Fall Arts Preview Patrick Rush brings us Best in Drag Show,
(Photo credit: John Paschal/JPI Studios)
PAGE 03
SEPTEMBER 25, 2026 • VOLUME 10 • ISSUE 18 • AMERICA’S LGBTQ NEWS SOURCE • LOSANGELESBLADE.COM
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A story of identity, survival, and the courage to become whole. U?3&,B58G3&7C&PB7>8I&'&)5G;578DF&W3975B&C7FR F7>6&(38X3F&(D456L&D&PFDGM&Y:33B&9D8&>?763& F5C3&56&6?DE3=&<K&O383BD;5786&7C&CD95FK&;BD:9DL& 6K6;395G&7EEB366578L&B365F538G3L&D8=&?7E32 Z56&[7:B83K&97436&;?B7:O?&G?5F=?77=L& ?5O?3B&3=:GD;578L&58GDBG3BD;578L&;?3&<DFFB779& G799:85;KL&F743L&938;DF&5FF8366L&D8=&?3DF58O&R& ;7>DB=&;?3&B3DF5XD;578&;?D;&B3GFD5958O&5=38;5;K& GD8&<3&D8&DG;&7C&G7:BDO32
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“An intriguing character study set in a historically marginalized community.” — Kirkus Indie
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789:-;<=9<:>?@-A99>B-;C?;DB9E-/<>?FGH-1CB8-I?F:=B-CB-(9B>-F:-)?<=-#8DJ From a smoky WeHo flat to a renowned HIV/AIDS fundraiser, Best in Drag Show’s yummy pageantry has watched itself become a beloved tradition full of heart and hope 6/&FK&9HLFM &'()*+)(,)-.*/0)'*(*1,234*25*5,0-6.+*06*73-+)026(89-*.,(1* sardined into a quaint WeHo flat has evolved into one of LA’s :2+)*;'-,0+'-.*536.,(0+061*5-()+<*=-+)*06*>,(1*%'2/*:(,,0-+* !"##$%&'(")**/0)'*+,-*,./#$0(*1$+*)'?*;2:49-)-*/0)'*+/0:+30)?* talent, interview, and evening gown competitions. But beneath the weaves and wit lies something more meaningful a community that comes together with the collective goal to raise money and awareness, all while having a fantastic time. Best in Drag Show was originally created by Alexis Pittman, who died of the AIDS epidemic in 1999, and what began as (*;3)-*(6.*73(06)*@0@0*25*;92+-*5,0-6.+*8-;(:-*(*536.,(0+061* event to support those whose lives have been impacted by HIV/AIDS. Today, Patrick Rush keeps the spirit of Best in Drag Show alive and thriving, preserving the essence that made Alexis’ original pageant so beautifully impactful. With every lash and every laugh, Best in Drag Show continues to be a )-+)(:-6)*)2*)'-*5(;)*)'()*.,(1*;(6*8-*A3+)*(+*42/-,539*(6.* uplifting as it is entertaining. We talked with Rush about the early days of Best in Drag Show, its evolution throughout the years, and the significance of remembrance while serving our LGBTQ+ community. #$%&$'%&%()*(%+&,-$&.)/&0$1&/(1&2(&)34')501(*&,51-& 6(+1&50&7%)8&9-$,:&-$,&,$';*&/$'&*(+3%52(&1-5+&(<(01:& )0*&,-)1&.)=(+&51&+$&$0(&$>&)&=50*? =-+)*06*>,(1*%'2/*0+*)'-*36.-,.21*25*.,(1*+'2/+<*&-*(,-* a spoof of the old-school Miss America Pageant, with our “ladies” competing in Swimsuit, Talent, Interview, and Evening Gown. And I’m using the word “talent” loosely. Sometimes they don’t have any. We are much more like a Carol Burnett skit that goes off the rails. It’s filled with humor (often biting and irreverent) and heart. We are ALL volunteers, and that way, the money we raise goes to where it’s supposed to go@ A-)1&,)+&/$'%&50515);&50+B5%)15$0&1-)1&25%1-(*&6(+1&50& 7%)8&9-$,&)0*&-$,&-)+&51&(<$;<(*&>%$.&/$'%&$%5850);&<5C +5$0? I take zero credit for “birthing” this beast. This was all Alexis Pittman, who died of AIDS in 1999. One night while playing poker with a group of friends (all in the recovery community) at Alexis’ one-bedroom, rent-controlled, and smoke-filled apartment in West Hollywood, Alexis said (in his/her Mississippi accent), “Hey Gurrrls, Miss America’s on TV tomorrow night and I think we should dress up and have our own pageant”. A handful of guys slapped on some very questionable drag and had a pageant. There were probably 12 people total in the apartment. Mini-Christmas lights created the runway, and so many of the guys were smoking that they set off the smoke alarm. It was a fun night that was repeated the same way the next year. Many more peeps squeezed into Alexis’ place, and we decided to move it to a bigger apartment the next year. About 70 people showed up, and that’s when we decided to put out a bucket with a sign that said, “Donations for AIDS,” and the audience threw money all night. We raised over $400 and couldn’t believe it. The winner that night was Alexis (he cheated and gave all the judges free highlights the week of the pageant). That was when it officially became a fundraiser.
