LAS VEGAS — STLV, the annual Star Trek Las Vegas convention — hosted by Creation Entertainment — this month brought together fans of all ages, abilities, and affections for the many incarnations of the 59-year-old science fiction franchise, from the original TV series to new streaming shows and online games. 

Boldly going among them were dozens, if not hundreds, of LGBTQ Trekkies and Trekkers alike, living the ideal that predates DEI by more than 50 years: An anagram that Trek creator Gene Roddenberry devised as the basis of Vulcan philosophy (as well as an early merchandising opportunity).

I.D.I.C.

“‘Infinite Diversity In Infinite Combinations,’” TrekCulture podcaster Seán Ferrick told the Los Angeles Blade. “This is the type of community that is tailor-made for embracing,” said Ferrick, who identifies as pansexual. “The truth is a lot of the world doesn’t do that.”

Ferrick traveled from Wexford County, Ireland, to attend what he called “the biggest Star Trek convention of the year on the planet,” and to judge a cosplay competition. 

“They might be wearing Vulcan ears or they might have Ferengi teeth or something, but this is a tailor-made community about spreading love and joy,” he said. “So, when I walk into something like this, what I see is, for a large part, the world as it should be. There is hope out there. I stand at something like this and I see nothing but hope.” 

This was the first Star Trek convention this reporter has attended since 1978, and some things have not changed. There was a huge amount of Trek-related merchandise for sale, from tribbles to jewelry and model spaceships. Actor and first-time author Nana Visitor of Star Trek: Deep Space Nine sold out copies of her groundbreaking book about the women in front of the camera and behind the scenes of the franchise, Open a Channel: A Woman’s Trek. And the only people who stood out in the crowd of thousands were the ones not wearing a costume. Three fans put together amazing Vulcan outfits that will appear in an episode that has not even streamed yet, just based on what they saw in a trailer. Some folks even dressed up their dogs. 

David’s homemade Starfleet uniform resembles a miniskirt but is called a skant. Male actors as well as women wore them on Star Trek: The Next Generation, and he was hardly the only man wearing one at STLV. 

“There is nowhere else I would probably walk around in a dress,” he said. “I came last year for the first time and this was the most comfortable I’ve felt.” That was especially true, given that on this day, the temperature reached a high of 109 degrees in Las Vegas. 

David is a gay man from Sheffield in Northern England who said he used to call Los Angeles home. He described his skant as “Pride for Star Trek” and was gratified by the reception of other convention-goers to his cosplay. 

“There’s just no judgment. No matter whether someone’s costume looks really homemade, whether it’s really professional, everyone still appreciates that you’re part of the fandom.” 

Peeved at Paramount 

Judgment, however, was on the minds of some stars who identify as LGBTQ. They talked with the Los Angeles Blade about their fears that Skydance’s purchase of Paramount, the company that produces Star Trek, would change the franchise’s legendary embrace of diversity, to further appease the Trump administration as it works to eliminate DEI. 

“We only have to look at the parent network of this series alone, where Star Trek lives now, where they have bent the knee in order to sell this studio to a right-wing, Trump-loving owner,” said out gay actor Wilson Cruz, who played one of the first out gay characters in the franchise in Star Trek: Discovery and was a trailblazer when he played Rickie Vasquez on My So-Called Life. Cruz was blunt in his criticism of the Paramount sale to Skydance.

“Shari Redstone had no problem selling out the entire company and everyone who works there, and all of the people who have been on screen representing people of color, the LGBTQ community,” said Cruz. “She has completely turned her back in order to keep her family richer than they ever need to be.”

Cruz is also worried for queer representation in the current era, and not just on Trek. 

“I think in this moment in history, it means a lot more to me now than it even meant eight months ago, which it meant a lot to me then, but given the fact that we’re going to start seeing less and less of us on TV, we’re being erased,” he said. “And because we are being erased, because we are being shamed again, it’s really important to celebrate the success of the representation that we have had, to remind people why it’s important for people to be able to see themselves, to have their lives mirrored back at them, to inspire them through our stories, that that kind of storytelling has value and relevance and has even more relevance today.” 

In between signing autographs, Cruz voiced gratitude for the fans who say his portrayals reflected their lived experiences.

“I’m incredibly moved every time somebody comes by, whether they’re talking about Ricky Vasquez or Hugh Colbert, that I’ve been able to give people a voice and a story that they can identify with that makes them feel like they belong, in a moment where there’s so little of that.”

“I’m very fortunate to be part of two major things,” said Cruz’s Discovery costar, out gay actor Anthony Rapp. “Rent and Star Trek have these profound communities of fans around them. I say ‘fan.’ I mean, it’s not a word that I have any animosity toward. But it doesn’t quite speak to the level of connection to these pieces of art.” 

As for the deal Cruz railed against, Rapp said it was “too upsetting to engage too much.” 

“I’m on a little bit of a media brown-out because of having two toddlers. I’m certainly aware that Colbert was canceled, which is very upsetting. I heard Wilson mention something about Trump getting them to agree on a certain kind of media coverage,” he said, referring to the installation of an ombudsman, “who will receive and evaluate any complaints of bias or other concerns” at CBS News, according to The Hollywood Reporter. “I mean, that’s insane.”

Out actors Cruz and Rapp, who appeared on Star Trek: Discovery from 2017 until 2024, were among the more than 100 actors and creative types on hand who gained fame thanks to Trek and other sci-fi projects. They joined iconic fan favorites William Shatner, Scott Bakula, Kate Mulgrew, Jeri Ryan and Edward James Olmos — all of whom played captains of various fictional starships — in meeting their fans, face to face, for a price. 

Those fans, dressed in every conceivable and even inconceivable cosplay creations, stood for hours in long lines for a signed autograph and to pose for photos with their heroes. They packed ballrooms to hear behind-the-scenes stories at a wide variety of panel discussions and presentations. The best seats cost $1,400, with photos and autographs costing anywhere from $25 to $300 apiece. 

