West Hollywood is often defined by its nightlife, but Miss Elaine makes the case for daytime shenanigans.

On June 20, Fiesta Cantina will launch Rooftopia, an unapologetically LGBTQ+ daytime party taking place from 3 to 9 p.m. on the venue’s newly refreshed rooftop at 8865 Santa Monica Boulevard. Hosted by Scott McMaster, who performs as Miss Elaine and was crowned Miss’d America 2023, Rooftopia marks the launch of a new queer daytime party at Fiesta Cantina in West Hollywood.

Miss Elaine – the WeHo-native drag queen, magician, and prop artisan – tells the Blade that the story began in a casual way: with a Drag Race viewing party.

“One night, my friends and I were sprinting down Santa Monica Boulevard trying to get a table somewhere to watch Drag Race,” she said. “Everywhere was packed, so we wandered into Fiesta Cantina and ended up having the most joyful, ridiculous night.”

That random night turned into a routine. Miss Elaine and her friends kept returning to Fiesta Cantina for viewing parties and trivia nights. Eventually, she became the host of Drag Race viewing parties at Fiesta Cantina herself. 

Then she discovered the ‘mysterious’ rooftop.

“I literally could not believe I had been sitting underneath WeHo’s best-kept secret for so long,” she said. “And not just any rooftop, but the only rooftop in the Rainbow District, with all these stories and memories attached to it.”

From there, Rooftopia was imagined. The goal was never to throw a simple party, but to restore the space as a symbol of queer history. Miss Elaine explained that everyone in West Hollywood – “back in the day” – had their own Fiesta rooftop stories, and that it was time to create a new chapter for the venue.

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Before moving to Los Angeles, she worked on a Philadelphia pop-up cabaret called Late Night Snacks, where vacant and abandoned spaces were transformed into immersive performance venues.

“That’s always been my magic,” she said. “I love uncovering the history of a space and revealing what’s hidden beneath years of dust and neglect.”

That background shaped the redesign of the rooftop. Miss Elaine worked with manager and producer Nathan Booth on developing this idea, discussing cost estimates and floor plans. From there, a group of friends pitched in to make the dream of the rooftop come alive.  

The process, she said, was “hot,” “dusty,” and “chaotic,” especially as it came together during Pride season. But the finished product was clear: a colorful extension of Fiesta Cantina with its own distinct identity. 

“We leaned into a Modern Mexicana aesthetic with vibrant teals, fuchsias, marigolds, shade structures, tropical plants, and colorful details throughout,” Miss Elaine told the Blade. The unique space has the feel of a hidden speakeasy, where guests walk up the stairs and are met with a rooftop that surprises them.

Rooftopia also aims to address what Miss Elaine sees as a gap in LGBTQ+ social life: a daytime event that is neither a traditional drag brunch nor simply nightlife moved into the afternoon.

“Life happens at every hour,” she explained. “I’m a drag queen of a certain age. I still love to party, but I also appreciate being home at a reasonable time. Why not have the Afters in the afternoon?”

She calls the mood “golden hour euphoria” – a Saturday afternoon space where people can stumble in after their morning mimosas, start their evening early, or simply spend the day basking in the sun.

The event will include free entry with RSVP, all-day happy hour, specialty cocktails, a sunscreen and water bar, clothing check, and a swimwear- and underwear-friendly atmosphere (yes, speedos included) for guests 21 and over.

Miss Elaine leaves the readers with a simple invitation: “Come have a cocktail. Take a selfie. Tell me your old Fiesta rooftop stories so I can add them to the journal. Then make a few new memories of your own.”

Rooftopia takes place Saturday, June 20, from 3 to 9 p.m. at Fiesta Cantina WeHo, 8865 Santa Monica Blvd. Entry is free with RSVP.

Get your tickets here.

Queer folk have always found a home in theatre.

And that’s not just because many LGBTQ+ performers are drawn to the stage (though that certainly doesn’t hurt). But it’s really in the essence of theater where queer people can find the most freedom. While this is a medium where performers embody others, it also allows for a level of self-expression and assuredness that many queer people are denied in their daily lives.

Theater in its many forms is often key to LGBTQ+ people finding their truest selves. And, for gay opera singer Miles Mykkanen, it’s exactly what the renowned performer needed to discover his queerest, most authentic self today.

Mykkanen is currently stunning audiences as the lead in the LA Opera’s The Magic Flute, a historic show that follows a prince (armed with his magical instrument, of course) as he traverses a surreal world searching for his lost love. Miles spoke with the LA Blade between rehearsals about his long career of performing opera as an openly gay man. Discussing The Magic Flute specifically, he raved about its timelessness, beginning the interview by saying, “Behind all of these fancy tunes and fun fantastical characters, there is so much meaning about our own humanity.”

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“[This cast] is all in our 30s, late 20s,” Miles continued. “And that’s where The Magic Flute shines, because it is about young people really coming into the world and becoming adults.” He continued to describe the many wonders of this show, with the current production combining animated projections and mind-bending acting to portray its chaotically wondrous world. Along with its content, the man spoke about how excited he was to be a part of the performance — this is Miles’ LA Opera debut! — that will cap off the renowned Maestro James Conlin’s 20-year tenure with the company.

