longer a threat – but that doesn’t mean he’s stopped terrifying us. For the third installment of his “Monster” anthology series, Murphy profiles notorious murderer and bodysnatcher Ed Gein, whose crimes in a rural Wisconsin town during 1940s and ‘50s became legendary in the annals of serial killer lore – though, with only two confirmed murder victims, his body count barely qualifies him as one. Nevertheless, his notoriety spread into popular culture through the inspiration they provided for some of the most iconic fictional serial killers in our popular imagination.

In fact, it’s the reach his heinous acts has extended through the many screen and literary villains that have been based upon him – first and most famously Norman Bates, the deranged cross-dressing murderer at the center of both Robert Bloch’s novel and Alfred Hitchcock movie version of “Psycho” – which seems to be most of interest in “Monster: The Ed Gein Story,” which uses the fictionalized narrative of its titular anti-hero’s life as a springboard to explore the reflection of his crimes through the stories and the characters that would come to be influenced by him, as well as their impact on some of the people who created them. That’s a perfect angle for a Murphy series – in this case written by Ian Brennan and (mostly) directed by Max Winkler – because it allows plentiful opportunities to indulge the queer entertainment mogul’s penchant for campy re-enactments of true (and not-so-true) Hollywood.

In the first of its eight episodes, we meet Gein (Charlie Hunnam) in the early 1940s, living on the family farm he shares with his mother (Laurie Metcalf) and brother (Hudson Oz). As it plays out its version of the events that would shape his future madness – particularly the tyrannical ravings of his puritanically religious mother, and her efforts to instill her vitriolic hatred of sinful impulses (especially involving sex) into her sons – it also offers “fast-forward” glimpses of what’s to come for Ed, whose quiet and seemingly timid demeanor masks an inner life that includes a fascination with shrunken heads, cannibalism, and the gruesome atrocities of the Nazi Holocaust.

It’s a gripping introduction, invoking the elements of Gein’s story that would become serial killer “tropes” – the abusive upbringing, the dissociation, the gruesome “souvenirs” and skin suits intended to feed a fantasy of transformation – and lays the land ahead with the stylistic choice to blur the lines between reality, delusion, mythology. At the same time, it quickly establishes a precedent of veering into speculation, depicting certain events – killings to which he never admitted and were never proven, a fabricated romance with a young neighbor (Suzanna Son), and other departures from the territory of “docudrama” into that of “sensationalized fantasy” – in a manner that makes it hard to separate truth from fiction.

That, of course, is the point. Most of Murphy’s crime and horror shows, in some way or another, explore that same nebulous line, whether “based on a true story” or not. The “Monster” series is an ideal vehicle for exploring the boundaries between perception and reality, offering characters and situations so distorted beyond everyday experience that even documented truths feel like part of an absurdist play. In the season’s second episode, the scope expands with the inclusion of another plotline, a few years beyond Gein’s eventual capture and imprisonment, that takes place during the filming of “Psycho,” introducing both director Alfred Hitchcock (Tom Hollander) and star Anthony Perkins (Joey Pollari) in an equally speculative exploration of the way these collaborators were may have been affected by the artistic process that took them into Gein’s monstrous head.

We won’t delve further into the events that follow during the rest of the series, except to say that it goes on to follow Gein’s presence in pop culture through his cinematic reincarnations in “The Texas Chainsaw Massacre” and “Silence of the Lambs,” and that, as with most Murphy shows, there’s a kind of lurid gloss that envelops the entire thing, a self-consciously elevated style that magnifies half-truths and mythology alongside the tragedies that sparked them.

That, historically speaking, has been the controversy around Murphy’s “Monster” shows, sparking debate about exploiting the memory of victims for the glamorization of their killers.
It’s also the same controversy that has surrounded all such stories in popular culture, whether partially true or entirely fabricated. Hitchcock faced the same criticism with “Psycho,” yet he also made a fortune and cemented an already-impressive legacy with a movie that redefined not just the horror genre, but the boundaries of popular cinema itself. He would, no doubt, have appreciated the irony of seeing himself portrayed here as a creature driven perhaps by some of the same twisted desires as Gein, simply because he understood, from years of experience as a master manipulator of audiences, that the most effective use of filmed storytelling can only be achieved by showing us the darker corners of our inner landscapes that we would otherwise prefer to ignore.

In terms of presentation and performance, “The Ed Gein Story” successfully inhabits a gritty noir-ish space that evokes both the pulpy true crime stories of Gein’s day and the “slasher movie” aesthetic of our own; the violence is no-holds-barred, and therefore difficult to watch, which in itself will likely be enough to ensure that it’s not a show for every taste. Though Hunnam is disappointing as Gein (his affected, one-note take on the character is a far cry from Perkins’ endearingly awkward boyishness as the real-life killer’s fictional stand-in in “Psycho”), but many of the other cast members deliver outstanding turns – most notably the gifted Metcalf, who makes Gein’s mother arguably more monstrous than her notorious offspring.

Ultimately, appreciation for Murphy’s newest foray into true crime myth-making will come down to, as with any of the others, a matter of taste. Those who approach it with an eye toward its canny examination of popular media’s obsession with crime, violence, and unspeakable horror might have a better time with it than those hoping for a more objective, centered, and fact-based document of Gein’s legend.

