Some have argued that immersive theater is a dying art form – but Monster Party makes a compelling case for its revival. Open April 16-25 at Rita House, this surrealist, LGBTQ+ production is provocative in all the right ways, blending cocktail party decadence with historical reckoning to create a work that can only be defined as ‘campy melodrama.’ Rather than observing from a distance, audience members become active participants in the unfolding narrative.

Audience members wander through the home of The Baroness, a mysterious socialite at the center of it all. Over the course of 2.5 hours, guests are encouraged to mingle, gossip, and interact with performers – gradually weaving themselves into the story. What sets Monster Party apart is that the narrative isn’t simply delivered in a scripted, linear way; instead, it is produced through fragments of conversation, overheard exchanges, and the hazy (often drunken) banter that fills the room.

While Monster Party initially reads as playful chaos – cocktails, games, and audience interaction – something significant unfolds beneath the surface. The story that takes shape draws from a largely under-discussed chapter of American LGBTQ+ history: the Lavender Scare. Set in a stylized version of 1950s Washington, D.C., the show layers supernatural elements onto the real-world persecution of LGBTQ+ government employees, who were outed and fired under the pretense of national security threats.

By revisiting this history, the show feels seemingly relevant, offering audiences a lens through which to reconsider past injustices alongside today’s rising anti-LGBTQ+ sentiment. In Monster Party, the paranoia of that era is transformed into something grotesque and theatrical; it is necessary, immersive storytelling that brings awareness to the broader political world.

But this is not a historical reenactment. Instead, creator Matt Dorado leans into surrealism and camp, using heightened aesthetics to explore the institutional panic of the 1950s. Dorado, who has spent over a decade crafting immersive nightlife and theatrical experiences in Los Angeles, is no stranger to blending spectacle with storytelling. His previous works, including the Drunken Devil series and the grisly dining experience To Live and Di(n)e in L.A., established him as a creator capable of turning unconventional spaces into immersive worlds. With Monster Party, he brings that expertise into a prominent political and historical frame.

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Writer, director, and producer Matt Dorado said Monster Party is “very near and dear to my heart,” adding that he has been creating the project since October 2024. He described the show as both “schlocky melodrama” and “gonzo entertainment,” while explaining that its themes have become “strikingly more relevant” amid “violent political upheaval, unfounded moral panic, and deep division.” Dorado said he hopes the piece will challenge audiences “in new and unexpected ways” while remaining a “lurid, campy immersive” experience.

Choosing Rita House as the venue only heightens the effect. The historic Spanish Colonial building provides an ideal backdrop for a story about hidden histories and performative identities. Its intimate rooms and architectural layout allow the production to unfold in multiple directions at once, encouraging audiences to tell their own stories in the process.

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Importantly, Monster Party is designed to meet audiences wherever they are. Whether you’re a seasoned immersive theater enthusiast or entirely new to the form, the experience remains inviting, accessible, and thoroughly engaging. And true to its title, the production raises a central question: who – or what – is the monster at the party? Is monstrosity something imposed by society, or something individuals come to embody themselves? These questions don’t arrive with easy answers, but instead are examined through participation, drawing audiences deeper into the show’s world.

With limited capacity and a strong emphasis on creativity, curiosity, and surrendering to the experience, Monster Party stands out as one of the more distinctive theatrical offerings in Los Angeles this spring. Tickets are available at: monsterpartyshow.com

Queer gamers everywhere, rejoice — the Gayming Awards are back and better than ever!

Returning for its sixth year, the Gayming Awards are an annual celebration of the queer developers, performers, and advocates who make the games that LGBTQ+ nerds love today. During a time when queer art is constantly under attack, it’s a vital evening of appreciation, of uplifting the voices that are making this multimillion-dollar industry more inclusive for all. And while every iteration has proven amazing, the 2026 edition is promising to be the best one yet — so, of course, it had to be co-hosted by two of the biggest names in LGBTQ+ gaming today!

The Los Angeles Blade sat down with the co-hosts of this year’s Gayming Awards, Dawn and Erika Ishii. Fans of RuPaul’s Drag Race will know Dawn well; originally on the series’ 16th season, this drag queen made waves with both her high-fashion elf aesthetic and hilarious commentary. And along with being a part of the famous TTRPG series Dimension 20, Ishii has broken barriers with their roles in popular franchises like recent hit Ghosts of Yōtei. The pair spoke about how honored they are to be leading this show and why the Gayming Awards are more necessary now than ever. And above all else, they emphasized that this evening will share an important message with everyone watching: there is nothing more powerful than fighting to have your story told. 

“Video games are kind of just a reflection of where we’re at as a [society],” said Dawn, as she spoke to the Blade from the bedecked setup viewers will recognize from her weekly gaming livestreams. The performer has always been a video game fan — she even named herself after a character from the Pokémon franchise! She has a special awareness of how nerd and LGBTQ+ culture intersect, as well as why video games are important to so many queer folks today.  “[Video games] have this really special way of tapping into your brain,” she explained. “You get to roleplay through this [new] life to escape to, especially when the world around us right now is a little bit scary and unfortunate.” It’s a practice that has always existed, but that we’ve really only seen in recent years; queer players have always used video games to escape the pitfalls of reality. But while they once had to enjoy these projects while hiding their identity, now, we’re finally seeing LGBT+ gamers get to build community with one another and push for franchises that reflect the identities of everyone playing them. 

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Dawn’s deep love for this medium makes her a perfect co-host for the 2026 Gayming Awards. And she’s paired with the immensely accomplished Erika Ishii who, along with being an avid video gamer lover themselves, has spent the past few years revolutionizing the industry as a whole. 

“It’s rough out there,” said Ishii, when discussing the experience of trying to get a game made today. “I see a lot of people that I know and love getting [their jobs] gobbled up, not having the kind of security or compensation that they really should be entitled to for how profitable this whole industry is.” It’s an issue they’ve seen firsthand; Erika is a successful voice performer, with audiences recognizing their versatile tone in roles like Atsu in Ghost of Yōtei, Ben-hwa in Date Everything, and Valkyrie in Apex Legends. 