Meeting the Captain

This reporter was next in line to ask Shatner a question at his one and only appearance on stage, as he rhapsodized at length about nature, the planet, and beyond.

“We all belong to each other, and all of us belong to the rest of existence, the world, the universe,” said Shatner. “We are linked chemically and electronically with the word ‘quantum’ attached to it. ‘Quantum’ is the study of the small particles called atoms. We should all never forget the awesomeness, the incredible forces that we have no idea about that work everywhere in the universe. It also suggests that we are caretakers of our earth and we must, without question, care for the water, the air, the earth.”

It was at that point that the 94-year-old actor decided to end his hour-long talk, 10 minutes early. So, unable to ask him a question, I joined a queue with hundreds of attendees, who paid to have a moment with the original Captain James T. Kirk. There he was, seated on a chair at the end of the queue, as a fast-moving assembly line of fans stood by him for a very quickly posed photograph, and swiftly moved along. 

I had literally just enough time to utter one sentence, and so I asked him, “What message do you have for queer Trek fans?”

“Keep on queerin’!” said Shatner, with a smile captured in a photograph. 

That was a welcome message for two groups that celebrated their marginalized status in society: The Lambda Quadrant and the SyFy Sistas. 

Tamia, the SyFy Sistas podcast host, spoke at their panel about how in the past, there was backlash directed at Black fans, at “people that look like us and didn’t want us in the room,” she said. “That’s not what Star Trek is about. But I think it’s changing.”

“Many, many people come up to us at the table and say that historically they have not felt comfortable expressing their full and true selves, even here in the fandom,” said Ursa Wright of the Lambda Quadrant, a group dedicated to promoting queer representation in fandom. “We are the one table in the whole place with big rainbows everywhere. So, people, for a long time, they come up and they tell us they did not actually feel safe. Like, they can wear their Star Trek outfit, but nothing overtly expresses that they would be gay, or whatever it is, because they still didn’t feel comfortable, because no one else was in the space doing the thing. Which, in our year of the Lord, how are we still there, where people feel that?”

Boldly LGBTQ

The Blade asked queer fans what Star Trek means to them. 

“Accepting everyone,” said Sarah from Southern California. “Everybody is who they are.”

“Being free,” said Rachel from Nebraska. “To express anything and everything.” 

“Togetherness,” added David who hails from Nova Scotia. 

Boyfriends Anthony and Ryan said “acceptance” and “tolerance.” 

“Star Trek is what this world needs to strive for,” said Tom Noe of Pleasanton, Calif., a straight ally whose partner is pansexual. “Acceptance of all races, sexualities, regardless of what they are.” 

“It is a different way of looking at the world, and I appreciate that,” said Jess from Upstate New York. She was wearing a T-shirt emblazoned with a rainbow and the face of an omnisexual alien character from Star Trek: Deep Space Nine, and the words, “Friend of Garak.” When asked why she chose to wear that top, Jess said, “Because I’m gay.” 

“Sounds Gay, I’m In,” was the message on a shirt worn by a gay fan from New Jersey who asked to be identified as Sandra. “Because here is the only place I feel safe to be out. I’m not out with my family or my co-workers,” she said. “Star Trek makes me feel like there is hope that eventually I can live free. But I don’t know how it’s going to happen in the next couple of years.” 

“Let’s just say I have not been able to go to the entire convention without seeing a Trump hat,” said Kyla, an out transgender nonbinary fan who was visiting Las Vegas from just outside Sacramento. They said didn’t feel comfortable using the casino hotel’s strictly binary restrooms without an escort. “But I have felt more safe here than I have on the strip,” she conceded.

“We have nonbinary characters. We have same-sex characters and relationships, and we need more of that,” said a pansexual fan who goes by the nickname Hoops. “As the kids would say, Star Trek is very woke. Like, it just means you have a heart and, like, compassion,” she said. 

“There’s so much hate and so much bigotry and homophobia and transphobia. All of that,” said Hoops. “We’re just here to care about other people. And we just want to love other people.  And why do you care who someone’s in love with or who someone takes care of?  Or how they identify? What they’re wearing? If they’re wearing a skirt or pants? Does it really matter what path they’re taking?  And in Star Trek, nobody cares about any of that.” 

TrekTech

STLV also offered fans a chance to explore strange new immersive tech that allows them to virtually tour the Starship Enterprise, created by OTOY and The Roddenberry Archive. 

“We think about this stuff a lot,” said OTOY CEO Jules Urbach about LGBTQ+ representation in his digital exploration of the franchise, which started with the first film in 1979 and only grew after he became childhood friends with Roddenberry’s son, Rod, 40 years ago. “It’s really part of representing everything. And that’s a big part of Star Trek.” 

OTOY’s latest short film reunites two iconic characters using “digital masks:” Kirk visits Spock’s deathbed in “765874: Unification,” with actors Sam Witwer and Lawrence Selleck in the roles originated by William Shatner and the late Leonard Nimoy, respectively. 

“This is pretty magical,” Urbach told the Blade. “We’re really happy with how it turned out and how people interpreted it.” 

At star-studded panels, fans watched that short film and also learned of new shows in the pipeline and potential new movies. Next month, Paramount debuts a new audio drama podcast that tells the untold story of arch villain Khan Noonien Singh’s life in exile, featuring the voices of Naveen Andrews, best known for his role in Lost, and of gay icon George Takei, among others. 

“It’s never far from the minds of the people creating these shows that how important representation is, how vital it is,” Kirsten Beyer, executive producer of Star Trek: Khan and a nine-year veteran Trek producer and writer, told the Los Angeles Blade in a phone interview following the convention. “And never, ever more so than now.” 

Queer Stars, Allies

During a panel discussion with her out queer costar Jess Bush, Celia Rose Gooding of Star Trek: Strange New Worlds told the Blade she’s hoping to see more LGBTQ representation in the show, now in its third season streaming on Paramount+. 