While this is the singer’s first time with the LA Opera, he certainly isn’t new to gracing the stage; this season alone saw Mykkanen perform with New York’s Metropolitan Opera. The past few years have taken him global, with Mykkanen’s performances ranging from Christmas-themed shows in Texas to solo acts in the Netherlands. For decades now, theater-goers worldwide have been lucky to witness his musical prowess. But as he discussed The Magic Flute and its story of growing up, Miles emphasized that he wasn’t always the powerhouse people listen to today. Just like so many other performers, his passion for the arts began with a love of theater — a love that would not only land him his dream career, but help him understand his own queerness. 

“I grew up in the woods of the Upper Peninsula, Michigan, where there were maybe 800 people in my town — so definitely no opera!” He laughed. “I was in a very sheltered upbringing, but I have two parents who are just the most incredible. They’re both high school band Directors, and so they would take my sister and me down to Minneapolis, which was about a five-hour drive, to see shows.” Miles described the wonder of these evenings out with his family, how his younger self adored the way each show’s cast transported the audience with their voices and movements. It’s what inspired him to pursue voice lessons and, eventually, go to Juilliard. “I hadn’t [even] seen an opera! I showed up to Juilliard, I’m across from the Metropolitan Opera, and I’m going, ‘What am I doing here?’ And it was a slow process, a slow discovery, but I fell deeply, deeply in love with the art form.”

Happening right alongside this musical journey was Mykkanen recognizing that he was different from everyone else in his small town — and not just because of how much he loved singing. “The theater was a huge part of my own personal coming out story, as I know it is for a lot of my friends,” he explained. “That you can go on stage, and maybe you’re becoming another character, or maybe you’re not really becoming that much different than who you really are…it’s under this facade, under the lights, that the audience just accepts that you can [be whoever] you want when you’re on stage. That freedom was something I obviously was lacking in my life as a kid, but it’s something now that I don’t take for granted.”

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Miles’ interview quickly grew introspective, as the man described not only the wonders of the LA Opera’s The Magic Flute but also how this story of youthful evolution reflects his own journey into the opera superstar fans know today. As he thought back to his early days and all that he’s accomplished as an openly gay singer, Miles emphasized that more than the applause or the accolades, he does this work for the kids like him. The ones who are watching shows in awe, learning how much they love theater, and wishing they could be as free as the people they’re watching onstage. 

“I hope that the young queer kids who’re sitting in the audience, who can’t say something out loud yet…are looking at me and saying, ‘Okay, but here’s a gay kid who didn’t have anything.’ I didn’t have doors open to me; I didn’t have parents who had connections into the business, or anything like that. I just went out there, and I kept studying how to sing, and I kept figuring out how to do this. I hope that can inspire other kids — that really, it does not matter what your background is, it doesn’t matter what you think people think about you. Just keep going and pursuing what is inside of you, that little flame inside of all of us.” At this, the singer beamed, proud of how his open identity helps others through each performance. To everyone who has ever seen or will see him perform, Miles encouraged, “Try to carve a space out in this world, because we need to hear [you]. We need to see [you]… we need to experience all of that magic inside of all of us.”

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It’s a kind of queer magic that Miles Mykkanen embodies in every performance. And it’s one that LGBTQ+ theater lovers all across Los Angeles can see now by going to see the performer in The Magic Flute. 

You can purchase tickets for the LA Opera Pride Night performance of The Magic Flute here.

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Prism Comics will present the fifth annual Q Con, Southern California’s only LGBTQIA+ comic convention, this month as part of WeHo Pride Month’s arts and entertainment programming.

The free, all-ages event will take place Saturday, June 20, from 11 a.m. to 6 p.m. at Fiesta Hall in Plummer Park, located at 7377 Santa Monica Blvd. in West Hollywood. Q Con celebrates LGBTQIA+ comic books, graphic novels, pop media, gaming, and cosplay. Guests have the opportunity to meet creators, attend panels, get autographs, participate in a costume contest, and explore comics and graphic novels centered on LGBTQIA+ stories.

For Ted Abenheim, president of Prism Comics, the importance of LGBTQ+ comics is personal.

As a lifelong comics fan who has attended San Diego Comic-Con since the 1980s – and who showed up to the interview wearing an Aquaman T-shirt, with a Prism Comics shirt nearby – Abenheim remembers growing up at a time when LGBTQ+ people were largely absent from mainstream comics. When queer characters did appear in popular media, they were often reduced to stereotypes or pushed to the margins.

“I didn’t see myself in comics,” Abenheim told the Blade. “There were no queer characters in mainstream comics.”

This feeling began to change when he encountered LGBTQ+ comics and creators who were telling stories that felt more inclusive, honest, and recognizable. When he found Prism Comics at San Diego Comic-Con in the early 2000s, he discovered what he describes as an entire world of independent queer comics – stories that spoke directly to readers like himself and reflected the diversity of their lives.

“What I found at Prism Comics were all these comics that spoke to us and showed our stories in a far broader, more honest and creative way than mainstream comics,” Abenheim said.