Their status as one of the few openly nonbinary voice actors working today means they understand how difficult it is to bring inclusive games to a wide audience. But while this goal may be extremely difficult, they stressed, “I think that anybody with an authentic message has trouble, in this day and age, getting their work funded…and so any time I see [them trying], it’s a huge inspiration for me. 

Both performers understand not only why gaming is important to the LGBTQ+ community, but also what an accomplishment it is to get an inclusive game distributed. This has always been a struggle for queer developers, and recently, it’s only gotten harder. 

Like any creative industry, the past few years have seen game developers get attacked for any attempt at making their projects inclusive — it’s an issue that Ishii has experienced firsthand in almost every role they’ve inhabited! They’re quick to remind players, though, that this isn’t stopping LGBTQ+ games from getting made, with the performer shouting out projects like Baldur’s Gate 3 for being hugely popular and extremely queer. But despite these successes, there is still a growing issue of distributors refusing to invest in LGBTQ+ projects for fear of bigoted backlash. 

“Not to make everything political…but everything kind of is political!” exclaimed Dawn. “We can’t hide. We can’t not be present in these spaces — even if it might not be the most profitable thing for a corporation at the moment. Because we exist. And we’re never not going to.”

Ishii has been at the forefront of the fight for inclusive gaming, with their reasoning being, “I think this is the biggest f**k you to the oppressors, honestly. [Us] being happy, and just loving the things we love out loud…it’s so important right now!” It’s a sentiment that Dawn cited as the heart of the Gayming Awards, saying, “To be able to put on this show and give out these awards to these people that are working in an industry that might not always be the kindest to LGBT people…it’s so important. [For us] to be visible, to be public.”

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With these co-hosts at the helm, there’s no chance that the 2026 Gayming Awards won’t be a fun, affirming space for all. And to all the nominees and everyone thinking of attending, Ishii affirmed, “Life is so hard. But with your hard work, and the way that you put yourself and your art out there…you are creating change. You’re making the world better. And I am so grateful that we get to live in this time where we can create and enjoy art that is truthful [like yours].”

Words of gratitude that so many queer creators deserve to hear right now. And, with Dawn and Erika Ishii as co-hosts, it’s a gratitude that will drive the Gayming Awards and make it not only a fun evening for fans, but a transformative night of love for the many LGBTQ+ people shaping the gaming industry today. 

The Gayming Awards 2026 returns June 8th on WOW Presents Plus. 

Today, the Critics Choice Association (CCA) announced that its annual Celebration of LBGTQ+ Cinema and Television will take place on Friday, May 29. The long-running organization has been honoring filmmaking accomplishments since 1995, and presented its first queer entertainment-centered ceremony in 2024. 

Previous honorees include esteemed queer and trans performing legends like George Takei, Michaela Jaé Rodriguez, Nathan Lane, Wanda Sykes as well as rising stars like Bowen Yang, Tramell Tillman and Benito Skinner. 

This year’s ceremony marks CCA’s 3rd presentation of Hollywood’s most notable and defining queer voices and storytellers. Emmy-award winning actor and comedian Jane Lynch will receive the ‘Groundbreaker Award,’ honoring her prolific career: one defined by her unconventional humor, scene-stealing presence and bold visibility as an out queer woman. 

Writer, actor and director Dan Levy, known for effortlessly slipping into charming, wry and quirky roles in ‘Schitt’s Creek,’ ‘Happiest Season’ and his upcoming crime-comedy show ‘Big Mistakes,’ will receive the Vanguard Award for continually normalizing nuanced, layered queer representation in TV and film. 

Breakout star Hannah Einbinder has been pushing boundaries since her arrival on the scene, and is known for her outspoken activism, her daring and chaotic performance on ‘Hacks,’ and her highly anticipated role in Jane Schoenbrun’s upcoming queer horror-comedy flick ‘Teenage Sex and Death at Camp Miasma.’ Einbinder will receive the Performance Award at CCA’s ceremony. 

Director, screenwriter and producer Jacob Tierney will receive the Showrunner Award for ‘Heated Rivalry,’ a piece of queer art that swept up the internet when it arrived late last November — and hasn’t let go since. Tierney has long centered queer whimsy and joy in his works, and his adaptation of the sexy, tense and whirlwind romance between two queer hockey players transformed the trajectory of the show’s starlets, and left a permanent imprint on the rise of boys love (BL) media and gay storytelling. 

Each of the honorees joins a rapidly expanding universe of boundary-pushing queer art that defies growing anti-LGBTQ+ rhetoric. This ceremony celebrates the sharpening of their stories, and the preservation of queer stories on screen.

“Being part of this community means celebrating who we are, how far we’ve come, and acknowledging our collective resilience,” said the ceremony’s co-programmer and co-host Andrew Freund, in a press release. “This year’s honorees are extraordinary—bold, brilliant, and wonderfully unapologetic. They do more than inspire, they light the path forward.”

Kristie Song is a California Local News Fellow placed with the Los Angeles Blade. The California Local News Fellowship is a state-funded initiative to support and strengthen local news reporting. Learn more about it at fellowships.journalism.berkeley.edu/cafellows.

‘The Remarkable Life of Reed Peggram’
By Ethelene Whitmire
c.2026, Viking
$30/308 pages

You couldn’t escape it.

When you fell in love, that was it: you were there for good. Leaving your amour’s side was unthinkable, turning away was impossible. You’d do anything for that person you loved – even, as in the new biography, “The Remarkable Life of Reed Peggram” by Ethelene Whitmire, you’d escape toward danger.

On Aug. 28, 1938, Reed Peggram boarded a ship from Hoboken, N.J., hoping to “become a proper gentleman” and fulfill his dreams. A prolific writer and Harvard scholar of comparative literature, he’d recently been awarded the Rosenwald Fellowship, which put him in the company of literary stars like Du Bois, Hurston, and Hughes.