“As a queer person, I would love to see more of it,” said Gooding, who plays Uhura and is preparing to film the fifth and final season starting next month. “I can neither confirm nor deny what we’re going to get because we haven’t seen a single script yet. But I think for so many reasons, it’s important for marginalized group to see themselves in the future.” 

“I’m a Greenwich Villager, so the LGBTQ world is my world, and it’s our world,” said Michelle Hurd, who played Raffi on Star Trek: Picard. In the series finale, written and directed by showrunner and LGBTQ ally Terry Matalas, Raffi is portrayed as the bisexual first officer who had a relationship with her bisexual captain, Seven of Nine, played by actress Jeri Ryan. “We’ve been here, we haven’t gone, we’re not going anywhere, and we’re going to be here until the end of time. And art is the way that we can convey those sort of stories. I hope that we continue to tell those stories more and I hope that this world continues to open its eyes, its arms, its hearts to the fact that love is love is love is love.”

Out gay actor and author Jonathan Del Arco — who played a Borg who became an individual named Hugh in both Picard and originally on The Next Generation — chose the convention to launch his children’s book about the search for belonging, identity and acceptance, Freddy the Alien. He told the Blade it was inspired by both his own childhood and his Trek career, and about the timing as immigration raids are in the news. 

“It’s a really important time to make kids feel included, and it’s tough,” said Del Arco, who attended the convention with his husband, Kyle Fritz. “We live in Los Angeles, and you can’t help but be surrounded by the immigrant experience, so you don’t even need the book to have that conversation. It’s happening all around,” he said. 

In a panel discussion, Del Arco revealed that although nothing was written about Hugh’s orientation, he chose to play him as having fallen in love with Evan Evagora’s character, Elnor. 

“I decided when I found out I was getting killed, and I had this young man on the ship, I figured it would be kind of cool if Hugh had found love for the first time, only to die. And he did.”

Andrew Robinson played a Cardassian named Garak on Deep Space Nine and confirmed to the Blade he “always” considered his character was something other than heterosexual, such as an omnisexual, even though his orientation was never revealed in the series. However, in 2024, he played Garak once more, in an episode of the animated series Star Trek: Lower Decks, created by LGBTQ+ ally Mike McMahon. This time his character was in a same-sex relationship with Dr. Julian Bashir, played by Alexander Siddig. 

“I’ve never played an alien before,” said Robinson. “And one of the things that occurred to me was, there are certain hang-ups that they don’t have that we have. And one of them was the whole thing about sexual identity.”

Terry Farrell, who played Jadzia Dax on Deep Space Nine, spoke about a 1995 episode, “Rejoined,” in which her character had a romantic relationship with another woman. Some Southern TV stations, primarily in the so-called “Bible Belt,” refused to air that episode. Many transgender fans have embraced Dax as someone who shares their experience of living in more than one gender, and “Rejoined” featured the first same-sex kiss in Trek.

“What I was most proud of was, in that episode, nobody talked about the fact that we were both women,” said Farrell. “I have goosebumps right now. Love is love. It doesn’t matter what package you come in. If that’s your one life, enjoy it, be you. It’s such a struggle in our culture to just be yourself. And clearly it can be dangerous to be yourself.  And that’s horrifying to me.” 

For the most part, this was an inclusive and entertaining event for one and all, especially for the many attendees who used wheelchairs and scooters to travel around the incredibly large convention space, which was located a considerable distance from the main casino hotel. But it’s only fair to point out that there were some issues, such as the lack of all-gender bathrooms. 

Observers also noted that although this 23^rd convention organized by Creation Entertainment was expanded to five days for the first time, it was not as well attended as 2024’s event. That’s in line with a trend that reports say has hit Las Vegas hard this summer, with tourism down 11 percent from a year ago. A spokesperson for Creation did not respond to an email request for comment on attendance. 

The Blade also asked for comment on what were described later as “inadvertent” slights to the one and only Black woman to appear on a panel of Star Trek writers at the convention on the evening of Saturday, Aug. 9. 

Once the four men and two men were introduced, the host — “Inglorious Treksperts” podcaster Mark A. Altman — had to be reminded that he had not invited Star Trek: Strange New Worlds story editor and episode writer Onitra Johnson to join them; she was still backstage, waiting. After finally being introduced, she was seated at the end of the stage next to legendary out gay screenwriter and author David Gerrold, who three times answered questions intended for Johnson. The third time, members of the audience interrupted him, shouting, “Let her speak!” which prompted Altman to blame “bad acoustics” in the ballroom. 

While fellow Treksperts podcaster Daren Dochterman called these repeated slights “inadvertent” in a face to face conversation with the Blade on Aug. 10, neither he nor Altman, nor Creation, officially responded to messages from the Blade seeking comment. 

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

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

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

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

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

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

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

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

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

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

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

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

(This interview has been edited for brevity.)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Exactly.

What sets CinePride apart from other LGBTQIA+ film festivals?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Would you rather watch a tearjerker or a campy comedy?

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

How do you see CinePride evolving in the future?

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

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

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

Since “& Juliet” hit the Broadway stage in 2022 with Paulo Szot, Stark Sands and Betsy Wolfe leading the cast, the show has brought its pop anthems across the world. Spanning Australia, the UK and Germany, this modern flip on Shakespeare is now continuing its North American Tour with a four-week run in Los Angeles.

“& Juliet” plays at the Ahmanson Theatre from Aug 13-Sept. 7, with a cast including Original Broadway Cast member Rachel Simone Webb. The ensemble is rounded out by Paul-Jordan Jansen, Teal Wicks, Corey Mach, Kathryn Allison, Michael Canu, Mateus Leite Cardoso and Nick Drake, who plays May, Francois’s non-binary love interest in the show.