The next year, a bigger house and $1500. The next year, an equity waiver theater down a crack alley in Hollywood called the Richard Pyror Theater (I’m not making this up), and we sold it out and raised $5,000. That was the first year we had celebrity judges show up. Nell Carter and Bob Mackie. Bob had so much fun; he designed the outfits for the onstage “Pinkies” that we used for many years. $'-*1,2/)'*;26)063-.*(6.*;39:06()-.*/0)'*3+*+-99061*23)* The Wiltern Theatre (2400 seats) in our 10th year (which was the original “Battle for the Tiara”). I think this was 1998. Alexis Pittman died in July of the following year, and we stopped .2061*)'-*+'2/< $',--* 2,* 523,* B-(,+* 9()-,?* /-* /-,-* (44,2(;'-.* )2* 8,061* back the show and decided to call it “Best in Drag Show”, but we used all the same elements that Alexis had taught us. “Let’s see how little we can spend and how much we can raise”. As of this year, we are closing in on $8 million dollars. Best in Drag Show has gained significant traction since 51+&B%(.5(%(@&75*&/$'&5.)850(&)1&1-(&15.(&1-)1&1-(&(<(01& ,$';*&2(3$.(&,-)1&51&5+&1$*)/? NOPE! Not in a million years. It grew slowly and organically year-to-year based on word of mouth. There was no social :-.0(*/'-6*/-*+)(,)-.C*A3+)*4-249-*)(9@061*(823)*'2/*:3;'* they loved the show. A-)1&)%(&+$.(&$>&1-(&%(+B$0+525;515(+&1-)1&8$&-)0*&50& -)0*&,51-&-$+1508?&A-)1&*$(+&-$+1508&1-5+&(<(01&.()0& 1$&/$'? My #1 responsibility is honoring Alexis’s memory. As a man who is HIV-negative, there’s no excuse for me not to try to do something. Because of my drug and alcohol abuse, I never went to college. So it’s not like I’m going to come up with the cure…but I can write bitchy things to say about our contestants (lovingly, of course). Hosting this show has changed my life…for the better. I had so much internalized homophobia when I met Alexis, and he was NOT having that from me. He knew I wouldn’t do drag, so he told me to throw on a black tux jacket, write the show with him, and be the host. I had a healthy fear of him, so I didn’t 73-+)026*0)< $'-*0,26B*0+*62)*92+)*26*:-*)'()*:-6*.,-++-.*(+*/2:-6* :(.-*:-*(*8-))-,*:(6< A-)1& )%(& 1-(& .)=508+& $>& 1-(& B(%>(31& 3$01(+1)01& >$%& 6(+1&50&7%)8&9-$,? Originality, creativity, and passion. This year is so exciting because it’s our BEST contestants coming back. A “Reheated Rivalry,” if you will. These gals are serious this year in a hysterical way. Ask any of them, and they’ll say, “It’s not about winning”. They’re lying. D)0& /$'& %(3);;& )& .(.$%)2;(& 6(+1& 50& 7%)8& 9-$,& .$C .(01&$%&$'11)=(&>%$.&/(+1(%/()%&1-)1&5+&>$%(<(%&5.B%501C (*&$0&/$'%&.50*? Luckily, I’m at the age where I forget a lot of shit. But some moments are imprinted on my brain. Anyone who knows me and sees this will say, “Patrick loves when a girl falls,” and that’s
100% true. But Kitten Kaboodle milking a real cow, Lotta Slots coming in on a camel singing “Midnight at the Oasis,” or Candy Cotton 1-))061*06*)'-*:23)'*25*(*,-(9*-9-4'(6)*(,-*'(,.*:2:-6)+*)2* 52,1-)<*>0+;9(0:-,D*&-*62*9261-,*(992/*(60:(9+*06*)'-*+'2/?*+2* simmer down. It was a different time back then. Grace Land’s evening gown rising into the rafters and her train saying “Elvis has left the Building” is an amazing moment. E$,&-)<(&/$'&+((0&FGHF&E();1-&+(%<508&1-(+(&3$..'C 051/&0((*+:&)0*&-$,&-)<(&/$'&+((0&1-5+&3-)08(&+503(&6(+1& 50&7%)8&9-$,&2(8)0? YES! I’ve seen people’s rent get paid, food be delivered, medical and household bills taken care of, and basic necessities of life get covered. 2 years ago, Coleen Sullivan from ABC7 did a segment on us and showed a man in his new permanent apartment. It was powerful. We don’t often get to see the results of what we do. 7%)8&-)+&);,)/+&2((0&)&>$%.5*)2;(&>$%.&$>&4'((%&(IC B%(++5$0&)0*&B%$1(+1@&A-)1&%$;(&*$(+&*%)8&B;)/&1$*)/&50& $'%&.';15>)3(1(*&3$..'051/? Drag is so much more powerful and brave than I am. I love +--061*+2:-26-*06*.,(1*/'2*:01')*62,:(99B*8-*730-)*2,*+'B* become a bigger-than-life, fearless spokesperson. The voice 25*.,(1*0+*923.*(6.*4,23.*06*23,*+'2/< F1&)&15.(&,-(0&*%)8&5+&503%()+508;/&B$;51535J(*&)0*&*(C 2)1(*:&,-)1&.(++)8(&,$';*&/$'&;5=(&1$&*(;5<(%&1$&1-$+(& ,-$&.58-1&0$1&'0*(%+1)0*&1-(&3%)>1? COME TO OUR SHOW. LAUGH YOUR ASSES OFF. You’ll be safer at the Orpheum than in the White House. F>1(%&+$&.)0/&/()%+:&,-)1&=((B+&/$'&.$15<)1(*&1$&3$0C 150'(&1-5+&1%)*515$0? Not to sound like a broken record, but Alexis Pittman and the countless others who didn’t get to be here still. Being of maximum love and service is the only thing that quiets my own noisy head. When I’m working on BIDS, I’m not thinking of myself…which is the best version of myself. I also want to say that I’m one of MANY volunteers over the years. Hundreds of people have given freely of their time, with little to no recognition. Our backstage crew is full of unsung heroes. The people who feed us. Our production designer, sound designer, stage manager, etc etc etc.- these are the '-,2-+< +"%0K%L'#-$0-!"#$%&'!'#(!$)'*+",
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!"#$%#&'()%*+,-'.%)/0$/'"&12*$3+*4')/0'5&%4+'")67)8$%9 play out post-apocalyptic ex drama in new horror film The two leads talk about the demonic ex issues of their new film 7($0!IC2JCFK$0CKJILK