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For Abenheim, the all-ages element of Q CON is necessary. He explained that young readers deserve access to affirming stories and positive LGBTQ+ role models – something he wishes he had encountered earlier in life. “If I had seen these positive role models of LGBTQ people in stories, it would have given me confidence that you’re okay,” Abenheim said. “You’re not broken. You’re not bad.”

The convention is also designed as a space for families to come together, meet LGBTQ+ creators and discover stories that reflect a wide range of queer experiences. Abenheim said parents often bring their children to meet creators, browse books, and talk with artists whose work has helped them better understand themselves or someone they love. He recalled seeing young trans readers spend extended time speaking with trans creators, as well as parents approaching creators with questions and gratitude.

“Stories make a difference,” Abenheim said. “These stories make a difference to people’s lives.”

This year’s special guests include Richard Fairgray, Maia Kobabe, Lee Knox Ostertag, Joe Phillips, ND Stevenson and Jen Wang. Kobabe, the creator of Gender Queer, is especially significant to Abenheim given the current political climate and the rise in book bans targeting LGBTQ+ stories. In 2025, the American Library Association listed Gender Queer as the third-most challenged book in the country, after many challenges to its LGBTQIA+ content. 

“They are trying to erase us,” Abenheim said. “Our voices need to be heard louder more than ever.”

Beyond readers and fans, Q Con also supports rising LGBTQIA+ comics creators. Prism Comics was founded, in part, to create opportunities for queer artists and writers, and Abenheim said the organization has offered creators a place to connect with audiences at conventions. This year is particularly special: Q Con will include portfolio reviews by comics professionals for aspiring creators.

“We provide opportunities and a place at the table for aspiring creators to meet with readers and to show their comic books,” Abenheim said.

Even for people who do not consider themselves “comic book people,” Abenheim said Q Con offers something inviting, making the event relevant to everyone. Art, stories, panels, cosplay, voice actors, and a chance to experience queer creativity in many forms will be readily present.

“There’s something for many genres and interests,” he said. “The energy is really high … Everybody’s happy.”

Q Con is supported by an arts grant from the City of West Hollywood, along with sponsors including Modern Fanatic and Los Angeles Film School. Abenheim said, and cannot stress enough, how grateful Prism Comics is to the city and its supporters for helping make the event possible.

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The convention typically draws between 800 and 1,400 attendees, and Abenheim hopes this year lands on the higher end. But for him, the success of the event is not just measured in numbers. It is measured in the warm moments when people approach Prism volunteers and thank them for creating a space where LGBTQ+ comics, creators, and readers are visible.

Abenheim puts it simply: “It’s empowering the community.”

Looking ahead, Abenheim remains hopeful about the future of queer comics. He pointed to Webcomics and independent publishing as tools that have opened new pathways for LGBTQ+ creators to tell stories that might not have found a home in mainstream comics.

“There are a lot of queer stories that haven’t been told,” Abenheim said. “There’s a lot still to tell.”

Q Con will take place Saturday, June 20, from 11 a.m. to 6 p.m. at Fiesta Hall in Plummer Park, 7377 Santa Monica Blvd., West Hollywood. Admission is free. Advanced tickets are recommended, though tickets will also be available at the door. For more information, visit qconprism.org.

By Bowe Avery and Jack Lea

In a time when anti-trans legislation and hurtful rhetoric dominate the headlines, we believe that telling our stories isn’t something radical; it’s necessary. As trans, neurodivergent actors in Los Angeles, we’ve found something life-changing in the most unexpected place: a theater company that makes space for us to survive and thrive.

We’re actors, storytellers, and trans men living in Los Angeles. We’re also autistic. The space we’ve found is EPIC Players LA, a nonprofit theater company that puts neurodivergent and disabled performers at the center. It’s a place where we can show up fully as artists, as trans people, as ourselves. That shouldn’t be rare, but it is.

EPIC was founded in 2016 in New York and expanded to Los Angeles in 2023. In both cities, it provides career training, performance opportunities, and community. The difference is that it does so with the understanding that disability and queerness aren’t obstacles to be overcome; they’re part of what makes us powerful artists.

Getting to this point wasn’t easy. Jack was misdiagnosed with bipolar disorder before receiving an autism diagnosis as an adult. That discovery was life-changing because it offered clarity and revealed how much energy had been spent hiding. Learning about “masking,” the unconscious pressure autistic people feel to suppress their natural behaviors, opened the door to deeper questions about gender. When you stop performing for the world, what’s left? In Jack’s case, that question led to the realization that he was a trans man.

Coming out brought relief and clarity, but it also came with new challenges, especially for performers. Transitioning as performers meant relearning our instruments – our voices. Testosterone doesn’t just change your body; it transforms how we sound. Suddenly, the tools we had honed for years needed recalibration. In most performance spaces, that might be career-ending. At EPIC, it became part of our training. We weren’t left behind.

We were connected with a trans voice coach. We practiced with other trans performers. And when we got on stage for our first cabaret and sang a Backstreet Boys number, our voices raw and reshaped, our identities affirmed, it wasn’t just performance. It was a reclamation.