In any case, its entertainment appeal is – perhaps ironically – undeniable; after all, serial killers provide an almost ironclad guarantee of public interest, carrying the ever-mysterious key to what makes a person “evil” and the chance to examine our own relationship with the deadly impulses behind their crimes. Whether or not you appreciate the show’s deliberately exploitation tone, or the sometimes over-the-top camp of its presentation, or even the seemingly gratuitous nudity and violence that serves to uncomfortably titillate us throughout, you’re bound to be drawn in.

In other words, you might not like it, but you won’t be able to look away.

With its riveting storyline and gorgeous dance scenes, it’s no wonder that one of the standout films this awards season is “Kiss of the Spider Woman.” Originally a bold novel published by Argentine writer Manuel Puig in 1976, it was adapted into a play and then a screenplay. In 1985, the film earned four Academy Award nominations, with William Hurt winning Best Actor — the first ever awarded for a portrayal of an openly queer character.

Ten years later, in 1993, the story was turned into a Broadway musical starring the iconic Chita Rivera, and won several Tony Awards. Fast forward to 2025: for this new version, Jennifer Lopez and Diego Luna both play dual roles in the film, which also stars newcomer, Tonatiuh. 

The film takes place in 1983, during Argentina’s troubled times; two prisoners are forced to share a confined cell in Buenos Aires. Valentín (Luna), a Marxist revolutionary, is committed to his political idealology, despite being tortured and deprived by the guards. Molina (Tonatiuh), a gay window dresser who is in jail because of his sexual orientation, survives the insanity by fantasizing about his favorite movie, telling Valentin all the details. While their connection begins as a way for them to emotionally escape, it grows deeper, in the most profound way.

Through stories, confessions, and sacrifice, the duo discover unexpected tenderness and the possibility of love in a place designed to annihilate the human spirit.

“These two men who could not be different in every single way, everything is stripped away from them in their lives, the politics, class, education, all this stuff goes away, and they start to see themselves as individuals,” said Bill Condon, the Academy Award-winning writer-director known for such films as “Gods and Monsters,” “Chicago,” “Dreamgirls” and “Beauty and the Beast,” who was deeply moved as he wrote the script.

Producing the updated version of the film was vital to Lopez, who is also an executive producer. “I think it’s more relevant than ever,” she said at a recent Golden Globes press event.

“The idea of a trans or gay character in this movie…the kind of divisiveness that we’ve experienced in the world in the past few years. A story about two people who are thrown together, who are so opposite, who are so different from each other. And find the humanity and fall in love with each other. Who would never probably even find themselves in the same circles. That’s really important to have queer representation in movies. In my own family, I know how important that is for people to see that.”

Tonatiuh, who steals every scene he is in, lost 45 pounds for the role.

“I think there’s a certain moment that’s happening right now that we need to remind ourselves that dignity and humanity and love transcend gender,” he said. “They transcend sexual orientation. They transcend all of those things. And so, yes, we deal with queer themes in our film, but I do think that it is a love letter to diversity. It is a love letter to humanity as a whole.”

Condon loved every version of “Kiss of the Spider Woman,” each of them was “revolutionary” for its time.

“But when you read that novel, it’s taken us this long to really catch up to what it was saying. And specifically, this was well before the election season and well before we knew what was going to happen. But it was clear that trans people were going to be demonized, that they were going to be a part of the conversation…it did feel that this was something that was bubbling up and happening. So that’s what made it feel very urgent.”

Lopez added: “The revolution that you’re saying that we need right now is exactly the reason why I think the movie is so important right now for people to see. Because it reminds you that it’s really, at the end of the day, about two people getting along and falling in love, when you really forget about all of the other things, that we’re all just human. And it is about humanity.”

Tonatiuh hopes that the film inspires people to step up.

“We constantly see the news, we see everything that’s going around and we wonder, ‘What is it that I can do? I’m just one person.’ But this isolationist mentality is the thing that gets us here. Every one of us has little actions to take and little moments to do. And especially in a moment where Latinos in general in this country are experiencing massive negative public relations, just attack after attack after attack, it’s really wonderful to showcase what Latino dignity is and reminding people of, like the talent, the joy that our culture adds to the United States and the world.”

On Friday night, rainbow-dyed cloth, butterflies, balloons, and flowers surrounded drag queen Lushious Massacr as she fluttered across a stage, her bedazzled, princess-like dress cascading behind her in hot-pink waves. The crowd stood enchanted as she lip-synched along to her baile de sorpresa: a surprise dance performed by a young girl for loved ones attending her 15th birthday celebration.

It is Lushious’s birthday — but she is turning 37. Nearly two decades later, she is celebrating the quinceañera she never got to have. “When I was a little boy, I never could have imagined a world where I would be allowed to celebrate my quinceañera. The majority of people were still very allergic to queerness,” Lushious told the crowd. “Tonight, we will celebrate the little girl inside of us. She wasn’t allowed, and she wasn’t given permission. The little girl will be given permission tonight.” 