Everyone can feel like their ex is a demon, and the new film !"#$"%& '($)*' ()*+,-(.' /0.1' 12314' 5-367,6' &28*9,:.9;' *+38.' 5(<9(11='3'>36'/0.1'1-8;6?'1,'.0-@;@('12('(67',A'12(':,-+7':2;+(' B(;6?'23061(7'B8'3'7(>,6;<'3**3-;1;,6',A'2;.'3B0.;@('()C20.C B367'D+(,-./&01,E.'F2-;.'&3+@31,-(G4'$1E.'23-7'(6,0?2'1-8;6?'1,'.0-C @;@('3'<313<+8.>;<'(@(61='B01';1E.':,-.(':2(6'7(3+;6?':;12'8,0-' unresolved relationship issues and a demon infestation. &(1'1,'*-(>;(-(',6'H(99,,='36'IJ5KL'.0B.<-;*1;,6'.1-(3>C ing service, on October 1st, this film also features Peter Stickles D!%#$,21*), Tiffany Shepis (!,($&3$4)5&6-"($7G='367'12(':;66(-',A' &(3.,6'M',A'8$(/19(='#367(-'#,6'"774 K2('1:,'+(37.'1,,9'.,>('1;>('1,'<231'3B,01'7(3+;6?':;12'()' 7-3>3='.,<;(18E.',B.(..;,6':;12'12('3*,<3+8*.(='367'2,:'N0((-' people can save the world. !"#$#"%&'$("%$')*+,-.)$!"#$"%&'($)*/ 01,-*$23&435",)6 !"#$"%&'($)*';.'+;9('12('N0((-'2,--,-':4$(97;*& :(<4'.(1'3?3;6.1'12('(67',A'12(':,-+7=':;12'3'23061;6?'()C+,@(-' A-,>'3'@(-8'1,);<'-(+31;,6.2;*4'O1';1.'<,-(=';1E.'3B,01'12;.'@(-8'20C man need to find people who make us feel seen, like we belong, 367'2,:'1231'6((7'<36'B(<,>('736?(-,0.':2(6'+,@('.13-1.'1,' B+0-';61,'<,61-,+'367';.,+31;,64 7,38'"8$21(9:"#*:-6 3%4&=#,42##)='B01':;12'>,-('B+,,74' J;@(',-'139('36'3*,<3+8*.(4 ;135$#3*$-5$&-:)$9&3(-8<$"%5$51)$)8'$"=$51)$#",&'/ 23&435",)6'&0-*-;.;6?+8'A06P'"B@;,0.+8'12('<;-<0>.136<(.';6' 12('>,@;('3-('1(--;A8;6?='B01'3.'36'3<1,-';1'?;@(.'8,0'*(->;..;,6' 1,'?,'1,'12(.('-(3++8'2(;?21(6(7'(>,1;,63+'*+3<(.4 21(9:"#*:-6$$1':3.'.,'>0<2'A064'Q('237'3'.1(++3-'1(3>'367' .1(37A3.1'<3*13;6';6'R:-;1(-S7;-(<1,-T'5-(6736'U3+(8='.,'$'A(+1'+;9('$' could really go for it. And this film came at a really turbulent time in my life, so I poured it all into the film. I keep making the joke that filming !"#$"%&'($)*':3.'<2(3*(-'1236'12(-3*8'367'1:;<('3.' effective. And, yeah, I’ll stand by that. ;1($'"$("%$51-8:$9)"9&)$3,)$".*)**)'$#-51$39"+3&(95-+$ >"4-)*/ 21(9:"#*:-6'$6'12;.'(<,6,>8V'K2(8'>;?21'3.':(++'B('7,<0C >(613-;(.4'$'9;7W.,-1',A4'$'12;69'*(,*+('23@('3+:38.'B((6'A3.C <;631(7':;12'12('(67',A'738.X'12('-3*10-(='YZ[='12('(67',A'12(' !3836'<3+(673-4'$'12;69'*(,*+('23@('3'1;>(+(..'367'>38B('>,C rose fascination with the apocalypse. 23&435",)6'$'12;69'12(-(E.'.,>(12;6?'A3.<;631;6?'3B,01';>3?C ;6;6?'12('\Q231';AV]'%.*(<;3++8'6,:=':2(6'12(':,-+7'A((+.'.,':;+74' Q2,'3-('8,0':2(6'12(-('3-('6,'-0+(.'368>,-(V'Q2,'7,'8,0' B(<,>(':2(6'.0-@;@3+';.'12(',6+8'12;6?'1231'>311(-.V 01,-*?$1"#$'-'$-5$=))&$9&3(-8<$3$')>"8-+$)@/ 23&435",)6'U,6(.1+8='9;67',A'+;B(-31;6?4'^,(+';.',B@;,0.+8'7,;6?' .,>('*-(118'1(--;B+('12;6?.='B01'$'6(@(-':361(7'1,'3**-,3<2'2;>' as just “the demonic ex” or the villain. I had to find the part of 2;>'1231'?(60;6(+8'B(+;(@(.'2('+,@(.'5(<9(114'$'12;69':231'>39(.' 2;>'7;.10-B;6?';.'1231'+,@('367'<,61-,+'();.1'31'12('.3>('1;>(4'U(' 7,(.6E1'6(<(..3-;+8'.(('2;>.(+A'3.'12('B37'?08=':2;<2'>37('2;>' >0<2'>,-(';61(-(.1;6?'1,'*+384 You spent much of the film in makeup as a demonic +13,3+5),A$#135$#3*$5135$&-:)/
23&435",)6$It was definitely exciting. It was my first time wear;6?'*-,.12(1;<.4'K2(-(':(-('738.':2(-('$'.*(61'3'+,1',A'1;>(';6' 12('>39(0*'<23;-'B(A,-(':('(@(6'.13-1(7'.2,,1;6?='B01';1':3.' 3+.,'-(3++8'2(+*A0+'B(<30.(',6<('$'+,,9(7';6'12('>;--,-'367'.3:' ^,(+'1-36.A,->;6?'*28.;<3++8=';1';>>(7;31(+8'2(+*(7'>('?(1';61,'3' different headspace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feel the most loved or understood. Playing on that contradiction was probably one of the most interesting parts of the film for >(4 !"#$>%+1$"=$("%,$,)3&$&-=)$)@9),-)8+)*$'-'$("%$9%5$-85"$ ("%,$9",5,3(3&/ 23&435",)X'$'12;69'8,0'3+:38.'B-;6?'*;(<(.',A'8,0-.(+A';61,'3' character, even when their circumstances are completely differ(61'A-,>'8,0-',:64'Y,0'0.('>(>,-;(.',A'+,@;6?'.,>(,6(='+,.C ;6?'.,>(,6(='20-1;6?'.,>(,6(='.<-(:;6?'0*='B(;6?'1,,'23-.2=' B(;6?'1,,'.,A14'$1E.'3++'06;@(-.3+4'K2('+;?21'367'12('73-96(..';6'3++' ,A'0.4'K2('*3;6',A'.23>('+;(.'/0.1'B(+,:'^,(+E.'-,0?2'()1(-;,-4'$' 12;69'>,.1'?38'>(6'<36'-(+31('1,'1231'(@(6';A';1'7,(.6E1'10-6'8,0' ;61,'36'3B0.;@('7(>,6;<'()C'20.B3674 21(9:"#*:-6$ Pretty much the entire emotional life of my <23-3<1(-'<,>(.'A-,>'>8'()*(-;(6<(4'"B@;,0.+8='$E@('6,1'+;@(7' 12-,0?2'12('3*,<3+8*.('23061(7'B8'@;.;,6.',A'36'36<;(61'7(;184' 501'$'<(-13;6+8'>;6(7'(@(-8'*3.1'-(+31;,6.2;*';6'>8'+;A('367'0.(7' them to build my character. I think that specificity is the only way I can approach these characters. Specificity makes it feel alive 367'2,6(.1='367'$'<36',6+8'2,*('1231'<,>(.'12-,0?2',6'.<-((64 C*$51),)$38($+,3D($)@E',3>3$5135$("%$.,"%<15$5"$51)$*)5/ 23&435",): Definitely. One ex in particular has informed this 367'>368':,-9.',A'3-1';6'12('*3.14'J,113'-(7((>'12,.('1-30>3' >;+(.P 21(9:"#*:-6$"2='$E>'.0-(4'O67'+;.1(6='>8'()(.'<,0+7'*-,B3C bly make their own apocalypse films based on me. But I think 12('6036<(',A',0-':,-.1'>,>(61.';6'3'-(+31;,6.2;*C'12('3-?0;6?=' 12('B3-1(-;6?='12('<-8;6?'3++'377'1,'36'3012(61;<'*,-1-383+',A'12(' very toxic relationship in this film. So the film is set during an apocalyptic event; any 51"%<15*$"8$1"#$51)$<3($+">>%8-5($+38$*34)$51)$#",&'/ 23&435",)X' _,' *-(..0-(P' $' 12;69' N0((-' *(,*+(' 23@(' 3+:38.' B((6';6<-(7;B+8'?,,7'31'<-(31;6?'<,>>06;18'367'<2,.(6'A3>;+8=' (.*(<;3++8':2(6'12(':,-+7'23.6E1'6(<(..3-;+8'>37('.*3<('A,-'0.4'
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Actor Ben Ubiñas is a whole different ‘Creed’ The young actor talks about starring in Theater4All’s inaugural production of ‘Crone Creed’ at El Portal C*&?#DEF@EBG&?EG@DHG &'()*+, ', *'-., /01, 20314.5/, )*, "05526007, 8'4, 9.:0-., -01., :8'55.*+)*+;, <03=1., competing with influencers for starring roles, and many of the only available jobs are in verticals. And yet, there is an underlying culture of appreciating art and fostering creativity in Los Angeles that is unlike anywhere else in the world. Lucky for Ben Ubiñas, who is poised to star in a new role at the historic El Portal Theatre. Ubiñas is playing the villain in the world premiere of !"#$%&!"%%'(&!"#$%&!"%%',)4,', supernatural drama that spans centuries through the eyes of Vita, a young woman whose life is shattered by religious violence and betrayal in medieval Europe. She takes a vow to help protect humanity from the corruption of religion and the elite as part of an ancient lineage of women known as the Crones. She is reborn throughout history, using her powers to battle a rival faction known as The Fallen. Ubiñas plays Yanni, her brother, who also gets reborn as a member of The Fallen and fights his sister throughout time. This production is the inaugural play of Theater4All’s collaboration with the El Portal Theatre to celebrate its 100th anniversary season. Theater4All is a nonprofit theatrical company dedicated to expanding access to live performance for audiences across Southern California. From their website, “the organization works to reduce financial and structural barriers through targeted, subsidized ticket programs, educational outreach, and dedicated student matinees.”