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The support at EPIC goes far beyond the stage. When one of us was let go from a job for reasons tied to gender identity, this community showed up immediately. That kind of support shouldn’t feel rare, but it does. Too often, we’ve had to choose between being seen for our identities or being supported as artists. At EPIC, we don’t have to choose.

It’s also one of the only places where we’re not “the odd ones out.” Autism and trans identity intersect in ways that are rarely discussed. A major study out of Cambridge found that trans people are three to six times more likely to be autistic than the general population. That overlap is sometimes used against us as another excuse to question our identities. But we see it differently. Our neurodivergence gives us the tools to question norms, to resist social scripts, and to explore who we really are. It’s not a barrier to truth. It’s often the thing that helps us find it.

That’s why we speak up. Because the stakes are high.

Right now, trans people across the country are being targeted by legislation and misinformation. And all the while, funding for the arts, the very tools we use to speak truth, is drying up. That’s why places like EPIC matter so deeply. It’s a place where we’ve learned to breathe, speak, and perform again. It’s where we’ve met mentors, advocates, and friends. It’s enabling us to choose creation over erasure.

And this isn’t just about us. It’s about the next generation of trans artists who are watching what’s happening and wondering if they’ll have a place in the world. We want them to know that they will and that we’re building it now.

This Pride Month, remember something: trans people are not a political talking point or a threat. We are performers, writers, and so much more. We are your neighbors. We are artists, and we have stories to tell. We are a part of the future of art.

Visibility matters. Safety matters. Art matters.

For more information, visit Epicplayersnyc.org/epic-la

When ChiChi Charlas steps onto the main stage at the 56th Annual LA Pride Parade on June 14, the moment will carry more weight than a typical hosting role.

For the Los Angeles drag performer, policy advocate and commissioner, moderating the main stage is an opportunity to honor what Pride has always been about: celebration, protest, and community.

“The origin of Pride has its roots in uprisings and protests, oftentimes led by Black and brown trans women,” ChiChi told the Blade. “From Christopher Street to Cooper Do-nuts to the fight against Rule No. 9 here in Los Angeles, trans and gender expansive people have resisted criminalization and have demanded the right to live freely.”

That history, ChiChi explains, is the foundation of how they understand Pride. After hosting LA Pride’s Latine Stage last year, being invited to host the main stage this year feels like a profound accomplishment.

“I am showing up as a first-generation Mexican-American, queer, trans, gender-expansive Angeleno,” ChiChi confidently told the Blade, “But also as a commissioner, a community and policy advocate, and an educator.”

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Many view hosting events as simply introducing performers. However, for ChiChi, this opportunity to host is about creating a space where people feel welcome and connected to something larger than a single day of celebration.

“It is about creating a space where our history, our joy, and our collective experiences and power can all be uplifted and celebrated,” ChiChi said. “I want people to leave with an instilled sense of hope, empowerment, and knowledge on how to get involved in the community.”

As a drag performer who accentuates their facial hair, ChiChi said their work does not fit neatly into traditional drag queen or drag king aesthetics. “I feel that this kind of visibility matters now more than ever when drag and trans people are being hyper-targeted for their gender and gender expression,” ChiChi stated. It is evident that ChiChi’s drag challenges gender expectations directly and seeks to make the LGBTQ+ community more open to diverse forms of expression.

That visibility is personally meaningful to ChiChi as a Latine performer. They said they want other Latine community members to feel seen when they are on stage – including families who may still be learning how to support LGBTQ+ loved ones.

“Homophobia, transphobia, and machismo are very much alive within many Latine communities,” ChiChi said. “I know that we will have many parents present who are learning and unlearning. I hope to provide them with a message of kindness and gratitude for all their work.”

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Beyond performance, ChiChi’s advocacy has focused heavily on housing policy for trans and gender expansive people. Before shifting fully into LGBTQ+ advocacy, ChiChi spent nearly ten years in the housing nonprofit sector. In that work, they saw how homophobia, transphobia, racism, and structural inequities place LGBTQ+ people – especially Black and brown trans and gender expansive people – at greater risk of housing instability.

ChiChi told the Blade that their policy work is “grounded in the belief that when trans and gender expansive people have stable housing, our entire community becomes safer and stronger.”

For ChiChi, supporting trans people beyond Pride means moving from individual celebrations to sustained action. That includes “supporting trans-led organizations, protecting trans youth, and challenging anti-trans rhetoric in the spaces we move through.”

As thousands gather for LA Pride, ChiChi hopes people remember that Pride was made possible by those who resisted criminalization and state violence – and that the work is not over when the parade ends and the curtain falls.

ChiChi leads the readers with a final and important question:

“If we are not visible, if we are not supported, if our struggles are not taken into account in spaces such as Pride,” ChiChi said, “then how can we expect non-LGBTQ+ people to even look our way?”

Click for more information regarding LA Pride.

‘Devout: Losing My Faith to Find Myself’
By David Archuleta
c.2026, Gallery Books
$29/290 pages

So just make up your mind already.