This reclamation and queering of tradition was a recurring theme at the Los Angeles LGBT Center’s annual Queerceañera, also known as Queerce. The event provides a space for queer Latine community members to dance, be connected to resources and support, and embrace themselves in the company of loved ones, chosen family, friends, and fellow queer strangers alike. This year’s Queerce, themed “Mariposas Sin Fronteras,” or Butterflies without Borders, forged a cocoon that allowed guests to steep in the comfort of acceptance and liberation. This respite, though lasting only a few hours, is for many queer people a necessary safe haven in an increasingly tumultuous political and social landscape.

“This year has been so heavily marked by attacks on immigrant communities, attacks on the Latine community, specifically in Los Angeles,” Los Angeles LGBT Center Chief Equity Officer Giovanna Fischer told the Blade. “Our work’s directly impacted by that, because we serve a lot of the Latine community in Los Angeles…We’re seeing an uptick in people accessing our immigration and legal services. So, how do we take this event that is celebratory and will remain celebratory in nature, to still be responsive to what our community is going through?”

Resource tables dotted the courtyard at the center’s plaza, where Queerce took place, and offered various bilingual pamphlets on sexual health, legal advocacy, Know Your Rights resources, as well as connections to Mi Centro: a Boyle Heights community center formed in collaboration with the Latino Equality Alliance that provides HIV testing, a food pantry, outreach events, mental health support, legal services and other programs.

Fischer also discussed that the Center’s staff members have been trained on how to respond to United States Immigration and Customs Enforcement (ICE) officers as raids and operations continue to take place across Los Angeles. This training is part of organizational efforts to increase community safety as spaces — especially LGBTQ+ Latine ones — come under close political scrutiny and threat. 

One of Queerce’s honorees, Oliver Alpuche, stressed the importance of preserving these spaces. A decade ago, he founded the non-profit DTLA Proud to organize festivals, block parties, and marketplaces that uplift queer identity and celebration. In a tearful speech, Alpuche stated that queer spaces are in “trouble.” They are places “where we gather, we plan, we protest, [and] we celebrate,” Alpuche said on Friday night. “We need to keep them alive. And my commitment going forward is to create a Rainbow District in Downtown where we are all accepted, where our culture could meet our queerness and thrive in a space where representation matters.”

Queer Latine representation shone brightly at the event, with electric reggaeton remixes spun by DJ Bella Spreads and a tender art show by multimedia installation artist Yulissa Mendoza. The show was comprised of two works: “¿Eres de la ciudad o del rancho?” and “Siéntate, Mi Amor,” the latter of which was displayed at the Cheech Marin Center for Chicano Arts and Culture in 2024. A tangible, interactive piece, “Siéntate, Mi Amor,” features a table modeled after the one at Mendoza’s grandmother’s home. Covered with a delicate crochet tablecloth, it was adorned with keepsakes, like a lightly crumpled sleeve of Marie biscuits, a note with a gas bill neatly scribed on it, and another that said: “Love you.”

“It’s almost a universal table of sorts,” Mendoza said, recounting to the Blade about how, as a child, sitting at a communal table felt endless and boring. It wasn’t until they had developed close queer friendships and a deeper understanding of their own identity in adulthood — much of which happened around a table — that they began to rethink what this early experience meant to them. “I think it was really my chosen family that allowed me to see the spaces that I grew up in as formative and important…My art now is me honing in on those cultural traditions and practices, [and to] showcase them in a way that is not only archiving them, but making them something of my own.”

Their work speaks to the practice of art as transformation — how historical and familial ties can be strengthened through a different kind of perspective: one that holds a deep kind of self-knowledge. Here, art is time travel. Art allowed Mendoza to form new branches from early, misunderstood roots. Deeply informed by their relationships to their queerness and their Latine heritage, Mendoza has created a new kind of space that is both familiar and totally new. They are creating a different pathway and gathering ground illuminated by queer imagination, and the melding of both past and future.

As community members gathered for Queerce, a question lingered in the air: what does an expansive and safe future look like? While there may not be a clear, definitive answer, events like these highlight the efforts, resilience and solidarity that power marginalized, queer communities. “You think butterflies listen to anyone who tries to tell them when they can or cannot fly? Butterflies are free. Humans deserve to be free too!” Lushious Massacr said. “In a world that demands that queer people hide, we refuse. In a country that demands that immigrants run and hide in fear, we refuse. We will not be afraid, and we will not ask for permission to live our lives.” 

A lesbian comedian who performed at a comedy festival in Saudi Arabia has apologized.

Jessica Kirson joined Dave Chappelle, Pete Davidson, and dozens of other comedians who participated in the Riyadh Comedy Festival that began in the Saudi capital on Sept. 26 and is scheduled to end on Thursday.

Kirson performed on Sept. 29.

Saudi Arabia is among the countries in which consensual same-sex sexual relations remain punishable by death.

A U.S. intelligence report concluded Saudi Crown Prince Mohammed bin Salman “likely approved” the murder of Jamal Khashoggi, a Washington Post columnist, inside the Saudi Consulate in Istanbul in 2018. The Saudi government has also faced criticism over the treatment of women, migrant workers, and other groups in the country.

“On Sept. 29, I performed at the Riyadh Comedy Festival. This decision has weighed heavily on my heart ever since,” said Kirson in an exclusive statement to The Hollywood Reporter. “I like to express my sincere regret for having performed under a government that continues to violate fundamental human rights.”