The original play has a notoriously tragic ending, but “& Juliet” grants Juliet a second chance after she decides to give life another go. May is one of many new additions to the “Romeo and Juliet” story and Drake gets to hit the stage running after their first Broadway show, “Back to the Future.” Drake has also made numerous on-screen appearances, with credits including “Fire Island,” “Saturday Night Live” and “The Tonight Show with Jimmy Fallon.”

Ahead of the show’s premiere, The Los Angeles Blade had the opportunity to ask Drake about their experience playing the non-binary character May, giving a Shakespeare story some queer flair and how the show has evolved since its Broadway debut.

Can you talk about how you fleshed out and connected to May as a character and the significance of them being non-binary, especially as a non-binary actor yourself? What does this representation mean to you?

Since May is not a part of the Shakespearean catalogue, I get to create an entire persona out of a name and some lines. I remembered when I, too, was a baby gay and finding my identity. I tried to bring as much of myself into May and create the character from there! I wish when I was little, watching shows at The Fabulous Fox Theatre, I saw a character like May onstage. I would be so inspired and feel so seen as a Black queer person. Now, I get to be that role model for queer people across the nation and get to meet queer people after the show, and that just makes my heart so happy!

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What makes the story of “Romeo & Juliet” so fitting to have a queer twist and love story?

Frankie and May make the “forbidden love” trope even more exciting! Since May technically sees Juliet kissing Frankie after Frankie and May meet at the party, May and Frankie can’t help but be in love with each other and have this secret relationship. The stakes are so high!

What have been some of the most exciting developments in this show on its North American Tour since the 2022 Broadway debut?

We have more choreography because we don’t have a turntable! The best example is during “I Kissed A Girl!” Mateus and I have this cute “Fred & Ginger” dance moment that is so Old Hollywood and just full of love. 

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This show is filled with pop anthems, many by icons like Britney Spears, who are beloved by the queer community. What are the most fun songs to perform?

Definitely “Show Me Love!” It is my favorite number in the show. I love Robyn so much. The second contender, even though it leaves me so out of breath still, is “Domino.”

What are you most excited about in getting to perform this show in Los Angeles and experience the theatre scene here?

I have never spent more than a week in LA and it’s always been for work at the Bourbon Room, which is amazing and I love it there. However, this time I’m here for a month, in a cute Airbnb and with a car! I can’t wait to kind of feel like I am living in LA, I have always wanted to live here — this time, I’ll get a true taste of that. 

Is there anything else you want to add or mention about the show as it approaches?

Be ready to have the time of your life. Scream, shout, and let it all out!

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

There are folks who follow and mirror trends, and then there are folks like Dondraico “Draico” Johnson, who not only create new ones but choreograph them into reality. Emmy-nominated choreographer, actor, and full-on creative powerhouse, Johnson has created and cultivated a career on breaking norms, turning expectations upside down, and infusing every project he embarks on with soul, style, and just the right amount of swag.

From performing with the familiar folks like Madonna and Janet Jackson to choreographing little vamps and ghouls in New Zealand, Johnson navigates through the entertainment industry like a tempest of energy and intention. But behind the big names and even bigger moments is an artist truly and deeply committed to authenticity, joy, and making sure he leaves every space he enters just a little more magical than before. In this interview, Johnson dishes on shattering the boxes others try to put him in, shaping culture one box step at a time, and why his work is rooted in purpose, powered by passion, and always aimed at opening doors for the next generation.

You’re an Emmy-nominated choreographer and a working actor. How do those two creative muscles support and challenge each other?

Great question. Those two creative muscles definitely challenge each other because people often want to put you in a box. They assume you can only do one thing. But for me, the way to break that mold is by being excellent at both and showing that you’re multi-talented.

Sometimes they actually complement each other. I’ll book a choreography job, and they later find out I’m an actor. Then it’s like, “Oh wow, two birds with one stone!” It ends up being more of a pro than a con. They really do go hand in hand.

You’ve worked with legends – Michael and Janet Jackson, Madonna, Britney Spears. What’s one lesson from those early days that still guides your work today?

To enjoy it. No matter who walks into the room or what kind of energy they bring, adjust it to fit your world. Don’t let anyone throw your energy off. I always remind myself: good energy trumps bad energy, especially when you’re leading the ship.

People will come in with bad vibes, and I’ll still be like, “Okay, I’m having a great day. Let’s work.” I’m big on shifting the energy of the room for the better.

Was there ever a moment in your career when you had to pinch yourself and think, “Wow, this is really happening?”

Oh, absolutely. When I got the call to work with Michael Jackson, I was like, “Wait, what? Me?!” Same thing with Janet, especially when I danced at the Super Bowl. That was a huge moment.

Another pinch-me moment was choreographing the Aretha Franklin: Genius series with Cynthia Erivo. I was just blown away. It felt like a family on set every day, and I’ll always remember that experience.

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When you work with iconic artists, how do you balance honoring their brand while also pushing them creatively?

I always frame it as a collaboration. It’s not about me—it’s about the artist. They brought me in to help bring out the best in them. Whether it’s dance, music, or acting, I try to create something that fits them and elevates their brand.

They also need to feel like they’re part of the process. That’s something I learned from Madonna. She always wants to have input, and that makes total sense. It’s about teamwork.

You recently worked on Disney’s Zombies 4. How did you approach choreographing the vampires to make them stand out in the franchise?

My first introduction to Zombies was on Zombies 3, which had aliens, werewolves, cheerleaders—it was wild! For Zombies 4, the torch is passed to a younger generation. We introduced Daywalkers and Vampires.

I approached it like this: the Daywalkers were from Atlanta, the Vampires from New York. They all do similar dance steps, but each group thinks their style is superior because it’s rooted in tradition. That tension made for fun, dynamic choreography. It was about respecting the differences while showing they’re more alike than they think.

We shot in New Zealand, the cast was amazing—it was such a great time.

Fun question: if you could be any mythical or teenage creature in the Zombies universe, who would you be?