The decision is very much in your control – or, at least that’s how it’s supposed to be. It’ll be your future, your path, and seizing it may not just be necessary, but mandatory. It’s your life, and no one can live it for you. As in the new memoir “Devout” by David Archuleta, that goes for career and for love, too.

Born to parents who both had musical careers before they wed, David Archuleta remembers an early childhood growing up in a Hispanic Mormon community in Florida, where kin was always nearby. He was six when his parents moved the immediate family to Utah; the first thing he remembers about that is the snow, and how it was so cold, it burned.

Because music was in his blood, Archuleta grew up singing and dancing, often with his mother whom he calls “my rock.” It was his father, however, who encouraged him to perform; first, with a gentle push, then a shove toward a career Archuleta didn’t really want.

But he did want to make his father happy, so he went along with the contests, embarrassing meet-and-greets with stars, and uncomfortable introductions. Slowly, though, performing became more fun, and Archuleta made friends.

Meanwhile, back home, everything was breaking apart. A “family friend” whom Archuleta refuses to name accused his father of abuse. He was exonerated, but it affected the family’s closeness and they stopped being affectionate.

That was a painful backdrop to Archuleta’s soaring career, his appearances on Star Search, friendships with other rising stars, his runner-up spot on “American Idol,” tours, and recording contracts. His father kept pushing him.

But there was one thing missing.

Since he was a boy, Archuleta had known that he was attracted to men, but his Mormon faith taught him that that was unacceptable. Kissing, his abuelita said, was wrong. He tried hard to date girls, in the most chaste way. Anything past that was against God – and anything at all with a man was unthinkable.

Though it absolutely favors his personal life and dwells on it a bit too much, “Devout” strikes an otherwise nice balance between that, author David Archuleta’s career, his sexuality, and his faith. The latter two are loaded with controversy.

You don’t need to be Mormon to fully understand the faith part; Archuleta offers non-Mormons a brief education, so readers can see the importance of the Church’s teachings in his life and why he felt the need to abandon it as his understanding of his bisexuality grew. It’s emotionally raw and honest, but also so respectful that it almost bears re-reading. Such candor and the heart-on-his-sleeve tone you’ll sense are features in the entire book, alongside Archuleta’s family’s struggles and his learning to strike out alone.

It’s harmonious in more ways than one, and fans will be happy.

So, too, will anyone who wants a unique memoir with a dose of faith, or someone who’s an “American Idol”watcher. Find “Devout” and be sure to share. You won’t mind.

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

Whether you’re mourning the end of Euphoria, The Boys, or Hacks, you’re dying for another hit of Heated Rivalry or just need something new to watch, The Vampire Lestat has you covered. Whether it’s the cutting witty dialogue, supernatural action, or the maudlin adventures of problematic queer relationships, this is the show for you. This new season brings literal sex, drugs, and rock-n-roll as Lestat (Sam Reid), a multi-centennial vampire, decides to process his beef with his sexy ex Louis (Jacob Anderson) for giving the Interview With The Vampire by starting a rock band. 

In 1976, Anne Rice wrote a book to process the death of her young daughter. It was the story of two vampire “roommates” and their centuries-long relationship drama. What followed was a series of 13 books and a whole world filled with vampires, witches, and more. This launched the 1994 film where Brad Pitt, Antonio Banderas, and Tom Cruise played “totally not gay” vampires who almost kissed a few times, despite having all of the hottest actors of the era, it was sanitized of all queer subplots. R&B diva Aaliyah’s last role was as Akasha, the eponymous Queen of the Damned (2002), the unoffical follow up to the first film covering Rice’s second and third book. 

The AMC series version of Interview with the Vampire took all this source material and made it more gay, more current, and more PC. They shifted the story to the present day, having Louis live in a luxurious Dubai compound, and his interviewer, Daniel Molloy (Eric Bogosian), being a former addict hawking his masterclass, armed with a ton of evidence. The choice to race-swap Louis from a misanthropic emo plantation owner to a black brothel owner in New Orleans adds so much more nuance, history and richness to his character. Exploring the abusive nature of the relationship and casting the amazing Delainey Hayles as Claudia have all elevated the story to your next television obsession. The choice to turn the book into two seasons allowed the creators to take their time, play with storytelling and explore Louis as an unreliable narrator and tease at many of the storylines of later books. This was a smart choice considering these characters are all centuries old, and over the course of 13 books, all have complex backstories and inner worlds.

Sam Reid was always a standout and captured the egomania and charm of Lestat, the self-proclaimed Brat Prince. He gets to play an over-the-top bitch about everything we’ve seen and heard in Seasons 1 and 2, while even skewering the world of today, commenting on the state of fame, life, and politics.  

Like in the book, he reclaims the narrative as he takes the helm of the story. Rather than write his own book, he’s nabbed the newly vamped-up Daniel Molloy as his documentarian. Also, without giving too much away, this series begins in an unnamed future. Armand (Assad Zaman) and Louis are still as hot as ever, and they’re at an auction for the complete works of the Vampire Lestat. It’s teased that some sort of world-altering event has transpired, and Lestat is missing in action. Could that be the events of The Queen of the Damned or even the sum of all of the books? Only time will tell.