Both Peggram’s mother and grandmother were then domestic workers, and they had big expectations for him. Reed himself was eager to study abroad, for professional and personal reasons; he was “determined to become a French professor and an accomplished linguist” and “He also hoped to find love.”

What better place to do it than in Paris?

Outgoing and confident, Peggram made friends easily and had no trouble moving “through the world of his white male peers.” Where he faltered was in his lack of funds. He relied on the kindness of his many friends – one of whom introduced Peggram to a “man who would become so pivotal in his life,” a Danish man named Arne.

Peggram and Arne had a lot in common, and they began to enmesh their lives and dreams of living in the United States. But there were complications: homosexuality was largely forbidden, World War II was in its early stages, and it quickly became apparent that it was dangerous to stay in Europe.

And yet, Peggram loved Arne. He refused to leave without him and so, while most visiting Black Americans fled the war in Europe, “Reed was trying to stay.”

There’s so much more to the story inside “The Remarkable Life of Reed Peggram,” so much to know about Reed himself. Problem is, it’s a long haul to get to the good stuff.

In her introduction, author Ethelene Whitmire explains how she came to this tale and yes, it needs telling but probably not with the staggering number of inconsequential details here. Peggram moved homes a lot, and many people were involved in keeping him in Europe. That alone can be overwhelming; add the fact that costs and other monetary issues are mentioned in what seems like nearly every page, and you may wonder if you’ll ever find the reason for the book’s subtitle.

It’s there, nearly halfway through the book, which is when the tale takes a tender, urgent turn — albeit one with determination, rashness, and a dash of faux nonchalance. Also, if you’re expecting an unhappily-ever-after because, after all, it’s a World War II tale, don’t assume anything.

Reading this book will take a certain amount of patience, so skip it if you don’t have that fortitude. If you’re OK with minuscule details and want a heart-pounder, though, “The Remarkable Life of Reed Peggram” might be a good escape.

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

In the world of theatre, few works authentically convey the complexity of lived experience quite like Sanaz Toossi’s English does. The play provides its audiences with five unique voices, each one shaped by migration, memory, and the often quiet and always personal negotiations of identity. English invites us into this world, where language takes on the dual roles of both a bridge and a barrier, where storytelling has borders to spotlight the shared humanity that exists beneath our differences. The play also upholds a deep reverence for Iranian culture, its resilience, and its elegance. This culture is properly portrayed not as a tired trope but as a collection of personal histories and emotional truths.

Equally significant is the space English creates for much-needed representation of the authentic varietal. In amplifying trans voices alongside those of the Iranian diaspora, English challenges narrow narratives and insists on a broader and more inclusive idea of belonging brought vividly to life by Pooya Mohseni in her portrayal of “Roya.” Our interview with Mohseni reflects that same soul. Ultimately, English dares us to consider not just how we speak, but how we listen.

English has been described as a “quietly powerful” meditation on language and identity. What drew you back to the role of Roya for this production?

I’ve loved this play since I read it 8 years ago, and through its growth and its many productions that I’ve been a part of, that love has grown and deepened. Roya, specifically, is very special to me, as I see my grandmother and my mom in her, and her strength and class are for the books, so naturally, when I was asked to join the production at The Wallis, there was only one answer.

You originated the role of Roya on Broadway. How has your relationship to the character evolved since then?

As I said earlier, Roya is very special and somewhat personal to me, as I see the strength and struggles of the women I grew up around in her. But what Roya has done for me is push me and guide me to understand those women on a deeper level. That journey has allowed me to understand the women in my family better and grow as a human. I also would like to add that Roya herself as grown, as we, the artists, have grown and evolved, and her strength, her vulnerability and her resolve have become more clear and specific and the character that is being seen at The Wallis is a more evolved and clear version of the character, which I’m very proud and grateful to get to share with our west coast audiences.

The play uses a fascinating linguistic device where Farsi is performed in American accents and English in Iranian accents. How did you approach that as an actor?

At first, it’s tricky, because as soon as you say a sentence in the wrong accent, you would think “no, that was Farsi!” or “did I say it right?” But in this production, our relationships with the text and the characters are so intimate that we don’t have to think about it because it’s become second nature to us. It comes down to clarity of thought and intention, and when you know what the character is trying to communicate, the accent, the right accent, follows.

Roya is navigating both personal and cultural transitions. What aspects of her journey resonate most deeply with you?

I’m an immigrant. I’m the daughter of an immigrant. My grandparents had other children who migrated. This distance, both culturally and geographically, is something I’ve been around since I was a child. I’ve heard the laments, I’ve seen the heartbreaks, and I’ve also seen the determination to keep hope alive. In short, I’ve grown up in a household, like many Iranian households, that either had a Roya or had different people who were parts of Roya, which has always been the force pushing me to make sure that my portrayal of Roya is done with love and authenticity.

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How does English speak to the Iranian diaspora, particularly in a city like Los Angeles with such a large Iranian American population?

I believe the success and popularity of English has been in its specificity, which has also made it universal, for Iranians and beyond. Having shared it with many audiences before Los Angeles, I think people, specifically the Iranian diaspora, will see some of their own experiences and struggles in English and hopefully feel some validation that there is this award-winning, universally recognised play which honors their lives, their hardships, and their culture.

Playwright Sanaz Toossi has said the work is also a way to “scream” against the vilification of Middle Easterners. How do you feel this message lands with audiences today?

First: Sanaz is the Queen, and she’s my sister, and I love her with all my soul. Second: The circumstances that propelled Sanaz to write this play are still not only prevalent but have intensified and are even more center stage in 2026. I wholeheartedly believe that English is even more relevant now and will continue to be in the decades to come.

Despite its heavy themes, the play is also quite humorous at times. How do you balance humor with its more undeniable emotional undercurrents?

English is a sublime dramedy in its simplicity, in my opinion. The humor lies in its honesty, riding along the struggles and the heavier moments and thoughts that are expressed. Some people have called it a “comedy with a heart,” but I see it as a drama that also embraces the humor of everyday life and human struggles that we all face. When the balance is struck, the play flows beautifully like a wave that moves and exposes different wonders on a shore.