She said she was “surprised” as “an openly gay person” to receive an invitation to perform at the comedy festival.

“I requested a guarantee that I could be openly out as a lesbian on stage and perform gay material. I hoped that this could help LGBTQ+ people in Saudi Arabia feel seen and valued,” said Kirson. “I am grateful that I was able to do precisely that — to my knowledge, I am the first openly gay comic to talk about it on stage in Saudi Arabia. I received messages from attendees sharing how much it meant to them to participate in a gay-affirming event. At the same time, I deeply regret participating under the auspices of the Saudi government.”

Kirson in her statement to THR said she “donated the entirety of what I was paid to perform there to a human rights organization.”

She did not say how much the comedy festivals paid her, or the group to which she donated her fee.

“I made this decision because I want that money to go to an organization that can help combat these severe issues,” said Kirson.

THR notes Marc Maron, David Cross, and Atsuko Okatsuka are among the comedians who criticized the festival. Kirson in her statement said she respects her “fellow comics who have spoken out against” it.

“I recognize the concerns and criticism this has raised. I hope that this moment sparks dialogue about how we can use our platforms for good — to support people without a voice and to find ways to be less divided,” she said. “In the past, I’ve faced criticism for choices I’ve made, both on and off stage, and I rarely responded. This time, I felt I needed to speak up. I could not remain silent.”

Kirson ended her statement with an apology to her fans and others she has “hurt or disappointed.”

“I have a special relationship with my fans because of the vulnerable nature of my comedy and the trust they place in me as part of the queer community,” she said. “To my fans: I see you. I hear you. Your voice matters to me. I love you all, and I am genuinely sorry for making a poor decision that had repercussions I didn’t fully consider. I will take full responsibility for my actions and dedicate myself to making amends, so that my words and choices reflect the respect and care you deserve.”

The 2034 World Cup will take place in Saudi Arabia.

Qatar, which borders Saudi Arabia, hosted the 2022 World Cup. Consensual same-sex sexual relations remain punishable by death in the Middle East country.

President Donald Trump in May visited Qatar, Saudi Arabia, and the United Arab Emirates.

This year, Asian Americans Advancing Justice Southern California (AJSOCAL), a leading legal and civil rights organization that fights for policies defending Asian American and Pacific Islander community members, is hosting its annual gala at the Westin Bonaventure Hotel on Thursday, October 16th. The Los Angeles Blade serves as the organization’s 2025 Gala Media Partner, spotlighting feature issues on two LGBTQ+ policy advocates who have spearheaded the organization’s AAPI Queer Joy coalition as well as one of the event’s honorees, first-time Los Angeles City councilmember Ysabel Jurado.

A special edition run of these features, as well as other Los Angeles Blade stories, will be available at the gala. Other honorees and special guests at this year’s event include Bird Marella’s managing partner, Paul Chan, Pasadena Fire Department fire engineer Chien Yu, former Biden cabinet secretary Julie Su, and others. The gala will be hosted by anchor and broadcast journalist David Ono and will feature a performance by local band Kokoro.

L.A. City Councilmember Ysabel Jurado will be presented with the 2025 Trailblazer in Justice Award, celebrating those who break barriers, open doors, and pave new paths, by the Los Angeles Blade and AJSOCAL.

More information can be found here.

WHERE: The Westin Bonaventure Hotel – Downtown LA

404 S Figueroa Street
Los Angeles, CA 90071

WHEN: Thursday, October 16
4:30 pm Media Check-in
5:15 pm Red Carpet Opens
6:30 pm Event Begins
6:45-9:00 pm Program and Dancing

Asian Americans Advancing Justice Southern California (AJSOCAL) is the nation’s largest legal and civil rights organization for Asian Americans and Pacific Islanders (AAPIs). Founded in 1983, AJSOCAL supports over 15,000 individuals and organizations annually. By offering free legal help, engaging in impact litigation, conducting crucial research, and advocating for policy change, AJSOCAL prioritizes the most vulnerable members of AAPI communities while fostering a robust advocacy for civil rights and social justice. Offices are in downtown Los Angeles and Orange County, with satellite offices in Sacramento, ensuring accessibility for
all.

View this post on Instagram

A post shared by Asian Americans Advancing Justice Southern California (@advancingjusticesocal)

On Saturday evening, nearly 700 people packed the lower-level ballroom of the lavish Fairmont Century Plaza hotel for LGBTQ+ civil rights organization Equality California’s annual awards ceremony. Throughout the night, several speakers took passionate stands on the urgent and unequivocal need, now more than ever, to support queer communities and the organizations working to protect their rights and liberties. Senator Lena Gonzalez and Assemblymember Mark Gonzalez, two of the event’s co-chairs, encouraged attendees to create a direct impact by making donations. The goal for the evening was $125,000. 

As soft pink light and the clinking of cutlery at dinnertime enveloped the room, host Bob the Drag Queen wove lightness and humor in between speeches with his signature biting humor and commanding stage presence. “I do a lot of galas, so sometimes they kind of bleed together,” he told the Blade. “But it’s never lost to me: the work that is being done at these things and the people whose lives are being helped. Sometimes it’s easy to get lost in the rigmarole of, ‘Oh, another gala. More rich people giving money.’ But then that money does end up going somewhere and doing something really substantial.”