The worldbuilding is really solid as we get to see the past, present and future of these characters.  Prime example, Akasha, The Queen of the Damned, was name-checked in earlier seasons. Whether you’re a fan of the original source material or not, this series has something for everyone. It has action, including an epic vampire fight scene in the premiere. It has a complex world and mysteries that unfold over the course of each season. Plus, it has hotties of all genders with Reid, Anderson and Zaman holding it down from earlier seasons. Schitt’s Creek dreamboat  Noah Reid joins the cast as Lestat’s band’s frontman. 

The show has everything: sex, violence, drama, all with a queer and racially inclusive lens. It doesn’t pull punches in storytelling and examining history, all while maintaining a level of levity and fun. It unfolds with dramatic soap operatic reveals and confrontations while also grounding all of the fantasy in our world. 

The series is poised to continue with the same characters from the first two seasons while shifting the focus to allow in a new cast of characters who will play out the events of multiple books and major arcs that are part of AMC’s new Anne Rice cinematic universe. 

The series airs on AMC Plus, while the first two seasons are available on Netflix. A note to people streaming it may appear on Season 2, as the series name change might be confusing for those who haven’t seen the show.

If you think the idea of a movie about two gender-nonconforming buddies embarking on an anti-establishment crime spree feels dangerously radical in 2026, just think how it must have felt 25 years ago.

That’s when “By Hook or By Crook,” a DIY independent film shot in low-tech “Mini-DV” format by a pair of San Francisco artists (Silas Howard and Harry Dodge, who co-wrote, co-directed, and co-starred in it), became a sensation at the 2001 Frameline Festival. Their reason for making it was they were tired of waiting for someone else to bring authentic queer experience and stories to the screen, so they decided to do it themselves.

Now given a 4K restoration that preserves the filmmakers’ intentions for the look of their movie, it’s getting a 25th anniversary re-release in theaters (starting with New York on June 12 and Los Angeles on June 16) and a VOD premiere from “boutique distributor” Altered Innocence. It still feels confrontationally transgressive today, which says a lot about the progress that’s been made and lost in the struggle for queer visibility, especially when it involves those in the trans, nonbinary, or otherwise gender nonconforming parts of our community.

Described as a “trans and butch buddy film” in the publicity for its new release, “By Hook or By Crook” is centered on Shy (Howard), a young transmasculine dreamer who leaves his small Kansas town after the death of his beloved father and heads pennilessly for San Francisco with a plan to “fight the power” by living a life of crime. There, he meets the “deliriously expressive” Valentine, a “butch dyke and bulldagger” whom he rescues from a queer-phobic attack. The two become friends, embarking with Val’s roommate and lover, Billie (Stanya Kahn), on a “Bonnie and Clyde” inspired career as outlaws stealing from the system to survive – or at least, that’s the idea, if they can scrape together enough change to buy a gun. In the meantime, they grapple together with an assortment of personal and emotional issues, blending into a makeshift family as they learn to trust and support each other along the way.

Soaked in a gritty, streetwise aesthetic and a guerilla-style docu-realism, yet percolating with humor that bubbles up in all the right places throughout, it’s a movie that leans into its no-frills style instead of trying to cover or apologize for it. Its improvisational tone creates a flow that feels like a stream-of-consciousness drift, but it stays committed enough to its “hustler-in-the-big-city” narrative structure (which candidly co-opts the basic formula of “Midnight Cowboy”) that it never feels aimless. For millennial and pre-millennial viewers, it offers a nostalgic glimpse at the “queercore” scene in a San Francisco since-transformed; and although its narrative is sometimes a little rough around the edges, so are its characters, so the effect is complementary rather than jarring. There’s even a sly cameo from rocker Joan Jett (whose cover of The Replacements’ song “Androgynous” also shows up over the restoration’s “reconstructed” end credits) for a touch of celebrity appeal.

What stands out as the most striking feature of Howard and Dodge’s groundbreaking film, however, is the same thing that stood out when it debuted, which again speaks volumes about how far we haven’t come: ”By Hook or By Crook” makes no effort to pigeonhole its characters into neatly defined gender or sexual categories – it simply lets them be who they are.

As Howard explains it in his filmmaker’s statement for the new release, “One thing we did […] that I think was ahead of its time – back then surely, and still is today – is that we didn’t explain ourselves to anyone, we were non-binary and didn’t justify our characters’ gender expressions and experiences or define it to the audience. We wanted to make a film about a third gender, which is where I felt I personally lived, at the time.”

Dodge comments on the choice as well. “People note time and again that we don’t explain or use identity categories or labels in the film. A viewer is simply in the fishbowl with us. […] we didn’t label because — it was like, straight people don’t explain straightness, you know? So these characters, they’re loving, feverish, fallible. End of explanation.”

Additionally, the two filmmakers chose to avoid making their characters into (as Howard puts it) “model-queers,” who “have to be perfect and good and have qualities that the mainstream can agree are redeeming.”