The play has been widely acclaimed since its 2022 debut. Why do you think it continues to resonate so strongly with its audiences today?

English is honest. It’s not flowery or preachy, and in its truth, through the experiences of its characters, it has connected with the critics and the audiences through all its productions. Audiences are smart, and they don’t like to be pandered to, and I believe that is why different audiences, across generations and backgrounds, have found something in our play that speaks to something personal in their lives. I think that will continue for many years to come.

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As an Iranian American and a transgender artist, how do your identities inform the roles you choose and the stories you tell?

As Eve Ensler mentioned in the Vagina Monologues, being transgender is very similar to being an immigrant, because you’re treated, most of the time, like you don’t belong. I was treated that way at school when I was in Iran, and I was treated that way when I moved to New York, and in 2026, as an Iranian American who is also trans, all parts of my identity are under attack. I’ve never been asked to play the person next door, and while that has cut down on the number of things I’m given the opportunity to do, it has also freed me to be me: sassy, unique, and aware of the experiences that differ from mine. I was forced to find MY way because no other way was open to me. I love getting to play outsiders or characters who are outspoken, because I’ve had decades of training. So, having lived my life as me, I choose characters and projects which have heart, grit, and that I feel add something of value to the world, even if it’s just a laugh.

You’ve been open about your experiences with trauma and survival. How has storytelling served as a tool for healing in your life?

If you think about therapy, it’s basically storytelling. It has definitely been that way for me. Especially if the story has some personal connection, either to the Iranian side of me or the trans part of my identity. I’ve been fortunate to have worked on great stories that ring true to some part of me, and through finding the essence of the character, I have found my way through my own heart and soul. It feels strange to say that thousands of people have been witnesses to my therapy through the years, but it is kind of true, and I like to think it’s been not just therapeutic for me, but more like group therapy, shared between the viewers and me.

You’re also a writer and filmmaker. How do those creative outlets influence your acting process?

Being a writer and having been involved in making a couple of films has definitely widened my horizon as an actor. I now know more about what happens in other aspects of a production, so I think it makes me a more aware actor, who also has so much more respect for what it takes to create a story and turn that into a final product, and all the steps that need to be taken for a film to happen.

What do you hope audiences take away from English after leaving the theater?

I hope it reinvigorates their love for theater and what that can be. I hope it makes them think about themselves and others with more love and grace. Maybe, they feel seen by the play, or maybe, just maybe, English helps them see others who have different experiences or sound and look different from them, with more love and curiosity, rather than fear and disdain.

Looking at the future, what kinds of stories or roles are you most excited to explore next?

I love playing matriarchs because I think I have that in me, and more mature roles have so much potential and depth. I hope to continue to play unique and interesting, maybe even really dark characters. I’m not the first person to want to play juicy roles, but having already covered my journey to this moment, I hope to keep going through the path of finding new types of characters to explore: mothers, bosses, villains, and maybe even love interests. But above all, I want to play parts that are written with love and care and house multitudes, instead of tokens and shallow, flat objects of either fetishization or pity. I keep working towards that and will take roles, hopefully, that make me grateful to be a storyteller.

English runs at the Wallis Apr 4, 2026 – Apr 26, 2026

You don’t have to look far to support your local non-binary musician. Meet Ross Alan, who you’ve probably seen around town. They can easily be recognized by their stunning eyes, genteel demeanor, and killer fashion sense. 

They’ve performed and sold out in venues nationwide, from Pete’s Candy Store in New York City and Davenport’s in Chicago to iconic Los Angeles stages like Hotel Café, The Viper Room, the Hard Rock Cafe Hollywood, and Whisky a Go Go. This year, they were nominated for an LA Blade Best of LA Award. 

Alan is building toward their next chapter: a bold country-disco fusion project slated for 2026. They took some time to enlighten us about the spirit behind the rocker and give us a little insight and inside tea.

How did you get into music? 

One day, as a kid, I sat down and watched Sister Act 2. There is a scene when Ryan Toby’s character hits his high note in their rendition of “Oh Happy Day,” and something changed in my soul and body. It was like all the atoms I’m made of woke up. 

Now I’ve been making music for 15 years. To have such a specific and voracious moment like that. I knew, so young, that music was what I wanted to do. There was no surprise on my end that this is where I ended up. I mean, I can queue up the memory of me doing the choreography to “Oops I Did It Again” at my uncle’s wedding at the age of 10 or singing in our family garage while my stepdad worked on cars. Art is in my blood. 

How long have you been performing? 

I’ve been performing as Ross Alan for the last 6 years. I was performing before that under a different artist name for a decade, but I’ve toured domestically a good bit in the last 3 years or so. I am so excited to be getting all this new music from my upcoming record out and really getting the chance to shine on stage with it. Performing is where I feel the most secure in what I’m doing as an artist.

What do you love about music/live performance in LA? 

Well, LA is home now. I’ve lived in the Midwest and the South, and I spent years living in New York and Chicago. But performing in Los Angeles always feels safe because this is like my actual home. It feels like I can take bigger risks out in the bars, it feels like I can try new things, and still be embraced by my peers. I think everyone here is chasing their dream, knowing that everyone is straddling their own form of bravery in the pursuit of their goals. There is a vulnerability we all share, and that makes the art so much better.

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What do you love about Los Angeles/West Hollywood? 

I’ve been in Los Angeles now for 5 years, and there is not a day that goes by that I don’t still smile on my commute. And from stupid stuff, right? Like palm trees lining a street, or a really gorgeous sunset backlit by the Hollywood neon horizon. I’m such a romantic, it makes sense that I’m a songwriter. There is just not a day that goes by that I don’t meet someone doing something cool or planning something amazing. My community is so sensational, and the environment of this city breeds serenity, innovation, and a level of togetherness I’ve never felt anywhere else.

What brought you to LA? 

Music! Fame! Hot people! Warmth! 