Around half an hour into the program, Equality California’s executive director, Tony Hoang, delivered, without hesitation, a promise that the organization is dedicated to resisting and unraveling the harm of the administration’s threats to policies and programs that support queer and trans youth, immigrants, and other community members. “The courts will not save us. Congress will not save us. What will save us is sustained organizing, day in and day out,” Hoang said. “While they’re trying to silence us, this is the moment to double down, to share your story, to invest your time, to invest your resources.”

Comedian and radio host Jesse Thorn also took the stage to speak candidly about raising trans kids and how exhausting this last year has been. When his first child came out as trans almost ten years ago, he feared for her safety, but was introduced to various resources, support groups, and care options that gave him hope as a parent. “It felt like we were on a steady path to safety,” he said. “I only wish that I still had that safe, optimistic feeling. Right now, I just feel sick to my stomach.” 

Thorn recounted trying to shield one of his children from a transphobic commercial that came on during a 49ers game he’d been watching, and how, more recently, he was told that the clinic that provided gender-affirming care to his children was shuttering. “Do we fight? Do we run away and hide? Are we traumatizing our kids if they know the stakes?” he said. “If we reply to someone’s post on Facebook with the name of our new doctor, will someone turn them into the feds?”

While it feels like he and his wife have had to make a new call every day to recalculate next steps for their family, he finds comfort in thinking about queer and trans family members, friends, and elders who resisted systemic violence and fought for their right to stability, equality, and happiness. “[I] think of all these people that gave so much of themselves to live a joyful life,” Thorn told the Blade. “It’s the readiness, the lack of hesitance that I have felt from not just the queer community more broadly, but particularly those earlier generations. They see the analogy is direct, and they’re fighting.” 

Other notable speeches of the night included one of the evening’s two honorees: actress, former SAG-AFTRA union president, and 90’s sitcom icon Fran Drescher. As she shimmied onto the stage with a wide smile to accept the National Labor Leader Award, she cracked jokes before honing in on the importance of defending the lives of marginalized people. She spoke about the successful strikes she led at SAG-AFTRA, which led to historic negotiation deals in favor of the union’s workers, as well as her own battles with misogyny as she took on leadership roles later in her career. “I can lead with intellect and empathy and wisdom — and I can still rock a red lip!” she declared. 

“As members of a labor union or citizens of a nation, it behooves us all to resist these manipulations, to make kindness and compassion our compass, to remain stalwart in our unity above all else,” Drescher concluded. “I’ll just close by saying this: love is love. Thank you.” 

The other honoree of the evening was the Coalition of Humane Immigrant Rights (CHIRLA), an organization that has been paving the way in developing programs, initiatives, and rallies to advance civil rights for immigrant communities. CHIRLA’s executive director, Angelica Salas, who has led the group for over 20 years, accepted the ceremony’s Community Leadership Award and addressed the crowd with empowering remarks. 

Off the heels of a march protesting the administration’s executive orders, which have authorized unjust arrests and detainments of immigrants, Salas was clear in her criticisms and calls to action. “We want ICE out of our schools. [We want] ICE out of our clinics and hospitals,” Salas said. “Like it or not, our LGBTQ+ Americans and immigrants make this country more beautiful, more powerful, and more united…We are rainbows, we are color, we are glimmers of hope…Equality California, we got your back, and I know you got our back. So, let’s fight together.”

As the night wound to an end, several items were fought over during an energetic live auction, including vacation getaways to Paris and Puerto Vallarta, a Sabrina Carpenter concert experience, and memorabilia associated with late activist Marsha P. Johnson. By 9:30 p.m., the $125,000 donation goal was achieved and even surpassed by over $5,000.

She was an exceptional woman of the early 20th century, an ambitious powerhouse with beauty, intelligence, and a bold creative vision, along with a determination for success that helped her become a pioneering female artist. She rose to prominence as a dancer, actress, photographer, and filmmaker who helped to define the aesthetic of an era, and reached the top of her profession in a male-controlled industry. Her career was relatively short, but her life was long enough to see her movies held up as cinema masterworks, studied by filmmakers and scholars for their blend of technical prowess and poetic vision, before eventually dying at the impressive age of 101 in 2003. 

Yet today, you’d be hard-pressed to find anyone eager to celebrate her legacy with anything more than carefully calculated appreciation.

That’s because her name was Leni Riefenstahl, and her filmmaking career ended prematurely not in retirement, nor from illness, nor even because of some scandalous gossip-column tale of adultery or sexual deviance. It ended because she built it in Germany, collaborating with Hitler and hob-nobbing with a who’s-who of infamous Nazis while enthusiastically creating spectacular documentaries that implicitly promoted a romanticized vision of the Third Reich. Her celebrated films were tarnished at the end of the war, their artistic merit eclipsed by the circumstances under which she had made them, and she spent much of the rest of her life as a relative pariah.