Dodge explains their thinking by remembering a university screening shortly after the film’s initial release, where some viewers “were miffed that we had done this representation of queers as criminals. ‘Why did you feel free to make them, one, mentally ill, and two—criminal?’ And I remember saying, ‘We are not a PR outfit for the gay community.’ [In the] movies I love, man, the characters are flawed.”

Watching now, it’s still disorienting to hear Val using “he/her” pronouns despite her masculine presentation, and there’s still a thrilling sense of empowerment when Shy responds to a curious child’s question, “Are you a boy or a girl?” with an unhesitant “Both!” We still squirm at Val’s sometimes alarming behavioral quirks, though we might today recognize her more easily as being “on the spectrum,” thanks to a wider awareness of neurodivergence. These responses are visceral, but “By Hook or By Crook” evaporates them quickly by not playing into them. Instead, it just lets the characters’ humanity shine through. “Our characters are tender fuck-ups, like us,” says Howard, “forever trying to get to a better place,” and because of that, we merely accept them for who they are and roll with it – largely because its two filmmakers also prove themselves well-suited for working in front of the camera, too, and their performances are the glue that holds it all together, while also keeping us invested in their journey together, both as individuals and as a pair of buddies. 

In the end, that’s what “By Hook or By Crook” leaves us with. Its unapologetic disregard for “curating” its queerness may catch our attention; the fiercely anti-capitalistic thrust of its “stealing from The Man” premise might distract us with politics; its “anything goes” attitude toward the infinite spectrums of gender expression and sexual identity unquestionably sparks us with a sense of freedom and possibility. But when the final credits roll, it’s the universal recognition of camaraderie, of simple but vital human connection, that matters most of all. 

What better message could we hope for, during Pride month or any other time, than that?

Who knew that a show like Buffy the Vampire Slayer would come to be a big part of TV queer culture?

Since its first episode back in 1997, LGBTQ+ fans have been hooked on the series; it follows the brash (but always stylish) teen Buffy Summers as she moves to Sunnydale, a picturesque town where she’s forced to deal with the many horrors of 90s high school — and the demons, ghouls, and, of course, vampires that lurk in her new home’s shadowy underbelly. The series follows our titular ‘Slayer’ as she finds other powerful friends and destroys the many evils that threaten their safety. It’s renowned not only for its amazing storytelling but for the conversations it introduced to modern culture, with its queer storylines and feminist themes offering a new idea of what television could be. And, of course, it’s famous for Buffy herself, because never before had TV watchers seen a protagonist who could be so completely badass while absolutely adoring every ‘girly’ thing she could get her hands on. 

For decades, Buffy the Vampire Slayer’s massive LGBTQ+ fanbase has been celebrating the series as the masterpiece that it is. And, once a year, these folks come together to do the same in person, filling up a space where their queer identities won’t just be accepted but encouraged: Hellmouth Con. 

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Hosted at the very same high school where Buffy the Vampire Slayer was filmed, Hellmouth Con gathers thousands of fans for a weekend of astounding panels and activities centered around the show. The Los Angeles Blade spoke with Hellmouth Con co-founder Chris Cullen as he was preparing for the 2026 convention, asking what he had in store for this year and why he believed the series has such a diehard LGBTQ+ fanbase. On that point especially, the man laughed like it was obvious, saying, “I mean, there’s literally a line after Buffy’s mother finds out that she’s a Slayer, where she says, ‘Well, have you tried not being the Slayer?’”

“[Buffy the Vampire Slayer] so often speaks to the soul,” he went on. “Especially in those early seasons, she’s living a closeted life where she can’t tell her mother, her teachers…the people who [she is] supposed to trust are the ones that she can under no circumstance show her authentic self to. Those early years just have this phenomenally strong [queer] allegory!” It’s an allegory that has resonated with fans for decades; LGBTQ+ viewers were instantly taken by Buffy’s struggles to be her most genuine self in a world that saw her identity as wrong. It was an internal struggle that perfectly mirrored the coming out experience, and when paired with both her proud femininity and constant bashing of toxic masculinity, she finally gave queer viewers a hero they could see themselves in. 

And that was even before it became blatantly queer! Through its characters Willow (Alyson Hannigan) and Tara (Amber Benson), Buffy the Vampire Slayer made history as the first show to ever feature two women in love kissing onscreen. This couple’s magical romance gave thousands of people their first example of sapphic representation, cementing the show as thoroughly queer in both subtext and its actual narrative. 

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Buffy the Vampire Slayer’s impact hasn’t lessened over the years, with Hellmouth Con being just one of the many ways its massive fanbase continues to commemorate its impact. Cullen spoke excitedly about this year’s event, detailing the many stars of the show who’d be in attendance and the great activities they had planned — and how, just like it has been in every iteration since the first, it was going to be very, very queer. 

“We actually have a queer programming track!” The man raved, as he explained how they develop LGBTQ+ experiences for each Con. “[This year] we are repeating last year’s Sunnydale High GSA Mixer in the quad of the high school, [and] there will be games and prizes presented by Prism Comics…it’s [always] been an event with queer panels, queer panelists, queer volunteers, queer fans all the way through! And to be able to take this high school setting and embrace this portion of our community who is already here…it’s such a magnificent privilege to be able to do that.”