No, honestly. I hate being cold, and moving here from Chicago was like the deepest exhale I’ve ever had in my life. I’ve wanted to live in Los Angeles since I was a kid – and not in a way that I understood. Like I knew I needed to be here, but I didn’t know why. And 30 years later, here we are, and I was right. Sometimes you just know where you’re meant to be, but you don’t know when. So sometimes you gotta just ride the ride.

What is your passion? 

I think a younger version of me would have said music or art or something plain. But I’m approaching 35. I think my passion is creation for the intention of being perceived and being understood. 

I think we all pursue our own alleyways of work, relationships, and expression in order to be understood. Not necessarily from outside parties, but even on our own. I pursue a deeper understanding of myself, my music, and my purpose every day. I love that in a world filled with any and every resource known to man, we can use those tools to be seen and validated in our experiences. Those moments of realizing you aren’t alone are vital in my eyes, to know someone else hears you. I’m very passionate about making sure everyone feels heard and that empathy isn’t a lost art. 

What’s a weird thing you learned about life from performing? 

My mantra for every performance is “It might be the last night, but it is only one night.” You have to treat it like you will never get on the stage again. Leave everything up there: your sweat, your vulnerability, your art. It could be the last time you ever get to show people who you are and what’s important to you. But it is also only one night. 

So if I flub with a lyric, or miss a step or mark – it’s okay. That’s the nature of live performance and being on a stage in front of an audience. I’m human, so mistakes are bound to happen. And it’s not letting those tiny slips get to you. Because I’m a perfectionist, I want every moment to go off as I planned it. But that’s not reality. So you really have to go in saying, “It might be the last night, but it is only one night.” Go hard, but be gentle.

Favorite spot in Los Angeles?

I have a few! Love a classic Griffith Observatory hike. I go to Los Globos in Silverlake pretty regularly for queer line dancing with Stud Country. The best breakfast burrito is Wake N’ Late in Hollywood. I swear by that place. I’ll walk the floral district in DTLA for any number of incredible blooms, and that is definitely a soul lift. Rustic Coffee in Santa Monica has the best sandwich in the world. You walk up to the airstream, order the chicken caprese – you’re so welcome. And lastly, I’d say the Hollywood Farmers Market on any given Sunday. Live music, talented local vendors, and fresh produce. Absolutely.

How has Los Angeles changed you? 

It has made me more patient. It’s made me work harder. It makes me more and more queer every day. What a paradise.

What piece of advice would you give to your younger self? 

You know who you are. Don’t let others scare you away from being exactly that. It’s your superpower.

If you could make one wish for Los Angeles, what would it be? 

I could say so many things. Fortified infrastructure, improved disaster relief, mandatory driving classes, better systems of support for the unhoused population, removal of ICE in every fucking capacity, increased public transit availability, financial aid to small local businesses and the arts. I love this city. I want it to thrive.  

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What do you want for the queer community? 

Above all, honestly? Safety. For my trans siblings, for my non-binary siblings. For our youth. For those in our community who don’t feel safe in their own homes. It’s been said so many times, but none of us are free until all of us are. So what are we doing about it? Being queer is not a luxury; it’s a privilege. 

I don’t want us to have to battle forever – but the battle is not done. It’s so obvious that the battle isn’t over, and it really hurts seeing that so many people think that just because we got marriage equality and because I can wear a skirt in Los Angeles. I need those who have privilege to use it against the forces that wish us harm. Protect our community. 

I’m talking to allies too. Because as Bad Bunny coined at the super bowl, “the only thing more powerful than hate is love”. And love is what the queer community is made of.

What do you look for in a person? 

As I’ve gotten older, the bar has never been lower, but it’s also never been more serious. I look for prowess with communication. I look for independence and stability. I look for baseline physical attraction, and I look for a good sense of humor. The rest? It really doesn’t matter. I love so many different types of people, and the only real thing that matters is chemistry. The rest will work itself out if it is supposed to.

Celebrity crush? 

I have so many. Laith Ashley, Justice Smith, Sophia Bush, Rachel McAdams, and Danny Ramirez. The list is long!

What is your favorite thing to do in your downtime? 

Watch scary movies and rhinestone stage costumes for myself.

Follow Ross Alan on IG.

Fifty years in hospitality is nothing short of impressive. Fifty years as an out and proud gay institution and queer cornerstone to the Key West community? That’s some next-level magic. Long before “inclusive travel” was a buzzword tossed around like an eager bottom at a pool party, one corner of Fleming Street in Key West quietly built something far more powerful: a place where gay men could come and mingle while feeling instantly among their own people.

What started in 1976 as a humble little lodging experiment has swelled into the legendary Island House Key West. Today, it is well known by gays around the globe as the sun-soaked oasis of pool decks, cocktails, and camaraderie.

At the cream-filled center of its golden anniversary is general manager Jeff Smead, a man whose love affair with gay Key West began long before it became his life’s work. Smead wears many hats: historian, host, and loud & proud steward of this cultural landmark, and speaks about Island House with a reverence of someone who knows he’s continuing a queer legacy. As the The Island House Key West preps to celebrate 50 years of sun, skin, and community, we caught up with Smead to talk about the decades-long evolution from Paul’s Apartments to global gay icon status, the magic formula that keeps folks coming back for more, and why the next fifty years might be even yummier than the first. 

Congrats, Jeff! 50 years is pretty major. When looking back at Island House’s journey since 1976, what feels the most surreal to you today?

Honestly, I can say that we stand on the shoulders of giants. I have so much admiration and respect for the generation of gay Key Westers who created this tourism phenomenon in our community back in the 1970’s. As someone who has personally been obsessed with gay Key West since the first visit, I can say it’s truly humbling to be a part of something that has had such impact, such longevity, and is so deserving of its reputation.   

Island House began at a time when gay travel wasn’t exactly marketed. What do you think made it not only survive but thrive?

Island House is one of the last strongholds of gay resorts of its size. And a lot of that is due to the foresight that our founders had when they created this place. Island House doubles down on the gay factor, as opposed to watering down the experience to appear more mainstream or to appeal to a wider market. You can’t just put a rainbow sticker on your door and expect our community to show up. You have to notice the things they like and offer them in spades, as gay male culture isn’t obvious to anyone but gay men. So we, as the gay men who manage this place, have to stay tuned to know when to get involved and provide more or something, and when to step back and get out of the way because something is already working.   