Indeed, as the cinema buffs out there probably already know, her name became practically synonymous with the idea of an artist whose work cannot be separated from their “problematic” ethical choices or political views; and while she would resurface when her films found muted-but-sincere appreciation from a new generation of critics, participating in interviews or appearing on the occasional talk show, she would spend the rest of her long life trying desperately to rehabilitate her image and her reputation in the public eye. Yet however often she repeated her claims – that she had never believed in the ideals of the Nazi movement, that she was never aware of the atrocities that took place under Hitler’s reign, that she had always only been motivated by “art” – most of the world seemed to never quite believe them.

Now, with an exceptionally comprehensive documentary from director Andres Veiel, Riefenstahl’s culpability in the Holocaust is up for examination again, and the timing couldn’t be any more perfect.

Granted unlimited access to Riefenstahl’s personal archives by her estate, Veiel draws deeply from the rich collection of imagery, writings, and artifacts contained there to assemble a measured and methodical portrait that is largely drawn from her own words and the pictographic record she chose to keep as part of her official legacy. Tracing her from her upbringing as the child of a stern authoritarian father and a mother who pushed her aggressively to succeed, it follows her rise in the German movie industry, where she gained fame as an actress before making her own first film as a director – “The Blue Light” (1932), a successful debut that caught the attention of Germany’s future führer, eventually leading to her first commission as a filmmaker for the Nazi government.

It goes on to examine the records of her associations with the Nazis during the wartime years, including an implied affair with Joseph Goebbels and an eventual marriage to a leading Wehrmacht officer, as well as a friendship with Nazi architect Albert Speer that would endure beyond his 20-year post-war prison sentence. Even more provocative, it explores her participation in the filming of location scenes for a propaganda film that used child inmates from a nearby concentration camp as extras – something that casts her claimed ignorance of the Nazi agenda in an even less convincing light.

It also utilizes the copious material that documents her lesser-known history after the war, during which she undertook the writing of her memoirs and returned – briefly – to the limelight with an extensive photographic study of the Nuba tribes of Sudan. But it’s her frustrated attempts to escape the stain of her past that provides the recurring theme for this portion of her life, punctuated by footage of her confrontations with interviewers, talk show hosts, and documentarians who asked her the questions she didn’t want to answer. In these moments, we can witness her unfiltered; we take note of her imperious manner and her quick temper, of the vanity which shows through her demands over lighting and makeup, and of the tongue-slips that inadvertently offer a glimpse at something we suspect she’d rather we didn’t see.

Veiel organizes all this information in a sort of kaleidoscopic narrative in which the various periods of his subject’s life bleed across and into each other, forming recognizable patterns which acknowledge and revel in her singular artistic vision, yet come to form an inescapably damning assessment of her long-held denials; though there’s no “smoking gun” that proves her unequivocally to be a liar, there are far too many of those “tongue-slips” to ignore. In the end, it leaves us with the inescapable conclusion that Leni Riefenstahl, whether she believed in the party agenda or not, was willing  – at best – to overlook Hitler’s monstrous crimes against humanity for the sake of her own ambitions; even more, it suggests that the only thing she regretted afterward was the loss of her career and the stigma that was steeped upon her. In the end, it’s hard to avoid the conclusion that she, like so many Germans of the Nazi era, wanted to simply pretend they didn’t know what was happening, when they were tacitly condoning it every step of the way.

With its leisurely pace and its brooding, minimalistic score by Freya Arde, “Riefenstahl” weaves a hypnotic effect that makes its two-hour runtime drift by like a dream, but there’s a meticulous logic and a rigorous empiricism to it all – marked by a sparseness of narration from its director, who merely supplies essential context to material he allows to speak for itself – that crystalizes the facts in way that’s entirely rational, and leaves us with an ominous feeling of familiarity with the world in which its controversial subject made her contribution to cinematic history; it’s this which renders Veiel’s documentary with such a profound sense of relevance, an ominous feeling of déjà vu that might be best illuminated through Riefenstahl’s own words from the final recorded conversation included in the film, in which she predicts that it will take “one or two generations” for Germany to reawaken to the “morality, decency, and virtue” to which its people are “predestined.” 

Doing the math, her calculations feel chillingly accurate, though perhaps the spirit that has reawakened has more to do with a particular worldview than a specific national identity.

“Riefenstahl” premiered at the Venice film festival in 2024, with an American debut at Telluride earlier this year. Released in New York and screening at venues across the U.S. and Canada this fall, it’s a movie to watch for. Set your radar accordingly.

‘The Elements’
By John Boyne
c.2025, Henry Holt
$29.99/496 pages

You weren’t proud of it.

Something you did in your past, yesterday, five years ago, a lifetime, you think of it sometimes and poke it like a bad tooth. You’re not proud of it but you paid for it anyhow, with time, money, apologies, or through a jury of your peers and you know this: as in the new novel, “The Elements” by John Boyne, the condemnation is harshest when the jury is you.

She changed her name again.

It was the first thing Willow Hale did when she rented the cottage on an island not far from Dublin. Isolation would help her sort things out: to figure out why her husband was in jail, why her daughter avoided her. Willow didn’t want anyone to recognize her as she came to terms with her role in what happened.

Though he was born with the skills of an athlete, Evan Keogh didn’t want to be a soccer star. He wanted to be an artist after he left the island, but he wasn’t talented enough. Coming to terms with that took a while, and he sold his body to older men to get by in the meantime. When he finally accepted his athleticism, it was not because he loved the game. It was because he loved revenge but satisfying that itch would ruin his life.