While his past credits sound like a very interesting poem, with roles in )#*+$,-%& Me Please, Mafia King, Sneak Me In Your Closet: Lost in Deja Vu, Oops My Rich Husband is Faking Coma, '*7 Virgin’s Bad Boy Roommate,,)>=4,:5.'1,/10-,4?.'()*+,6)>8,@9)A'4,>8'>, he has his eye on the prize and loves what he does. He took some time to tell us about his role and his love of acting. #$%&%$'()&*$'&)+,-./0+!"#$%&!"#&&'? It’s bonkers. You have to show up ready for anything. Everything happens. There is legitimately very little that doesn’t happen in this play. #$%&10$'2&*$'.&-31.1-2+.&4155/6 Yanni is one of those guys who gets access to power, lets it corrupt him immediately, and then just starts having fun. He’s like a little earthworm in a big suit of armor. I love playing villains. 7312&/,&/2&(/8+&9(1*/5:&$'2&1&,'9+.512'.1(&,2$.*&$5&,21:+6 Fantasy on stage is so much fun. I feel like a child on a playground, except there’s this massive production bringing that play to life. Like this gigantic machine- lights, sound, everything- kicks into gear to help me live my delusion. #$%&)$+,&/2&;++(&9+.;$.</5:&12&23+&3/,2$./-&=(&>$.21(6 I’m really glad we’re in a bigger venue. It’s a big play, with big effects and big performances. I think it’ll fill the space. ?15&*$'&2+((&<+&<$.+&10$'2&@3+12+.AB((6 The El Portal has this air of mystique around it. I know they want to make theater as accessible as possible to as many people as possible, and I’m happy to participate in furthering that goal. How does it feel starring in the first Theater4All Production? It takes a lot of trust to hire an actor to originate a role, particularly in a company’s inaugural production. I feel that trust every day as we all work together to bring this play to life. It’s something I take very seriously, and something I really want to honor. 7312&/,&*$'.&).+1<&.$(+6 English live-action Colonel Mustang [from the anime Fullmetal AlchemistB;,"0?./3552, I’m old enough by the time they make it. What is fun about playing a supernatural character? It really is make-believe. It’s the adult version of playing Barbies, where no matter how fantastical the circumstances, you are still 100% committed to the reality of the situation. It’s much easier when you’re a kid, but it’s really a very similar task. What are your career goals? All I’ve ever wanted was to be a working actor. I always have this urge to keep moving the goalpost on myself and never be satisfied, but really I just want to be able to keep doing what I’m doing. That said, a soap opera, because of job security. What about LGBTQ culture are you currently obsessed with? I’m loving how loud the music is getting. I had Slayyyter “crank 2” as my alarm for a hot minute, but that had to stop. I was getting stressed. !"#$%& !"%%' is written by Founding Producing Artistic Director John Epstein, Casey Morgan, and T. Theresa Scarano, and directed by Marc Morgenstern. It premieres September 30th at the El Portal Theater, running through October 17th. You can purchase discounted tickets and learn more about the organization at 666;>8.'>.1C'55;01+;
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Q$9+I-@+;,1,+)-+<3:I+)*(6+)I<,+-9+/@6(4+(5+:5-)*,1+N@,,1+0:18+ 6-/,-5,+;-@32+4-/,+@<+;()*+:+1,N@,6)+-5+)*,(1+<*-5,+9-1+ J1()5,I+-1+J:2+J@55IE+#*(6+(6+5-)+)*:)+D(52+-9+<3:4,ER S]6+:)+"!$\"&+&"+:1,+,54-@1:7,2+)-+<3:I+71--.I+,3,4)1-5(4+ /@6(48+(543@2(57+*-@6,+:52+),4*5-8+-18+:6+V-11,:+<@)6+()8+Q/@= sic that people can flirt to, sway their hips to, dance to.” “The bookers and Ashton specifically come from the under71-@528R+ V*1(6)(5,+ 6:(2E+ Q#*,I+ :1,+ ):<<,2+ (58+ :52+ )*,1,>6+ 5-+ 4-/<1-/(6(57ER #*:)+ 1,9@6:3+ )-+ 4-/<1-/(6,+ ,O),526+ 0,I-52+ )*,+ /@6(4E+ "!$\"&+ &">6+ 4-4D):(3+ <1-71:/+ @6,6+ :+ 21:9)+ 6I6),/+ )-+ 6,1.,+ drinks quickly without sacrificing care. Bartenders prepare in71,2(,5)6+(5=*-@6,+0,9-1,+0:)4*(57+)*,/8+*,3<(57+)-+*:523,+ 41-;26+ ;*(3,+ D,,<(57+ <1(4,6+ :44,66(03,E+ #*,+ /,5@+ (543@2,6+ :+*-@6,=01,;,2+/:)f8+)*1,,+)I<,6+-9+!,71-5(68+:52+:+91-a,5+ ,6<1,66-+/:1)(5(E
G9FH!?@=!;=>I!FJ!$DEAK:?B!6AK:JF9C:AL!?@=!KA?=>?!MFK:?:NAK! C=O>!JF9!61!AC;!8=BFC;!A>!O=!@=A;!:C?F!?@=!H:;?=9H> '()*+)*,+!-.,/0,1+/(2),1/+,3,4)(-56+(54*(57+,.,1+43-6,18+MN@:3()I+V:3(9-15(:+(6 preparing to release our final round of endorsements for local candidates By GUEST COLUMNIST '()*+)*,+!-.,/0,1+/(2),1/+,3,4)(-56+(54*(57+,.,1+43-6,18+ Equality California is preparing to release our final round of ,52-16,/,5)6+9-1+3-4:3+4:52(2:),68+:6+;,33+:6+<1,<:1,+9-1+/:= jor get-out-the-vote operations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