Oh, definitely a werewolf! They have the coolest style, their music slaps, and their costumes are fire. So yeah, werewolf all the way.

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You mentioned boxes earlier. The word “representation” gets used a lot in the industry, but what does authentic representation actually look like to you?

To me, authentic representation is about showing up as your true self and being accepted for it. I don’t care where you’re from, who you love, or how you identify—just be real.

I love working with people who are honest about who they are. If you’re true to yourself, then your talent—whether it’s dancing, acting, or singing—can shine through without a mask. That’s real representation.

Are there any assumptions people make about you in this industry that you often find yourself challenging?

All the time. People look at me – big guy, athletic build – and they don’t expect me to be flexible, to dance, or do gymnastics. But I can flip, layout, full-out, everything.

Also, as a dark-skinned Black man, people sometimes see me and feel intimidated. But I’m a total love bug. I grew up in a home full of love, not a silver spoon, but love. My dad still calls me “baby,” and I’m a grown man. That’s who I am.

So I always say, give people a little grace. You never know what someone went through three seconds before entering your space.

That’s beautiful. What’s something you’ve passed on to the next generation that you’re most proud of?

I’m from a very small town in South Carolina, like, one stoplight small. I always knew I wasn’t the only creative kid there. In towns like that, if you’re not into sports, there’s often no outlet.

So I make it a point to speak to the next generation, especially those who don’t have access to the industry. I encourage them to do their research. Know who came before you. Use the internet to study the greats. That’s how you train yourself when resources are limited.

What would surprise 15-year-old Draico about where you are now?

That I figured it out. Growing up in the woods, seeing only trees and deer, and then looking at TV, seeing Broadway, films, lights, I thought, “Where do people learn to do that?” It felt impossible.

Now, looking back, I’d tell 15-year-old me: “You did it. You waited it out. You didn’t compromise your values. You stayed ready, and the universe delivered.”

Do you feel the industry is becoming more authentically inclusive, or is it still surface-level?

That’s tricky. Some days it feels like we’re making progress, and other days it feels like we’re taking 10 steps back. It’s a yo-yo.

I think the problem is that so many different groups are pushing for change at once, and the world just isn’t ready for all of them simultaneously. But we’ve got to keep our voices loud. If we go silent, we end up back at square one.

For every Cynthia Erivo, there’s a Sydney Sweeney, right?

Exactly. And speaking of Cynthia, I love her. Just saw her kill it in Jesus Christ Superstar at the Hollywood Bowl. She and Adam Lambert were phenomenal. I’ll plug her all day! That’s my girl.

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You once called yourself a “culture shaper.” How do you define that in your work?

I bring who I am into every room and every project. I’m from the “other side of the tracks,” and I own that.

Even in Zombies, which is Disney and fun and family-friendly, I made those kids dance and brought some soul to it. A little sauce, a little Goya. It’s about keeping it authentic while elevating the work.

We live in a world where people go from one show to the next. What’s one thing you hope people truly feel after watching your work?

I always say people may forget what happened, but they’ll never forget how you made them feel. I want my work to feel like a warm hug. Even without words, I want people to walk away thinking, “That touched me. That made me feel something good.”

I’m a love bug. Like I said, I grew up that way. I want every project I touch to feel like a love letter to the audience.

What’s one dream collaboration still on your bucket list?

I want to do a big musical, something that moves like Chicago, but feels soulful and Black, like the movie Polly from the ’80s. I want to help create the next Wicked, but with real roots, and take it from Broadway to the screen.

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What can we expect from you in the near future?

We’re speaking Broadway into existence! I’ve got a few TV projects in development with Anthony Hemingway Productions. I’m also working on a podcast called Beyond the 8 Count with my friend Jamal Sims. He’s a huge choreographer and does RuPaul’s Drag Race.

I’m also working with Duran Bernard and have some stuff with Normani in the works. Lots of exciting things coming!

Follow Draico Johnson on IG.

It’s a story that has been heard countless times before: someone feels the call of stardom, and they believe the only way to answer is to move across the country to Los Angeles. Entire libraries are filled with the unfortunate stories of these people, who often discover that the “City of Angels” is much harsher than it seems onscreen. But for the select few, they manage to find success in one of the toughest industries in the world. And for those like TikTok star Clayton Farris, they manage to do it while providing the LGBTQ+ representation our communities need now more than ever. 

“I grew up in a very traditional Southern space, and I always just stood out because I was…I was different,” said Texas-born Farris when he sat down to discuss his new movie, Weapons. “I had a whole life [in Dallas] that I packed up and left — and as soon as I got to LA, I was like, ‘Oh, this is where I’m meant to be.’”

Anyone online in the past decade has seen Farris’s work. Before starring in numerous hit TV shows and movies, the man made his mark on Vine through comedy sketches (never again can someone ask for their keys without imagining a printer being hurled at them). Since then, he’s acted in hit series like Scream Queens and Ratched, all while becoming a mainstay in the LA comedy scene and amassing more than 400,000 followers on TikTok. Clayton brings his trademark style of irreverent humor to every project, all while proudly sharing his bisexual identity with the world — a sense of pride that didn’t come easy to him. 

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“Coming from a place that really encourages people to be closeted, it’s been a long journey for me to be able to be myself,” he explained when he sat down with the Los Angeles Blade, still tired from the Weapons red carpet he’d been strutting down only a day before.

“I always say: any character I play, I always bring the ‘bisexual edge’ to them.” The actor laughs but stresses the importance of this kind of representation, and the long journey it took for him to share his bisexuality through his art. Farris knows that it is essential to bring his authentic identity into every single role…even in a movie as terrifying as Weapons. 

Most horror fans are familiar with director Zack Cregger’s work; his previous film, Barbarian, is infamous for not only its jaw-dropping plot twists but the unceasing anxiety it carries throughout every scene. His latest film, Weapons — a mystery-horror centered around a classroom of children who flee their homes in the dead of night — recently premiered and is already being lauded as one of the scariest movies of 2025. Yet somehow, amidst the thrilling bloodshed that its trailers are promising, it finds the space to feature LGBTQ+ representation through Farris’s role as Terry, the goofy, endearing partner of one of the main characters. 