Medical students were annoyances that Freya Petrus had to endure.

Though she was a highly regarded burn surgeon, the truth was that she disliked humanity in general, perhaps because of childhood trauma she couldn’t forget. So, teeth gritted, no family, no friends, no close colleagues, she endured people, relying instead on a sordid hobby to soothe her memories.

Rebecca didn’t ask Aaron Umber to bring their son from Australia to Ireland, but there was a reason he did so, though Emmet balked at the trip. Emmet was at a tender age, not an adult but not a child anymore, either – 14, the same age as when something happened to Aaron that affected him forever.

Where to begin?

How about: “The Elements” is an incredible book.

How about from the very beginning of it, you’ll be captured by what feels like “The Twilight Zone” without the paranormal; like reading the news, and wincing.

Here, the lush Irish background that author John Boyne so lovingly portrays is secondary to his characters, each of them flawed, maybe irretrievably so, as they wrestle with culpability and self-indulgent recognition of the past. You’ll dangle from a string as four intertwined tales eke out in a delicious tease, detonating a little TNT on a page every now and then to keep you on the edge of your chair.

No spoilers here but the end of these four stories isn’t quite really an end, which will leave you flabbergasted, staring at the back cover for a few minutes after you close it.

Beware that there are adult themes inside this book, and they could be triggering. If that’s not a worry, let yourself be stunned by “The Elements.”

Love it? Guilty.

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

Few things in this world are as powerful as a song. 

For centuries, marginalized communities have used music as a way to come together, as a rallying cry to remember the power they hold against those who’d oppress them. And in a Los Angeles filled with music, few groups resound as loudly as Mariachi Arcoiris. 

Composed of passionate violins, bellowing trumpets, and amazingly flamboyant uniforms, mariachi encapsulates the complexities of Latine music and the strength of this community. It unfortunately hasn’t always been welcoming to queer performers, but recent years have seen artists merge their identities to create a beautifully intersectional sound. Arcoiris is one of these; this group made history 11 years ago when it was formed as the world’s first all-queer mariachi band. In the time since they’ve inspired thousands, not only gaining fame through their endlessly viral performances but soothing generational wounds with their sound…and it’s been devastating to watch them struggle, along with all of LA’s Latine community, amidst violent ICE Raids and national discrimination. 

View this post on Instagram

A post shared by Mariachi Arco•Iris 🌈🎻🎺 (@mariachiarcoiris)

The Los Angeles Blade was honored to sit down with members of Mariachi Arcoiris to hear about the impact of their music and what it’s been like watching their identities be targeted. They detail how horrible it’s been seeing LA come under attack in recent months — but also how they haven’t lost hope. Because, as any good mariachi will tell you: music heals. And Mariachi Arcoiris hopes that their songs can be the soundtrack to Los Angeles fighting back against those hurting it today. 

“I thought to myself, ‘That’s it. I’ve had it — I’m going to start a mariachi where people like me can be welcomed,” Said Carlos Samaniego, who founded Mariachi Arcoiris in 2014. He explained how this group was created in response to homophobia; he’d previously left numerous other mariachis after facing prejudice due to his sexuality. Refusing to allow antiquated ideals to halt his dreams, he founded this group to create a haven for other musicians who’d been refused the spotlight they deserved. 

Musicians like Samantha ‘Sammi’ Bautista, who traveled across California to audition for the group the moment she turned 18. She explained what many called a rash move, saying, “It had been a dream of mine…being gay openly, playing along with people in my community. It’s very powerful, [being] ourselves with each other and [creating] this music.” And it’s powerful to watch as well; along with an interview, the Los Angeles Blade was welcomed to sit in on Mariachi Arcoiris’ practice — one of the many they conduct each week. It was an uplifting experience to see a group that encompasses so many identities being used as political fodder come together in laughter and heartfelt performance. Evident in every moment was how much these performers care for one another, with member Yalitza ‘Yaya’ Vasquez-Lopez saying, “This is where we can always come back to and forget about everything else happening in the world.”

View this post on Instagram

A post shared by Mariachi Arco•Iris 🌈🎻🎺 (@mariachiarcoiris)

It’s a kind of reprieve that Mariachi Arcoiris hopes to give its audience. “We’re really just activating something powerful within us and within our people,” continued Yaya. “And I think that that is resistance in itself, because [when] you start singing along to a song, you [realize]: I’m not alone.” It quickly became clear that this was the mission of Mariachi Arcoiris, to encourage others to live as openly as these musicians do onstage — an openness that, unfortunately, many Angelinos currently view as dangerous.

It’s difficult to describe the gut-wrenching anxiety that has filled LA in previous months. The city has become a hotbed of ICE Raids and the focus of national racism, with each day bringing new stories of hardworking individuals being kidnapped and denied their rights. It’s made many Latine communities reluctant to show pride for their culture in fear of it making them a target. And not only have these attacks affected the city’s residents on a personal level, but as Carlos stresses, on a professional one as well. 