that affirm our dignity and protect our rights. #$%&'(%'$)(*+' to his office and tell him to stand up for LGBTQ+ Californians by signing our bills today! #-+1,:2+/-1,+6)-1(,68+H-(5+-@1+/:(3(57+3(6)8+:52+6(75+@<+9-1+ )*,+;,,D3I+MN@:3()I+J1(,98+.(6()+eqca.org/equalitybriefE DOLLY PARTON: ICON. ARTIST. UNAPOLOGETIC LGBTQ+ ALLY. ',+ :1,+ 2,,<3I+ 6:22,5,2+ 0I+ )*,+ 3-66+ -9+ /@6(4:3+ (4-5+ :52+ *@/:5():1(:5+Dolly PartonE+"6+3,7,52:1I+9-1+*,1+,O:77,1:),2+ 73:/-@1+:6+*,1+*()+6-576+P+Q$)+4-6)6+:+3-)+)-+3--D+)*(6+4*,:<8R+ 6*,+-9),5+H-D,2+P+S-33I+;:6+:+3-57)(/,+:33I+:52+6@<<-1),1+-9+ )*,+&?J#KL+4-//@5()I+;*-6,+/,66:7,+-9+3-.,+;()*-@)+3(/=
!"!"!#$%&$'($)!*+,!*-*.!"!/0#123$/$#(/14$560'
Q'*,)*,1+ ()>6+ 9:6*(-5+ -1+ :,6)*,)(46+ -1+ :14*(),4)@1,8+ gN@,,1+ <,-<3,h+4-56(2,1+-@16,3.,6+)-+0,+:+4@)+:0-.,8+:52+;,>1,+5-)+ ;1-578R+ "!$\"&+ &"+ <:1)5,1+ ](/+ \-11(6-5+ ^,.,1)+ 6:(2E+ Q#*,+ -53I+)*(57+(68+;,>.,+5,.,1+1,:33I+*:2+)*:)+(5+-@1+0:1+6<:4,68+:52+ ()>6+6-1)+-9+:+3(7*)0@30+/-/,5)8+3(D,8+iMO4@6,+/,8+;*Ij>R "!$\"&+&">6+(52--1=-@)2--1+3:I-@)+(543@2,6+:+7:12,5+<:)(-+ ;()*+()6+-;5+0:1+:52+S]+0--)*E+$56(2,8+:+7(:5)+2(64-+0:5:5:+ 2,6(75,2+0I+3-4:3+:1)(6)+:52+9:01(4:)-1+M1(4+F4*@/+*:576+-.,1+ the dance floor, while custom metalwork by William Patchen (6+.(6(03,+)*1-@7*-@)+)*,+.,5@,E #*,+<:1)5,16+(5()(:33I+4-56(2,1,2+-<,5(57+(5+F(3.,1+&:D,+:)+ )*,+6(),+-9+)*,+9-1/,1+e:@3)3(5,+J:18+:+7:I+3,:)*,1+0:1+;*(4*+ 43-6,2+(5+]:5@:1I+ABAYE+^-;,.,18+-54,+)*,I+6:;+)*,+,O<:5= 6(.,+<:)(-+:)+)*,+9-1/,1+k,6(2,5)+S#&"+/@6(4+.,5@,+:)+`Al+FE+ ^,;())+F)E8+)*,I+4*-6,+)*,+"1)6+S(6)1(4)+6<:4,+(56),:28+<3:4(57+ "!$\"&+&"+:;:I+91-/+,O(6)(57+N@,,1+0:16E Q$+;:3D,2+(5)-+)*(6+6<:4,+(5+)*,+"1)6+S(6)1(4)8+:52+$+;:6+3(D,8+ i^-3I+6*()8+)*(6+(6+"!$\"&b>R+\-11(6-5+^,.,1)+6:(2E+Q%<,5(57+)*,+ "1)6+S(6)1(4)+*:6+<:55,2+-@)+)-+0,+6-/,)*(57+)*:)>6+/-1,+3,:5= (57+(5)-+&-6+"57,3,68+1:)*,1+)*:5+H@6)+<3-<<(57+2-;5+:+J1--D= 3I5+"!$\"&+0,);,,5+"D0:1+:52+)*,+M:73,ER #*,+),:/+;:6+5,1.-@6+)-+-<,5+-@)6(2,+-9+)*,+4()I>6+,6):0= 3(6*,2+7:I+0:1+4-11(2-168+0@)+V-11,:+6:(2+)*,I+;,1,+Q,O4(),2+)-+ 5-)+6),<+-5+:5I0-2I>6+)-,6R+:52+Q)-+0,+:03,+)-+7-+(5)-+-@1+-;5+ 3())3,+<-4D,)+-9+&E"ER Q$)+;:6+,O4()(57+)-+-<,5+:+0:1+(5+:+<3:4,+)*:)+2-,65>)+*:.,+ 7:I+0:16+:52+)-+0,+:+3())3,+0,:4-5+-9+N@,,15,668R+V-11,:+6:(2E "!$\"&+&"+*-<,6+)-+(5)1-2@4,+<1-71://(57+(543@2(57+D(5D+ and fetish community events, flea markets, drag shows, and 3(.,+ /@6(4+ <,19-1/:54,68+ ;*(3,+ 4-5)(5@(57+ )-+ 6<-)3(7*)+ 3-4:3+ :52+(5),15:)(-5:3+@52,171-@52+S]6E Q',>1,+1,:33I+71:),9@3+)*:)+"!$\"&+(6+<:1)+-9+)*,+&E"E+N@,,1+ ,4-6I6),/8R+V*1(6)(5,+6:(2E+Q',>.,+0,,5+5,,2(57+:+6<:4,+3(D,+ )*(6+9-1+6-+3-57E+"!$\"&+*:6+1,:33I+01,:)*,2+5,;+3(9,8+7(.(57+@6+ (5.(7-1:)(-5E+F*,+;:6+1(7*)+-5+)(/,ER "!$\"&+&"+(6+-<,5+#@,62:I+)-+e1(2:I+91-/+`+<E/E+)-+A+:E/E+ :52+ F:)@12:I+ :52+ F@52:I+ 91-/+ A+ <E/E+ )-+ A+ :E/E+ :)+ `Al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olly Parton. S-33I8+;,+;(33+:3;:I6+3-.,+I-@E ,' Equality California Endorses in 8 Ballot Proposition Campaigns: 602&72S$#!1&!/0#123$/$#(/14$560'
VIEWPOINT
VO L U M E 10 IS S U E 18 !"#$% 310-230-5266 %&'()*+arodriguez@losangelesblade.com )$,%-$%,+losangelesblade.com !./*)0"%1+/2+Los Angeles Blade, LLC !./*)0"%ALEXANDER RODRIGUEZ arodriguez@losangelesblade.com, 310-230-5266 x 8080 %1),#-)(* $(,)#$(*+%1),#KEVIN NAFF knaff@washblade.com, 202-747-2077 x 8088 3#$,-)/.,)$4+5-),%KAREN OCAMB karenocamb@losangelesblade.com 3#$,-)/.,#-0
MICHAEL K. LAVERS, TINASHE CHINGARANDE, JOHN PAUL KING, LOU CHIBBARO JR., SUSAN HORNIK, JOE REBERKENNY, ISAAC AMEND, PETER ROSENSTEIN, TERRI SCHLICHENMEYER, JOE PHILLIPS, ANKUSH KUMAR, ESTEBAN RIOSECO, AJ SLOAN, AYMAN ECKFORD, TOM SITUMO
0(*%0+6+(1')$)0,-(,)#$ 0(*%0+%7%3.,)8% SHANA WONG SOLARES swong@losangelesblade.com, 808-386-0872 '(-9%,)$4+1)-%3,#BRIAN PITTS bpitts@washblade.com, 202-747-2077 x 8089 $(,)#$(*+(18%-,)0)$4 RIVENDELL MEDIA sales@rivendellmedia.com, 212-242-6863 (1')$)0,-(,)#$ PHILLIP G. ROCKSTROH prockstroh@washblade.com, 202-747-2077 x 8092 3-%(,)8%+1%0)4$:!-#1.3,)#$ MEAGHAN JUBA production@azercreative.com 1)0,-)/.,)#$ CHRISTOPHER JACKSON, 562-826-6602 All material in the Los Angeles Blade is protected by federal copyright law and may not be reproduced without the written consent of the Los Angeles Blade. The sexual orientation of advertisers, photographers, writers and cartoonists published herein is neither inferred nor implied. The appearance of names or pictorial representation does not necessarily indicate the sexual orientation of that person or persons. Although the Los Angeles Blade is supported by many fine advertisers, we cannot accept responsibility for claims made by advertisers. Unsolicited editorial material is accepted by the Los Angeles Blade, but the paper cannot take responsibility for its return. The editors reserve the right to accept, reject or edit any submission. A single copy of the Los Angeles Blade is available from authorized distribution points, to any individual within a 50-mile radius of Los Angeles, CA. Multiple copies are available from the Los Angeles Blade office only. Call for rates. If you cannot reach a convenient free distribution point, you may