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While he laughed about the quirks he brought to the character and what wild fun it is to star in a scary movie, Farris also recognized just how important this performance really is. “To be one of the only queer characters in such a big movie, [I was] like, ‘Oh, this kind of has some weight to it!’” he exclaimed, proud of injecting casual queerness into such a complex plot.

He went on to describe how, even at the premiere, there were executives coming up to him, thanking him for the representation and the nuances he brought to what could have been such a cliché stereotype. It’s a kind of representation that LGBTQ+ horror fans have fought decades for, and through Terry, Farris is proud to push it even further. 

No matter where his career takes him next, whether it be in another gore fest like Weapons or some hit comedy show in LA, Farris makes it clear what his goal is as a bisexual actor: “I just want to do a good job, and represent the community well.” It’s a mantra that more performers should carry, and it’s what makes Farris one of the true standout comedy stars of Los Angeles (and TikTok) today. 

Follow Clayton Farris on Instagram & TikTok

Weapons is now in theaters

Picture it, West Hollywood, the tension is high in the air as this year’s Project Drag contestants battled each other, one act after the other. Los Angeles Blade was on hand as guest judge for this particular evening, with TV show characters being the theme of the night. Project Drag, created in 2013 by nightlife personality Tony Moore, is THE drag competition when it comes to representing local drag queens. Even though this evening’s edition marked just a few weeks into the competition, it was clear these queens wanted to win…badly.

LØRELEI, no stranger to a spotlight, took the stage dressed as Smurfette and launched into a frenzy of dancing (backup dancers in tow). Halfway through her act with a dizzying array of jumps and jazz hands, she leapt into the air and smack dab into the DJ! The audience gasped as she teetered on the edge of the DJ’s station. Would she crash into the DJ, taking the whole setup with her? Or would she fall back and crash into the audience? Gravity had its way, and she crashed into the floor in a blurred mess of yellow hair and red high heels. Was this the end of LØRELEI’s time with Project Drag? Like the showperson she is, she turned the moment into a bit, not knowing that weeks later, she would take home the crown.

Even though LØRELEI wanted the win so much, she came to the competition a consummate performer, mixing her theatre world with her drag skills to put on truly unique acts. She is a true drag queen in the sense that she’s not just about looks. She can command an audience, she is a successful podcast co-host of SHABLAM!, and she co-founded and runs Dionysia, a non-profit organization dedicated to developing long-form theatrical works by drag artists. Oh, and did we mention she’s been touring around the nation with the Taylor Swift Eras Tour: Drag Brunch? When did she even have time to do the competition? It’s what she does, she makes the show go on.

We chatted with this fabulous queen after her win, in between cities on her current tour.

What was your first exposure to drag?

I was always a theatre kid since I was 10, and I was introduced to drag in small doses through Musical Theater. A Chorus Line, La Cage Aux Folles, Kinky Boots – seeing queer representation in this particular medium was formative to my understanding of drag, and knowing that one day I wanted to be a famous drag queen. Through high school, I would dress in drag for Halloween, and by the time I got to college, I started to hit club nights that were 18+ in drag.

What was your first professional drag gig? How did it go?

I remember my first “big-time” professional gig was at Queen Kong with the Boulet Brothers back when they produced parties at Precinct in 2018. I competed in their star-search competition, placing 2nd in the Top 3 alongside Kornbread Jete (RPDR S14) and Charles Galin (King of Drag S1). After that, I was added to the rotation as a performer at Queen Kong until they finished producing the party in 2019. My very first booking with them after the competition was a “Satanic Lady Gaga” night, and I performed “Applause” as Charles Manson. I was so nervous, and I was corseting so tight, I think at that age I was corseting down to 21 inches – so I hate to say this, but I threw up onstage during my performance. The audience was shocked – and I was shocked too. But I kept performing and made it work. Around this time, Dragula was picking up speed, and we had seen the likes of Vander Von Odd vomiting on screen as part of the performance, so many thought that what I did was incredibly punk, and I just kinda ran with it. It’s one of my cringiest memories in drag – but I remember after my number, the Boulets came to check in with me and make sure I was okay, and they told me that I did a great job and that they loved the number. The show must go on, I guess!

What sets your drag apart from other Queens?

What sets me apart the most from other queens are my inventive performance ideas. I am a conceptual performer with a sense of humor that I express through writing and staging, and many of my performances feel like short-form theatre shows. My palette of references steers away from conventional drag pageantry, and gears more toward the avant-garde, the meta-theatrical and the bizarre. Every performance has a new character, so you never know what to expect from a Lorelei show – but I guarantee that no matter what you will be entertained. 

You are the winner of Project Drag! What did going through this competition teach you most about yourself? 

That no matter how cunty you think you are, there is always room to grow. It taught me not to be afraid to try things that might make you uncomfortable. Being in a competition like Project Drag requires you to be vulnerable and receptive to critique, it requires you to risk failing despite your best efforts. There were plenty of times that I fumbled in the competition – literally. One week I fell clear off of the DJ stand (shoutout to my Smurfette performance). But there were also many successes – I won two challenges before hitting the finale, and those were celebratory moments that demonstrated the best of what my drag could be. You have to take the good with the bad, and if you don’t ever swing big, you’ll never get that pay off to celebrate your drag. You have always be a student of the world, and look for ways to constantly improve your craft. 

What were your biggest challenges in making it through the competition?

I would say the schedule of the competition was probably the hardest part – this was an 11-week competition, with challenges that are comparable to Drag Race, including group challenges and design challenges. Our weeks were spent crafting, rehearsing, spending, working incredibly hard to stay on top of our game every week, while still balancing life obligations like work or our health. 