The co-founder went on about the many LGBTQ+-centric events the Con has planned and how he can’t wait to see attendees’ reactions to them. “Both the convention and the Buffy community are about found family, and that’s also what you’re going to find at the event,” he explained, discussing how each year he’s overwhelmed by how many queer convention goers get emotional at being in such an affirming space. “[To have] been touched by Buffy throughout your life is an astonishing experience, truly. And then to be able to do [this convention] with people who are feeling the same way, and then to be able to do it while celebrating that very thing you love altogether…it’s just a really incredible experience.”

Hellmouth Con offers a convention experience as blood-suckingly beautiful as the show that inspired it. For its LGBTQ+ fans especially, this annual event has become a refuge, a space for queer celebration where they can not only embrace their fandom but also be just as confident as the pink-loving, monster-hunting protagonist of their favorite show. 

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Hellmouth Con is a heartwarming testament to how Buffy the Vampire Slayer continues to influence not only the LGBTQ+ community but all of pop culture today. And, above all else, Chris Cullen assures everyone interested in attending that it’s a place where they’re encouraged to be the coolest, most authentic, and absolutely queerest Slay they can be! 

Hellmouth Con takes place June 13–14, 2026, at Torrance High School. You can buy your tickets here.

What begins as a drag show quickly becomes something far more unpredictable in DRAGGED, a new LGBTQ+ play premiering this June at the Hollywood Fringe Festival.

Written by and starring Harrison Alec alongside drag performer Godoy, DRAGGED opens inside the fictional drag show of Alana Regrets, where audiences are pulled into an interactive experience. DRAGGED moves between spectacle and intimacy, comedy and discomfort. 

For Alec, the project came from a desire to create something both immediate and vibrant.

“DRAGGED really came from an urge to finally make something tangible,” Alec told the Blade. “As a writer, it can sometimes feel frustrating to spend months writing scripts that only a handful of people ever read before they disappear into a folder somewhere, so creating something physical felt incredibly important to me.”

The idea began as a short film, but Alec said the story did not fully click until he realized it needed the live energy of an audience. After spending months attending Godoy’s weekly drag bingo, he became interested in the way drag performers naturally blur the line between performer and audience.

“Watching drag performers interact with crowds every week made me realize the audience couldn’t just watch the story; they had to feel part of it,” Alec said. “Drag already breaks the fourth wall naturally, so once I leaned into that, the whole show clicked.”

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That interactive structure is what makes DRAGGED unique. “I think there’s something really interesting about how public pressure can force honesty out of people faster than private conversations ever could,” Alec said. “A drag show felt like the perfect pressure cooker for that.”

Godoy put it more simply: “If you tell a drag queen something, they will tell everyone. It’s the perfect setup for DRAGGED.”

As Alana Regrets, Godoy plays a character shaped by sharp humor, confidence, and emotional contradiction. Alec said he did not want Alana to become a stereotypical “wise mentor” figure. Instead, she is just as messy as the people she confronts.

“She’s funny and confident onstage, but offstage she’s just as messy and lost as everyone else in the show,” Alec said. “A lot of her humor comes from self-protection.”

Godoy said Alana’s performance style draws from beloved drag icons including Bianca Del Rio, Jackie Beat, Sherry Vine, and Alyssa Edwards, citing “their charming and striking personality mixed with quick wit and humor.”

While DRAGGED openly leans into comedy and secondhand embarrassment, it also asks serious questions about queer relationships. Alec’s intention is to highlight the gray areas around monogamy and communication. “What are we lying to ourselves about in relationships? Are we performing versions of what we think our partner wants? Are people actually communicating honestly with each other?” Alec told the Blade. 

But DRAGGED is not trying to offer a single answer about what relationships should look like. Alec explained that he wanted the play to leave audiences questioning their beliefs, not walking away with an easy moral lesson: “I wanted audiences to leave debating who was actually right, because I don’t think the answer is completely clear.”

For Godoy, that balance between comedy and emotional confrontation is already built into the script. “The acting comes naturally because it’s written to do so,” Godoy told the Blade.

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Premiering during Pride Month, DRAGGED celebrates the chaos and emotional honesty of queer life without polishing it into respectability.

“I love that the play celebrates the joy of queer nightlife while also allowing the characters to be messy and flawed,” Alec said. “That feels much more honest to me than trying to present an overly polished version of the queer experience.” For Alec, that mix of comedy and vulnerability reflects the typical rhythm of queer nightlife itself: “Who hasn’t started a night laughing at a drag show, made best friends with strangers in the bathroom, and then ended the night crying on the curb outside the club?”

For Godoy, the timing could not be more fitting: “IT’S PRIDE!! I can’t think of a better time to premiere it!” Godoy told the Blade.

For audiences deciding what to see at Fringe, Alec offers an invitation that is difficult to refuse: “Come for the interactive drag performance, stay for the secondhand embarrassment gluing you to your seat, and leave arguing about who the hell was actually in the wrong.”

DRAGGED plays June 14, 20, 22, and 23 at The Cat’s Crawl as part of the Hollywood Fringe Festival. Tickets are available through the Hollywood Fringe website.

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