receive a 26-week mailed subscription for $125 per year or $5.00 per single issue. Checks can be sent to Phil Rockstroh at prockstroh@washblade.com. Or send him an email to request directions to make a payment online. Postmaster: Send address changes to the Los Angeles Blade, PO BOX 60664 Washington, DC 20039. The Los Angeles Blade is published bi-weekly, on Friday, by Los Angeles Blade, LLC. Rates for businesses/institutions are $450 per year. Periodical postage paid at Los Angeles, CA., and additional mailing offices. Editorial positions of the Los Angeles Blade are expressed in editorials and in editors’ notes as determined by the paper’s editors. Other opinions are those of the writers and do not necessarily represent the opinion of the Los Angeles Blade or its staff. To submit a letter or commentary: Letters should be fewer than 400 words; commentaries should be fewer than 750 words. Submissions may be edited for content and length, and must include a name, address and phone number for verification. Send submissions by e-mail to knaff@washblade.com.
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DADT repeal took effect on Sept. 20, 2011. Trans servicemember ban reinstated #$%&'()*%+,%*(-&.'*./.0 !"#$%%&'(%)*+'),-'$."+'/-&$.0'$.%'*%1%)2'-#'34-&5$'6+70'4-&5$'8%229' took effect. At the time, the importance of the change was obvious: gay, lesbian, and bisexual Americans would no longer have to hide who they were to wear the uniform. What was harder to see was what would follow: a generation of LGBTQ veterans able to carry their service openly into American civic life. Earlier this month, Alaska state Rep. Andrew Gray, an Army veteran, stood before the Anchorage Assembly and asked the city to recognize Sept. 20 as LGBTQ Veterans Day. His former command sergeant major, Mike Grunst, followed him to the microphone. A 35-year veteran who had served in combat, Grunst called troops who had served while hiding who they were “the bravest I have ever served with.” Then Denise Sudbeck stepped forward. A Vietnam-era Navy veteran, she thanked the country for the privilege of serving and asked that the next generation have the same chance. The Assembly approved the recognition. Nothing about the scene required a new vocabulary. A veteran made a request of his community. A commander vouched for those who served beside him. Another veteran asked that younger Americans inherit the opportunity she valued. They entered the civic record simply as veterans. That identity can do more than win recognition. When federal policy abruptly ended the careers of transgender servicemembers this year, veterans and servicemembers in California began asking a practical question: What happens when those Americans come home? Republican Assemblyman Jeff Gonzalez, a Marine combat veteran, began one hearing with questions about transgender military service. He listened as veterans explained how the military handles medical care and deployment case by case. Then the discussion turned to separation. “I don’t wanna see any veteran homeless,” Gonzalez said. Before
the hearing ended, he was asking: “How can I help? How can I understand? How can I be a good advocate?” The legislation that followed would provide housing, employment and transition assistance to discharged servicemembers. Republican state Sen. Shannon Grove spoke for it. The Senate passed it 32 to 0. Americans have plainly not settled their disagreements over transgender people. Nor should military service be a prerequisite for rights that belong to every citizen. But military service creates relationships that are difficult to reduce to the abstractions of the culture war. Before a legislature, “the transgender issue” can become a veteran who deployed, an officer who led troops, or the person who once stood beside you. The political question changes because the human relationship has already changed. The pattern is beginning to appear across the country. Kansas is among the states recognizing LGBTQ Veterans Day for the first time this year. New York and Virginia are pursuing broader state-level programs for LGBTQ veterans. Sept. 20 is deliberate. On that day in 2011, “Don’t Ask, Don’t Tell” ended. We usually remember repeal for what LGBTQ Americans gained: the ability to serve openly. Fifteen years later, we can also see what the country gained. A gay veteran can stand before his local government beside the commander who once led him. A transgender servicemember can sit before a legislator who begins with doubts and ends by asking how he can help. A veteran from an older generation can ask her neighbors to give those who follow her the same chance to serve. This is citizenship in practice. The enduring legacy of “Don’t Ask, Don’t Tell” repeal is not only that Americans were finally allowed to serve openly. It is also what they can now build after coming home.