Personally, I was competing in Project Drag while also traveling out of town every weekend as a cast member in the Taylor Swift Eras Tour: Drag Version brunch show. During the competition, I traveled to cities like Albuquerque, El Paso, Oklahoma City, Dallas, San Antonio, Houston, and Austin. Every week, I’d fly out after work on Friday, perform brunch shows on Saturday and Sunday, fly back home Monday morning, and then compete in Project Drag that same night. From Tuesday to Thursday, I balanced my day job, other drag gigs, and prepped as much as I could for the next week’s challenge—before hopping on another flight Friday and doing it all over again.

It was incredibly challenging, but that’s how badly I wanted to win. Looking back, I’m truly grateful for the experience. With everything I managed to juggle, I can honestly say this was the most drag I’ve ever done in my life—and I love living a life that’s so deeply connected to my craft.

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What do you plan to do with your title?

I will probably leverage this title as rage bait against my haters for the rest of my life! And also — of course, I want to use this title to platform my own personal creative journey of making drag performance pieces, but also I would like to use it to platform other artists I work with. There are so many drag artists who helped me win Project Drag because they believed in my vision, and I want to give back to those friends and the community at large. With this title, I hope I can be a beacon for drag artists who may feel limited by the artistic scope of doing drag in a club or bar and are looking to bring their artistry to new arenas, like stages, art galleries, and alternative performance spaces. I hope to create new avenues for drag artists to incubate their ideas and develop performances that push the limits of our industry. 

Theater and drag are two major components of your life. How do your drag and theatre aesthetics complement each other?

I’ve always considered myself a theatre artist, using drag as my medium. Drag has an important role in theatre traditions all around the world, and I think it is the chosen responsibility of a handful of drag artists to continue that performance tradition and innovate upon it as time passes. I’m inspired by artists like Taylor Mac, John Cameron Mitchell, Hibiscus – who use drag and playwriting as a means of distilling their ideas and insights about the world. In the future, I hope I can produce more theatrical work that uses drag as a means of storytelling, and infiltrate the theatre industry with new works that feature drag artists onstage.

What is your biggest mission in running Dionysia?

My biggest mission in running Dionysia is to create a collective of theatre artists and drag artists who help each other in producing more long-form theatrical works that feature queer voices. I would say most theatre queens are known for impersonating or re-creating famous theatre productions onstage, like doing Liza Minnelli or Wicked-themed drag brunch. However, my goal with Dionysia was to make an incubator for drag artists to bring in their own original material and collaborate with others to bring it to life onstage. It’s all about innovating new works to then perform onstage, submit to festivals or grants, and hopefully grow the skill set of each individual artist. 

How can the queer community best support the drag community?

The queer community can help support the drag community by joining us at our events, and thus helping us promote our work of creating safe spaces at a time when being queer in public is becoming politicized once again. As drag artists, we do more than just perform onstage: we offer our image and our visibility as a means of indicating to others that we are creating a space that is sacred for our community. As drag artists, we share stories, we contribute to local culture, we help to preserve community and tradition, and we always appreciate audiences who at minimum come to enjoy the show because it motivates us to continue our work. Tipping helps too! 

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How has being a drag queen changed your life the most?

Being a drag queen has changed my life for the better because it has galvanized my life behind the guiding principle of liberation for obviously queer people, but really of all marginalized people. To me, being able to do drag feels like a proclamation of my freedom – my ability to be whoever I want, when I want. Everyone should have that freedom. I think of that age-old adage “no one is free until we are all free” – and it makes me realize that while I have the liberty to express myself, there are people around the world who don’t have that privilege. I think drag queens in general are especially attuned to the pursuit of justice, and that has helped to guide my life in the direction of being in service to others. Freedom for me means freedom for all – from the USA, to Palestine, no matter who you are or where you’re from. 

We also love your podcast SHABLAM! What do you love most about the podcast? 

Of course I love the opportunity on SHABLAM! to discuss my thoughts and opinions, but the best part is being able to do it with my co-host Annie Biotixx. Annie and I have been friends and collaborators for a long while now, and she always keeps me motivated to produce my best work. She competed in Project Drag 5, and although she didn’t make it as the winner of her season, she was a rock for me in my season of Project Drag, providing her support and guidance through all the challenges. She was even featured in my winning finale number! She’s an incredible host and drag queen here in Los Angeles, and a high-value theatre aesthete. Collaborating with her is effortless, and makes my job of showing up each week to record very easy. 

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What do you want listeners to walk away with after listening to SHABLAM?

At the end of the day, I want listeners to walk away feeling like they belong to an online community that supports them. Ultimately it’s a comedy podcast, so I always want people to laugh – but humor is such a great tool for building community. I feel through recording SHABLAM!, we are sharing our jokes, our vocal stims, whatever makes us laugh to build a shared language that we can use to identify who is part of this online community, and who share our values and principles. We create a space for people to find each other!

What are your biggest challenges in being a drag queen in SoCal?

Compared to other cities, I think the SoCal drag scene, particularly in Los Angeles, is uniquely suited to support many different types of drag, thanks to our sprawling geography. From West Hollywood to Downtown, from the Valley to the Inland Empire, there are countless pockets around LA that each celebrate a distinct style of drag. This diversity makes it possible for many people to pursue and succeed in drag.

However, that same strength also presents a challenge: everyone is looking to succeed, and the scene is highly competitive. The geography that fosters diversity also makes it difficult to make a name for yourself across all these different drag communities. Successful drag queens in SoCal know how to navigate between these various pockets. They show up professional, prepared, and with a strong point of view that sustains them over time. It takes patience, tenacity, and a commitment to continually growing your skill set and network. 

You are touring with Taylor Swift Eras Tour: Drag Brunch Version! What Taylor Swift song most speaks to you presently and why?