From the early days of Paul’s Apartments to a multi-building campus, how would you describe the evolution of Island House’s vibe and place in Key West?

What’s fascinating is that this little corner of Fleming St became a single entity called Island House. The main building was originally contractor housing from the WPA in the 1930’s, when the workers were building Peary Court across the street for Navy housing. Then add in the couple of buildings that were Paul’s Apartment’s, the tiny launderette on the corner of White St, and the parking lot that quickly became today’s pool area and café. In 2005, the owners bought the apartment building across the lane, and then in 2022, my husband and I bought the triplex next door to the Island House pool. One by one, the gays bought this dilapidated corner and created something amazing. I love saying that my husband and I are marked in that legacy.

The 50th anniversary is being celebrated all year long with Monthly Gold Pool Parties. What can folks expect when things go full-on gold?

Oh boy! We know what we do well, and that is pool parties! So once a month this entire year, we have one of our regular pool parties rebranded as a GOLD party- meaning gold shimmery décor, gold step & repeat with photobooth, gold disco balls, gold costumes on the staff, and of course, pool boys decked out to the nines in extravagant gold “Fantasy Fest” level outfits. Add in gourmet appetizers and Key West drag legends coming to be ambassadors of these parties, and it makes for a wild time destined to make guys nostalgic one day that “they were here for the golden anniversary.”  

How next-level are we talking with these gold lewks, pool boys, and production moments?

February’s Gold party was a real treat- with fashion designer Guy Hermelin hand-making all of the staff and pool boy outfits. Are they skimpy? Yes. Are they amazingly artistic? Also yes. It’s great to see so many guests showing up, understanding the assignment – gold ANYTHING! Go hog wild!

The Golden Celebration Weekend in May 2026 is being positioned as a standalone destination event. What makes this weekend different from Pride or other major Key West blowout weekends?

May 2026 is technically our “for real” 50^th Birthday month. So in honor of all the people who helped create this place for five decades, we’re bringing a bunch of them back! The former owner from the 1970’s, the past GM from the 1980’s, bartenders from the 1990s, and so on. It’s going to be a veritable “who’s who” of Island House history all encircling the pool for a photo, followed by one hell of a party. We also have numerous journalists coming that weekend who have written about us in gay media for ages, as well as some guys who modeled for marketing campaigns over 20 years ago. It’s going to be great.

The resort has won “Best Gay Resort in the World” several times over.  What do you think sets Island House apart from every other property out there?

I get this question all the time. In my opinion, it’s “the trifecta.” 1. Full Liquor Bar License 2. Full Restaurant License (not just a prep kitchen) 3. Nudity. The combination of those three things is difficult to find (if not impossible) anywhere else. The moment you cross into the mainland above us, you can have two of the three, and that’s it. It’s why there aren’t other Island House Resorts in other cities. We are “of” Key West and socially accepted here by long-time Conch locals who have always coexisted with the Island House presence.

In an era where queer spaces are disappearing in many cities across the country, what responsibilities do you feel you take on as the manager of such an iconic institution and safe haven?

It’s a lot of pressure to manage Island House. Not just because of the physical running and staffing of a 39-room hotel, a 24hr restaurant and bar, or a 200-member local health club, etc. The other side of the coin is that Island House has become an institution of its own with how it caters so emphatically to our community. 

I wrote my senior thesis on the phenomenon of gay lodging in Key West in the 80’s and 90’s, so I’ve done more than average research on how it’s a miracle that a place like Island House exists. We are a product of Key West, a product of its gay community, and living proof that believing in something hard enough enables you to make it a reality. 

I couldn’t wait until I graduated college, when I could cut the strings of obligation and move to the place that summoned me. This place has gifted me the same things it gives its guests – a real community, a sense of belonging, and the feeling of an unofficial club for those in the know. I love this place fiercely, and it’s an honor to call it my career alongside my husband and a team of incredible men who all feel the same loyalty to “The House.”

With the 50th celebration bringing together journalists, influencers, and longtime cultural voices, how has the media assisted in shaping Island House’s international and very queer reputation?

We couldn’t have made it 50 years without keeping our relationships with gay media well honed. We were one of the first places to advertise in the Damron Guide back before the internet. We were the first gay resort on Manhunt when it was first released. We were the first gay resort to collaborate with Andrew Christian and RuPaul’s Drag Race. We welcome writers from the UK, Germany, Canada, South America, etc. Our local Key West Business Guild is the oldest LGBTQ+ chamber of commerce in the nation, and our combined efforts with them have formed media relations that others only wish they could have formed so early in the game. 

Looking ahead to the “50 More” initiative, what excites you most about the next chapter? Renovations, sustainability, expanding inclusivity?

My husband James is basically the gay Bob Villa, so I know he’s excited about more renovations this September! We’re replacing the 2nd-story wooden walkways and balconies that interconnect our compound, as well as giving a real upgrade to the gang showers, locker room, steam room, and video lounge. It sounds boring to talk about renovations as being exciting, but honestly, nothing gets a better guest response than when they see you reinvesting resources back into the place they love so much. 

The resort owner, Bobi Lore, has been really great to work with because he understands that Island House always needs to keep getting better, and he has always taken responsibility for steering the resort in the right direction on that front.  

And lastly, if the walls of Island House Key West could warmly whisper something sultry after fifty fabulous years, what do you think they’d blush and brag about first?

If these walls could talk to me, they’d say, “Keep going! You dreamt of this life in your 20’s, and now it’s yours to steward. Make sure you can hand this off to the next generation one day, to continue the magic another 50 years.  