2023 GLAAD Media Awards
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&78!9:;!78<=9!>:!?1:@A!$;>B!CD>E!+;F>DG!#<G@8!*H<@AI The filmmaker speaks about his new documentary, queer punk rock, and Dolly Parton #$%&'()%*(+,-. !"#$%&'()%"*%+,'-+./%,*)/(.%,0$+1%2+"&*0"%"&/%345678%1*,,0.+"9:%;&/"&/(%+"#$%"&/%2+<)% (&9"&,$%*=%>*>%*(%"&/%?/'0"+=0<%"*./$%*=%@A5B%'<,*$"%/C/(9%-/.(/%*2/$%'%&0-/%)/?"%"*%"&+$% 10<"0(/%'.)%&*2%+"%$10<>"/)%"&+$%+.)0$"(9%+."*%"&/%-<*?'<%>*2/(&*0$/%+"%+$%"*)'9:%DC/(9%,0E $+1'<%$"9</%&'$%?//.%$&'>/)%+.%$*,/%2'9%?9%F0//(%>/*></%"&(*0-&*0"%&+$"*(9B%'%='1"%"&'"%+$% especially true for rock, punk, and heavy metal. 6&/$/%"&(//%-/.(/$%'(/%/G><*(/)%?/'0"+=0<<9%+.%H0$"+.%3'.1/%5<'1I#$%!"#$%&'(B%'%=*0(E>'("% )*10$/(+/$%"&'"%$&*2$%&*2%F0//(%=*<I$%*=%"&/% JK$%'.)%LK$%1*."+.0/%"*%$&'>/%"&/%,0$+1%"&'"% '0)+/.1/$%<*C/%"*)'9:%!"%)/<C/$%+."*%"&/%1<*$E /"/)%,0$+1+'.$B%-'9%,'.'-/($B%'.)%345678% ='.$% 2&*% &/<>/)% $&'>/% 1*."/,>*('(9% ,0E sic, finally remembering the queer people "&'"% $*% ,'.9% 2'."% 9*0% "*% =*(-/":% M.)% '<<% *=% "&+$%&'()% 2*(I% 1'.% ?/% *2/)%"*% *./%>/($*.N% Dustin Lance Black’s brother, Marcus. O!"#$% &'(% $"'("/)% 2+"&% '% F0/$"+*.% "&'"% ,9% ?(*"&/(% '$I/)% ,/BP% $'+)% 5<'1IB% $>/'I+.-% '?*0"%"&/%>(*Q/1"%2+"&%"&/%3M%5<')/:%OR/%2'$% (/'<<9%+."*%(*1I%'.)%(*<<B%>0.IB%&/'C9%,/"'<%S% &/%(/'<<9%$0(>(+$/)%0$%2&/.%&/%1',/%*0":%R/% 2'$%=//<+.-%<+I/%'.%*0"$+)/(B%/C/.%+.%"&/%-'9% 1*,,0.+"9B% '.)% &/#)% '$I/)B% TM(/% "&/(/% -'9% >/*></%<+I/%,/B%2&*%'(/%+."*%"&+$%I+.)%*=%,0E sic and this scene?’ I…I told him I didn’t know.” U.=*("0.'"/<9B%"&/$/%=//<+.-$%*=%<+C+.-%'$%'.% +,>*$"/(%</)%"*%V'(10$%"'I+.-%&+$%*2.%<+=/%'"% '%9*0.-%'-/:%!"%2'$%'%<*$$%"&'"%1*."+.0/$%"*% shape Dustin and his career as a filmmaker, 2+"&% "&/% ,'.% 1(/'"+.-% ,'.9% '2'()E2+..+.-% queer films like )*+$% '.)% !',(*-% "*% +.$>+(/% ./2% -/./('"+*.$% 2+"&% "&/% $"*(+/$% *=% "&*$/% 2&*%1',/%?/=*(/:%50"%2&+</%&/#$%2*(I/)%*.% C'(+*0$% >(*Q/1"$% )*10,/."+.-% 345678% .'(E ('"+C/$B%.*./%&'C/%?//.%'$%>/($*.'<%'$%!"#$% &'(B%2+"&%"&+$%/G><*('"+*.%*=%F0//(%>/*></%+.% ,0$+1%&*.*(+.-%V'(10$%'.)%"&/%,'.9%*"&/(% young people struggling to find somewhere "&/9% ?/<*.-% "*)'9B% 2+"&% 5<'1I% /G><'+.+.-B% O!% "&+.I%"&'"%WV'(10$X%.*"%&'C+.-%'%><'1/%+.%"&/% ,0$+1%"&'"%2'$%"&/%1/."/(%*=%&+$%2*(<)%</)%"*% &+$%/'(<9%)/'"&:%M.)%"&+$%W)*10,/."'(9X%2'$% '.% *>>*("0.+"9% =*(% ,/% "*% '.$2/(% "&/% F0/$E "+*.N% 2/(/% 2/% "&/(/Y% !$% "&/(/% '% ><'1/% =*(% 0$% "&/(/% .*2Y% M.)% +=% 2/% 2/(/% "&/(/% "*% ?/-+.% 2+"&B%2&'"%)+)%2/%)*Y%M.)%"&/%'.$2/($%2/(/% $*%$&*1I+.-%"*%,/:P 6&/$/% '.$2/($% '(/% $&*2.% '1(*$$% !"#$% &'(., four episodes, with Black taking film 1(/2$% '1(*$$% "&/% U.+"/)% Z"'"/$% '.)% "&/% U[% "*%)+$1*C/(%"&/%F0//(%$"*(+/$%"&'"%I+1I$"'("/)% >0.IB%&/'C9%,/"'<B%'.)%(*1I%$*%,'.9%9/'($% '-*:% R/% )+$1*C/(/)% &*2% F0//(% T"('.$-(/$E $+*.#%2'$%I/9%"*%,'.9%'("+$"$#%$011/$$\%'0)+E /.1/$%2/(/%)('2.%"*%,0$+1+'.$%2&*%$&+(I/)% societal norms. From the flamboyancy of ](+.1/%"*%6&/%5/'"</$#%$+-.'"0(/%&'+($"9</$B%$*%
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,'.9%>/(=*(,/($%')*>"/)%F0//(%,'../(+$,$%"*%'""('1"%='.$B%2+"&%"&/%)*10,/."'(9%$&*2E +.-%&*2%"&/$/%</-/.)'(9%+,'-/$%2/(/%1('="/)%?9%F0//(%>/*></%2*(I+.-%+.%"&/%?'1I-(*0.):% ]/*></%2&*%I./2%"&'"B%+=%"&/+(%(/'<%+)/."+"+/$%/C/(%1',/%*0"B%"&/9#)%?/%+,,/)+'"/<9%?<'1IE listed and booted from the industry they’d dedicated their lives to. O!%,/'.B%3+""</%@+1&'()B%2&*%+$%"&/%='"&/(%*=%(*1I%'.)%(*<<B%2*0<)%/C/."0'<<9%1*,/%*0"%S% ?0"%"&/%?'1I<'$&%2'$%$*%$"(*.-B%&/%2*0<)%-*%?'1I%+.^P%DG1<'+,/)%H0$"+.:%O_*?(+'"&%2'$%*./% *=%"&/%?+--/$"%"'</."$B%?0"%&/%"(+/)%"*%><'9%'$% '.% *>/.<9% -'9% (*1I% $"'(B% $*% .*% *./% ?*0-&"% "&/%(/1*()$:%6&/%)*10,/."'(9`+"%)*/$%$"'("% off sad, because some of these artists tried "*% 1*,/% *0"% ?/=*(/% "&/% 2*(<)% 2'$% T(/')9#% "*% (/1/+C/% "&/,:% 50"% W!"#$% &'(X% '<$*% "/<<$% the story of how queer people finally broke "&(*0-&:P !"#$% '% ?+""/($2//"% /C*<0"+*.% "&'"% H0$"+.% )*10,/."$% "&(*0-&% '% ,+G"0(/% *=% ./C/(E?/E =*(/E$//.% '(1&+C'<% =**"'-/% '.)% +."/(C+/2$% 2+"&% ,0$+1+'.$% =(*,% "&'"% /('% S% +.1<0)+.-% H*<<9%]'("*.B%2+"&%!"#$%&'(%=/'"0(+.