“The majority of my musicians do this for a living,” said the founder. “This is how they pay their rent, their food, their gas — everything. Because of the ICE raids, there have been many cancellations of performances.” He emphasized it’s not just them; mariachis across the city have found themselves struggling financially as institutions grow fearful of hosting such a bold example of culture. And not only is their race being targeted, but Mariachi Arcoiris is made up of queer and trans individuals, identities that face more and more attacks from politicians determined to paint their authenticity as something insidious. They’ve found themselves as intersectional targets, enduring a hateful climate that has caused so many people to give up hope…

So why hasn’t Mariachi Arcoiris?

“It hasn’t affected us morally at all,” clarified Yaya, when asked how these attacks have impacted the group’s willingness to perform. “[We are] a chosen family, and it’s brought us closer together to just know that this is where we belong.” The members expressed how they are constantly doing their best to protect one another — and it doesn’t stop with the group. Sammi described how Arcoiris has joined many other mariachi groups in consistently appearing at ICE protests and political demonstrations across LA. They do this all while still loudly broadcasting their queer and trans identities, knowing that the representation their group was founded upon is more important now than ever. This is not to say they’re immune to worry; each member held (utterly justified) concerns around their rights and freedoms.  But Yaya reassures that it’s their shared love of the artform — and one another — that keeps them going, saying, “Mariachi is joy, pain, sadness…but also celebration and resistance. Especially today, especially in the US, that’s what mariachi is.”

View this post on Instagram

A post shared by Mariachi Arco•Iris 🌈🎻🎺 (@mariachiarcoiris)

In a Los Angeles mired in fearful uncertainty, Mariachi Arcoiris is committed to remaining a mainstay of both LGBTQ+ and Latine culture. The group recognizes their future is uncertain; they are still facing reduced performance requests, and each day brings more news of attacks on their communities. Yet they know that music is their best form of resistance, that the melodies they bring to thousands are a reminder of the power we have when we stand together, unafraid to show our most authentic selves. They find solace in this liberating sound, creating it daily to empower not only each other but their countless fans worldwide. 

And they want every listener to remember that, if they ever feel alone or like they’ve lost their community, all they have to do is sing along. 

It’s October, which means it’s officially spooky season! The spirit of Halloween and our ancestors will be all around us this month as we indulge in our macabre senses by attending a seance, getting a reading to communicate with our ancestors, or party it up in WeHo in your costume (what little there may or may not be of it). We’re in LA, so we don’t get the luxury of sweater weather or beautiful fall leaves, but we do get to be in a city full of art and magic nonetheless.

Spirit is speaking to us, and it’s not just our ancestors; it’s our own spirit, and it’s asking us to look at what has made us feel good and accomplished and asking how we are planning to bring more of that energy in. In the last few weeks, we have had a realization of what we’re good at, what we enjoy doing, and in some cases, we even got a taste of the spotlight, and we’re feeling pretty good. These insights and experiences are Spirit’s way of guiding us down a more beneficial path; it’s just up to us to decide to take it and navigate it from here. For those of you who are looking at this as an opportunity to create new game plans or life changes, I caution you to remember that the changes you ponder and put into effect now will be challenged as the rest of the year plays out. Don’t get discouraged, stick to your dreams and your plans. If you commit to this, you will see these things have a long shelf life and will be a big part of your life for the next few years.

Some of you may be feeling the spooky vibes in the October air and want to get more in touch with your spiritual side. You don’t have to look that far. First of all, we’re in LA, everybody is discovering their witchy side – crystals, spell candles, readings…whatever occult-esque things you can think of, I can almost guarantee there is someone you know that’s doing it…like me! But you don’t need to limit yourself to a visit to your favorite witch; you already have a little bit of magic in you. Embrace your creativity and imagination, and let your cynical side take a rest for a second. You’re never going to be able to decipher messages from spirit when your logic is constantly shutting you down. Do a guided meditation, get familiar with working with a pendulum, or get your inner circle of folks together for a seance to honor your ancestors. You might be surprised by the information you come up with. Remember, magic and psychic ability are like a muscle—the more you exercise them, the stronger they get.

I think our community as a whole has been trying to stay strong and vigilant for ourselves and the ones around us that we love. In recent times, it seems more challenging than ever to stay up to date on community and world happenings while not feeling the urge to spontaneously combust every time we hear more “breaking news.” I know we feel tired, I know we feel scared and angry. We are being guided to take this energy and transmute it, shape shift it! Do not let these feelings suggest that you are small or weak; take these feelings and change them into a strong, reinforcing energy. Turn to your brothers and sisters when you need a boost, share with them your words of encouragement and guidance. Allow yourself to be the person to hold space, as well as grant yourself permission to ask for it. We are not alone, we are strong together. 

I leave you with this witchy advice…We are in the throes of the season of the witch. The veil between worlds thins, our third eyes begin to expand, and as we stand in the closing months of 2025, we yearn for the guidance of our ancestors and ascended masters. We ask them – those who not only came before but paved the path we are walking, oftentimes with far fewer rights or resources than we have now – to be our protectors and nurturers. If you allow your spirit a moment of stillness, you will feel their embrace, love, and wisdom. It is important for us to honor them in turn. Make their favorite foods, leave a space for them at our tables, light candles in their honor, and, more importantly, speak their names and stories so that their memories may never die.

Shana is an initiated priestess, paranormal investigator, author, and host of the podcast Queer from the Other Side. Follow Shana on IG.