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It’s probably no surprise that the last decade or so has seen a “renaissance” in horror cinema. Long underestimated and dismissed by critics and ignored by all the awards bodies as genre films, horror movies were deemed for generations as unworthy of serious consideration; relegated into the realm of “fandom,” where generations of young movie fanatics were left to find deeper significance on their own, they have inspired countless future film artists whose creative vision would be shaped by their influence. Add to that the increasing state of existential anxiety that has us living like frogs in a slow-boiling pot, and it seems as if the evolution of horror into what might be our culture’s most resonant form of pop art expression was more or less inevitable all along.

Queer audiences, of course, have always understood that horror provides an ideal vehicle to express the “coded” themes that spring from existence as a stigmatized outsider, and while the rise of the genre as an art form has been fueled by filmmakers from every community, the transgressive influence of queerness – particularly when armed with “camp,”  its most surefire means of subversion – has played an undeniable role in building a world where movies like “Sinners” and “Weapons” can finally be lauded at the Oscars for their artistic qualities as well as celebrated for their success at providing paying audiences with a healthy jolt of adrenaline.

Perhaps unsurprisingly, the boldest and most biting entries are coming from trans filmmakers like Jane Schoenbrun (“I Saw the TV Glow”) – and like Australian director Alice Maio Mackay, whose new film “The Serpent’s Skin” opened in New York last weekend and expands to Los Angeles this week.

Described in a review from RogerEbert.com as “a kind of ‘Scanners’ for the dolls,” it’s a movie that embraces classic horror tropes within a sensibility that blends candid exploration of trans experience with an obvious love for camp. It centers on twenty-something trans girl Anna (Alexandra McVicker), who escapes the toxic environment of both her dysfunctional household and her conservative hometown by running away to the “Big City” and moving in with her big sister (Charlotte Chimes). On her first night in town, she connects with Danny (Jordan Dulieu), a neighbor (the only “hottie” in the building, according to her sister) who plays guitar in a band and ticks off all her “edgy” boxes, and has a one-night stand.

The very next day, she starts a new job at a record store, where she connects – through an intense and unexpected incident – with local tattoo artist Gen (Avalon Faust), a young woman she has seen in psychic visions, and who has been likewise drawn to her. The reason? They are both “witches,” born with abilities that give them a potentially deadly power over ordinary humans, and bound together in an ancient supernatural legacy.

It goes without saying that they fall in love; together, they teach and learn from each other as they try to master the mysterious magical gifts they both possess; but when Danny coincidentally books Gen for a tattoo inspired by his earlier “fling” with Anna, an ancient evil is unleashed, leading to a string of horrific incidents and forcing them to confront the dark influences within their own traumatic histories which may have conjured this malevolent spirit in the first place, before it wreaks its soul-stealing havoc upon the entire community.

Confronting the theme of imposed trans “guilt” head on, “Serpent’s Skin” emanates from a softer, gentler place than most horror films, focusing less on scares than on the sense of responsibility which seems naturally to arise just from being “different.”. Both McVicker and Faust bring a palpable feeling of weight to their roles, as if their characters are carrying not only their own fate upon their shoulders, but that of the world at large; blessed (or cursed) with a layer of awareness that both elevates and isolates them, their characters evoke a haunting sense of responsibility, which permeates their relationship and supersedes their personal desires. At the same time, they bring a mix of respect and eroticism to the sapphic romance at the center of the film, evoking a connection to the transgressive and iconic “lesbian noir” genre but replacing its sense of amoral cynicism with an imperative toward empathy and social responsibility.

All of this helps to make the film’s heroines relatable, and raises the stakes by investing us not just in the defeat of supernatural evil, but the triumph of love. Yet we can’t help but feel that there’s something lost – a certain edge, perhaps – that might have turned up the heat and given the horror a more palpable bite. Though there are moments of genuine fright, most of the “scary” stuff is campy enough to keep us from taking things too seriously – despite the best efforts of the charismatic Dulieu, who literally sinks his teeth into his portrayal of the possessed version of Danny.

More genuinely disturbing are the movie’s scenes of self-harm, which both underscore and indict the trope of trans “victimhood” while reminding us of the very real fear at the center of many trans lives, especially when lived under the oppression of a mindset that deplores their very existence.

Still, though Mackay’s film may touch on themes of queer and trans existence and build its premise on a kind of magical bond that makes us all “sisters under the skin,” it is mostly constructed as a stylish tribute to the classic thrillers of an earlier age, evoking the psychological edge of directors like Hitchcock and DePalma while embracing the lurid “shock value” of the B-movie horror that shaped the vision of a modern generation of filmmakers who grew up watching it – and even if it never quite delivers the kind of scares that linger in our minds as we try to go to sleep at night, it makes up for the shortfall with a smart, sensitive, and savvy script and a rare depiction of trans/lesbian love that wins us over with chemistry, emotional intelligence, and enviable solidarity.

What makes “The Serpent’s Skin” feel particularly remarkable is that it comes from a 21-year-old filmmaker. Mackey, who built the foundation of her career behind the camera with a series of low-budget horror shorts in her teens, has already made an impact with movies ranging from the vampire horror comedy “So Vam” (released when she was 16) to the horror musical “Satanic Panic” and the queer holiday shockfest “Carnage for Christmas”. With her latest effort, she deploys a confidence and a style that encompasses both the deep psychological nuance of the horror genre and its guilty-pleasure thrills, rendered in an aesthetic that is grounded in intimate queer and trans authenticity and yet remains daring enough to take detours into the surreal and psychedelic without apology.

It’s the kind of movie that feels like a breakthrough, especially in an era when it feels especially urgent for trans stories to be told.

Happy April, my lovelies. We have officially made it through March, which means we have survived Mercury Retrograde and have stepped headlong into Spring.  What does April have planned for us? Let’s ask the cards and find out. 

The month of March brought on so much stress and chaotic energy as we have been trying to manage the retrograde madness and current world events, that our careers, love, and social lives may have shrunk in priority or fallen to the wayside completely. April draws our attention back to ourselves and our home base. The seasonal Spring energy brings inspiration and growth. Just as we see the flowers blooming, we feel a renewed sense of hope or motivation blossoming in us. Follow that feeling, taking the building energy and putting it towards the goals we are working towards and the relationships we are cultivating. A word of guidance, April will bring blessings of fertility to our endeavors, but encourages us to be practical and stay close to home. This means tend to your business and inner circle. Dreams that may be “too big” or require giant leaps may not be what will be the most productive place to put our energy this month. By all means, plot and plan and be ready to be fabulous, but when it comes to putting in the blood, sweat, tears, and glitter we need to funnel all of that towards our baselines and foundations in April. 