Yes! I’ve been listening to a lot of her music for our show, and I would say that the song that speaks to me the most… on tough days, it’s “Anti-Hero” from Midnights. I think any artist can relate to the feeling of self-sabotage, and as I get older, I realize I have a lot of learning to do. But on good days – I believe in “Karma” from Midnights. I feel at ease in knowing that the universe is working for me, and what is meant for me will not pass me by. Winning Project Drag has amplified both of those feelings, and I know in my heart that this title was meant for me.

Do you get up to any shenanigans (wink, wink) while on tour?

My PARENTS are going to want to read this article, you FREAK! Lol, I’m kidding – yes, of course, there are plenty of shenanigans, and if you are interested, might I direct you to Season 2 of my podcast SHABLAM! Where, in addition to dissecting Project Drag week-to-week in real time, we discuss my escapades while on the road. Last thing I’ll say is get tested, get on PrEP, remember that undetectable = untransmittable! Mwah!

What kind of legacy do you want to create with your theatre and drag?

I’d like to leave a legacy as a thought leader in the school of theatre and drag. I want to hybridize performance theory, queer history and drag performance to create innovative works that push the limits of how drag can be used in storytelling. I want to be added to the canon of drag artists who are lauded by the global theatre community, and leave in my legacy a collection of dramaturgically astute, advanced works of drag theatre. 

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What is your message to the community this Pride season?

Where do I even begin with all the chaos that has ensued in Los Angeles since the election of our current administration? ICE raids terrorizing our communities and kidnapping our neighbors is a crime beyond comprehension. It has rightfully left many of us feeling scared and hopeless, but I encourage the community to remain firm in our pursuit of justice and to fight back against Facism! Donate, Protest, Educate, Engage – do whatever you can to make it clear to any authoritative power that Los Angeles will not be fucked with! Especially the queer community! Today, we stand on the shoulders of queer ancestors who have endured similar treatment of threats and intimidation, and we have persevered. We will always be here! And no human is illegal on stolen land!

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In the penultimate episode of the world’s first drag competition show, King of Drag, two contestants would be sent packing with their packers before the big finale. The five fan-favorites had to create original looks from scratch, lip sync to “Good Boy,” and come up with an interpretive dance to earn their spot in the top three of the Revry series.  Unfortunately, two fan favorites didn’t make it past the final hurdle: King Perka $exxx and Big D.

Big D has big P-personality. The one-of-a-kind character actor had never lip-synced before this episode, but judges loved what Big D brought week after week. Of the five weeks he competed on the show, Big D was in the top three times! His background in clowning helped him to bring such vivid and memorable characters to life on King of Drag. On the other hand, King Perka $exxx had a much bumpier road, but throughout that journey, audiences fell in love with the performer we got to know. From his perfect Urkle to his hilarious stand-up routine, Perka $exxx was the heart of King of Drag season 1. To lose them both before the finale was tough for fans. But fingers crossed for an eventual King of Drag All Stars.

The LA Blade caught up with Perka $exxx and Big D to talk about their experiences on King of Drag, advice for other kings, and what they would do differently.

Tell me about your first time in drag. 

KPS: My first number was last at my college drag show, and I didn’t wanna wait a year till the next school show, so I went out and hit the city.

BD: Drag was a gradual process for me, from my dad teaching me to do a double Windsor when I was in middle school, to suits, fedoras, pocket watches and worshipping macho-intellectual books and movies in my teens and 20s, to a slow realization that I could BE the thing I secretly worshipped, that I didn’t have to have my face pressed up against manhood’s window anymore. I could do the damn thing. 

What made you decide to be a part of the inaugural season of King of Drag? What do you hope to see differently in future seasons?

KPS: I had half my timeline tagging me in the audition posts, so partly peer pressure. I went back and forth on whether I should do it, but I had to stop thinking and start doing it. I just did the best I could on my tape, and I was myself the entire time, and I always made sure to have fun. I want future seasons to have more episodes and more days off to sleep in. 

BD: Murray was my main motivation. He was the artist who inspired me to really step into drag, and I cheered along as his career grew from clubs and live shows in NYC to TV and film. The chance to connect with him was impossible to pass up. I still pinch myself that I have his number in my phone, and that he let me borrow his Doc Martens for one of the shoot days.

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What surprised you most about your experience on King of Drag?

KPS: That we were able to be competitive, and not be bitches to each other like I’ve seen on other shows. I shouldn’t be surprised though – drag kings are just built differently. 

BD: I was celebrated far more than I thought I would be. I thought I would be read to filth for my lack of polish, but I was more often than not encouraged and deeply seen by my castmates, by production, and by the judges. 

What do you cherish most about your filming experience?

KPS: I cherish the kindness of production and the moments behind the scenes with everyone. 

BD: The connection with my castmates and with the fans of the show. The community that has come together to support this project. Being part of something much larger than myself. 

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

KPS: Drink more water. 

BD: More stillness, more breath. 

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Have you had any especially memorable fan interactions since the show began? 

BD: I want to inspire others to take up more space—and I’ve heard from kings and aspiring kings that I made them feel that they could do the damn thing, regardless of all the little things that can make us stop ourselves from doing the damn thing. If I made people feel that there is a place for their art, or even just a fuller flower of their soul, that’s awesome. 

What do you want aspiring kings to know about the working life of a king?

KPS: Don’t quit your day job or ruin your day life over drag. You, as a human being, are still important, and you have to work twice as hard as queens, because you will have higher standards. When that happens, you need to rise to the occasion and prove the haters wrong 

BD: There are a lot of ways to King: in theater, in comedy, in dance, in role play, in… probably knitting, you know? It isn’t just lip syncing in bars. Take kinging further, take it everywhere it’s needed. 

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

KPS: I’d ask Murray to try one of these challenges. Like, c’mon, 90 minutes on the first day songwriting; I wanna see Murray try to do that. 

BD: Hey, Murray, what size/make were those Doc Martens again? 

Stream the entire season of King of Drag now on Revery.com and followKing Perka $exxx and Big Don social.