April has an emphasis on the “mother wound,” highlighting where we may be suffering from a lack of support and nurturing while also pointing out wounds we have carried with us for far too long. These wounds tend to be a residual from family issues, typically stemming from the strong female role models that we are supposed to have in our lives. While the coming weeks may highlight this pain, they are not doing it just to be mean. They are doing it so that we may take this opportunity to heal. Take time to explore your feelings and your mother wound, see what steps you can take to close this out, or at least get a little closer to blessing yourself with freedom. This might sound like a monumental task, but you might be surprised by how much emotional ground you can cover in a short time when the energy and stars align for this. If you would like some magical assistance here, I suggest keeping some rose quartz and rhodanite in your pocket. Both crystals tend to the heart, rose quartz opening up your heart and welcoming in love in all forms, while rhodanite helps with inner self-healing. If you enjoy the idea of a ritualistic bath, mix some pink salt and a cup of milk (vegan options work for those that don’t partake in dairy) into your bath water and let this brew gently cleanse your emotions and provide some much-needed nurturing. 

Don’t allow yourself to spiral into a dark space. This doesn’t mean fall into the trap of toxic positivity or spiritual bypassing; it means be aware of how you’re processing things and be mindful not to crawl too far into an isolated space. It also pays to give yourself a bit of a break; you don’t need to move mountains (contrary to popular belief), and you don’t need to learn something new every day. This month says to be gentle if you feel like there is nothing left of you to give, and let Spirit provide for you. Rest easy and know that Karma and the Universe are hard at work conspiring in your favor and throwing a bit of shade at your enemies. If you feel like you’d like to enlist the assistance of your inner witch to help you with this, try keeping crystals such as hematite (to keep you grounded) and carnelian (to break depression and conjure up some light-hearted energy) with you and make a morning ritual of spritzing some blessed water or Gardenia 1800 around yourself and your space. Repeat this ritual in the evening before turning to bed h with some Florida Water to wash away the “dusty” energy of the day. 

April gives us enough leeway to tend to ourselves through healing and intentional actions while also making us slow down and go at our own pace instead of the pace that we feel like the world is laying out for us. Whether you are quietly nursing your mother wound or picking up momentum with the tasks and inspiration that fell behind over the last few months, you feel little spirit nudges of encouragement and even a blessing or two. And remember, where you feel like you need a little help to get ahead…there’s always a little witchcraft. 

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

Prominent local trans advocate and actor Jazzmun Crayton’s poetry, presence, and performances have shifted the county’s queer landscape, joyously reanimating spaces with the magic of her liberating words. “Love is a religion, so let your performances be your ministry, your lip synching be the anointing / and stay baptized and fully immersed in all the glitter, rhinestones and feathers you can glue / onto your costumes,” reads the verses of her poem, “Drag Queen.” 

Crayton’s voice and vision, which center the lived experiences and stories of transgender, gender-expansive, and intersex (TGI) people, have drawn the attention of several community members and collaborators, including director David Hays Gaddas. Together, they created “Lovely Bouquet of Flowers: An Exploration of Non-Traditional Gender Voices”: a full-length play packed with musical numbers, monologues, and scenes drawn from real-life interviews with trans community members. 

First performed in 2013 at the LA LGBT Center’s Renberg Theatre, the play returns for a special, curated edition on Tuesday, Mar. 31, at West Hollywood’s City Council Chambers for International Transgender Day of Visibility. Tomorrow’s performance focuses on pieces and scenes from the original play that are most resonant with today’s social climate, but retains its nearly 15-year-long message: the trans community is a varied and resilient bouquet that continues to blossom even under the wilting conditions of its environment. It will always renew. 

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This affirmation remains timely and urgent, as anti-trans rhetoric makes its way into legislation and pours from the platforms of vocal, powerful figures both socially and politically. “There is a rise in misinformation and targeted rhetoric at the federal level toward the trans community,” Crayton and Gaddas wrote to the Blade. “And our response is to meet that injustice with truth, visibility, and love.”

Tomorrow’s show will open with a reading of a poem titled “Baby’s breath,” performed by TGI activist and host, ChiChi Navarro, who told the Blade that they had no prior acting experience before being invited to be a cast member. This is another aspect that holds strong from Lovely’ Bouquet’s earliest days: many of the original cast members were not established actors. Some were not yet out as trans either.

The play became more than a ground to experiment with performance: it was a portal to step into courage, to draw from their own lives, and to experience collective and individual empowerment by gathering in community. 

“At its core, this is about more than a performance,” Crayton and Gaddas wrote to the Blade. “It is about creating a space where we can show up for one another, where we can celebrate not only TGI2+ lives but humanity as a whole, and where we can strive to be our best selves. It is an invitation to stand up for what is right, to lead with love, and to be part of something that is rooted in truth and justice.” 

The play calls on its cast, creators and audience members to share in the joy and strength of their unity and resistance against attempts to shut TGI people out — attempts to render them invisible and pliable. Navarro has felt the impact of this in their personal life, of the transformative power of being heard and seen, and of witnessing your community flourishing against adversity. “I find myself getting lost in the stories that they’re telling, and it’s beautiful,” Navarro told the Blade. “I hope that people who attend and watch these performances are able to feel that feeling.” 

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The Lovely Bouquet Foundation is also raising funds for their latest Anthesis Tour, of which tomorrow’s performance is part of. To support and find more information, learn more here.

Kristie Song is a California Local News Fellow placed with the Los Angeles Blade. The California Local News Fellowship is a state-funded initiative to support and strengthen local news reporting. Learn more about it at fellowships.journalism.berkeley.edu/cafellows