-%*./%*=% the final interviews the country singer gave ?/=*(/% &/(% >'$$+.-% +.% M0-0$"% aKaJ:% 5<'1I% $>*I/%'?*0"%2&'"%'.%&*.*(%+"%2'$%"*%$>/'I% 2+"&%&/(B%$'9+.-B%OZ&/%2'$%,'.'-/)%?9%Z'.)9% 4'<<+.B%'%-'9%,'.B%'.)%$&/%"'<I$%'?*0"%2&'"% '.%')C'."'-/%+"%2'$%"*%&'C/%'%-'9%,'.'-/(%'"% "&/%"+,/:%!"%2'$%(/'<<9%,*C+.-%"*%&/'(%"&/%+.E "/(C+/2B%?/1'0$/%$&/%$0>>*("/)%3456%>/*></% C/(9% /'(<9% *.`!% "&+.I% 2/% *2/% &/(:% !"% 2+<<% ?/% very hard to find someone to fill her shoes.”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that they were fighting for them. Fighting for "&/,%"*%&'C/%'%?/""/(%<+=/:P !"#$% '% ,/$$'-/% "&'"% >/*></% <+I/% V'(10$% .//)%"*%&/'(B%'.)%+"#$%*./%"&'"%H0$"+.%-+C/$%"*% '0)+/.1/$%2+"&%/C/(9%$*.-B%$+.-</B%'.)%.*"/% *=%!"#$%&'(. !"#$% &'(% >(/,+/(/$% *.% @/C(9% *.% Z/>"/,E ?/(%aK"&B%aKaJ:
SUNDAY, OCTOBER 4 ORPHEUM THEATRE
GET TICKETS AT BESTINDRAGSHOW.COM
ALL PROCEEDS BENEFIT
MUSIC
19DD!&?<B!EAF>D!G>@HADDA9B!I9@!JK>>@!L9;!MA:8!B>M!<?NKH4! !"#$%&'()*(+,-,.%./ The non-binary sensation opens up about their country disco album By CHRISTIAN CINTRON !"# $# %&%'(%$)*# +,)"&%.#/&""#!0$%#("#$#1,%2,)# ',%2,)# $%2# 3)$%"4,%2,)5# 67,*8),#')(%1(%1#37$3#"+()(3# 3&# 9:"(4# ;(37# 37,()# %,;# 4&:%3)*-2("4&#$0':9.#!"#$% &'() *(+,-,.$./) ),0,$",2# &%# !:1:"3#<=375#>,".#*&:#),$2# 37$3# 4&)),430*?# $# '0,%2# &@# country music and disco?!? A67("# $0':9# ("# 9*# 0&B,# 0,33,)# 3&# C:,,)# D&*5# !@3,)# *,$)"#&@#;)(3(%1#7,$)3'),$E# ballads and trying to fit into $# '&F.# G# ;$%3,2# 3&# 4),$3,# "&9,37(%1# 37$3# 4,0,')$3,"# 37,# 7,$0(%1# +&;,)# &@# 9:"(4.#@),,2&9#&@#,F+),""(&%.# ROSS ALAN!!7/89:9!*;!1<=8>?!.<@:ABC $%2# ,F("3(%1# :%$+&0&1,3(4$00*H#$00#37(%1"#G8B,#"3):110,2#;(37#(%#37,#+$"35I#!0$%#"$*"#&@#37,# album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ow would you describe the vibe of the new album? 67,#$0':9#("#4&:%3)*#2("4&.#(%#0(%,#;(37#37("#;&)02#G89#':(02(%15# 67$38"#37,#')$%2.#$%2#G89#+:"7(%1#37$3#(2,%3(3*5#N:3#(%#37,#0$"3# 4&:+0,#&@#2$*"#"(%4,#(3"#),0,$",.#G89#),$0(O(%1#37,#B(',#("#$0"%("# "&)3#&@#":%",3#&)#3;(0(173#$0':95#0,'#)1',,#(# (2020) was defi%(3,0*#%(173.#$%2#2(3('4-$,. (2023) was definitely sunrise. G#@&:%2#37,#3;(0(173#9,3$+7&)#;&)E"#3&#,9+7$"(O,#37,#2:$0(3*# &@#37,#$0':95#67,),#("#2$*#$%2#%(173#&%#(35#G38"#37$3#";,,3#3(9,# )(173#',3;,,%#2$*#$%2#%(173#;7,),#37,#D&*#$%2#C:,,)#",),%(3*# &@#37,#":%",3#9,,3"#37,#9("47(,B&:"#$%2#47$&3(4#@:%#&@#37,#,B,%(%15#G38"#"&%(4$00*#2$%4,-*.#':3#(38"#$0"�*)(4$00*#2,,+5#P&#(@#*&:# ;$%%$#@,,0#37(%1"#$%2#"7$E,#$"".#37("#$0':9#("#@&)#*&:Q !"#$%&'()'*+,+-$-!"#!#$%&!'(!')'*"(+!('),-!./0!1"1!2/$! come up with it? G#4$9,#:+#;(37#37,#%$9,#(%#<R<<#(%#37,#+:)":(3#&@#3)*(%1#3&# %$9,#37,#@,,0(%1#9:"(4#4$%#1(B,#*&:#;7,%#37,#%&3,#&)#0*)(4"#7(3# D:"3# )(1735# 67&",# 1&&",':9+"# *&:# 1,3# @)&9# 37$3# +0,$":),# $),# 4$00,2#5+$66,., which is a French word. N,4$:",#G#$9#%&3#S),%47.#G#;$%3,2#37,),#3&#',#$#3,)9#G#4&:02# :3(0(O,#',4$:",#(3#;$"#":47#$#'(1#+$)3#&@#9*#,F+,)(,%4,#;(37#9:"(45#>&:#@,,0#B$0(2$3,2#$%2#4&%%,43,2#3&#"&9,37(%1#'(11,)#37$%# *&:)",0@#E%&;(%1#$#9:"(4($%#,F+,)(,%4,2#;7$3#*&:#2(2.#),1$)2less of how small or large the feeling. G38"#$#0(330,#'&&"3#&@#",)&3&%(%.#':3#(38"#%&3#D:"3#+7*"(4$05#G38"#,9&tional and connective; it’s, you guessed it: audible! I tried “Music
P,)&3&%(%I.#A/&2,&#P,)&3&%(%I#$%2#AP&%(4#P,)&3&%(%I#$%2#%&37(%1#@,03#C:(3,#)(173#:%3(0#A!:2('0,I#4)&"",2#9*#37),"7&025#!%2#3&# ),-),@,),%4,#S),%47?#B&(0$Q 3/$(452!)$#"%!'(1!1"#%/!'5,!'!0"61!%/)7/-!8&'4!95/)94: ed you to unite the two? !3#37,()#4&),.#37,*#$),#'&37#$'&:3#4&%%,43(&%.#;7(47#;,#2&# $"#C:,,)#7:9$%"#;7,%#;,#",,E#&:)#47&",%#@$9(0(,"5#T&:%3)*# 9:"(4#3,00"#"3&)(,"#$'&:3#&:)#7:9$%(3*5#G89#@)&9#U7(&5#T&:%3)*#("# ;7&#G#$9#$3#9*#4&),.#$%2#G#)$%#@)&9#(3#@&)#"�&%1#',4$:",#G#2(2%83# want to live in that box. It felt so obvious. I decided to stop running and wanted to figure out how to 2&#(3#&%#9*#&;%#3,)9"5#P(%4,#2,4(2(%1#3&#+:)":,#37(".#G8B,#',,%# 2)$;%#3&#'&37#1,%),"#(%#":47#$#'$0$%4,2#;$*5#L("4&.#(%#37,#"$9,# +&4E,3.#(%B(3,"#37,#4,0,')$3(&%#&@#37&",#"3&)(,"#37$3#4&:%3)*#3,00".# which is who I’ve grown to be as I’ve gotten older. N0,%2(%1#37,9#;$"#$#0&3#0,""#&@#$%#:+7(00#40(9'#37$%#G#,F+,43,2.# $%2#37,#:%(&%#@,,0"#"&#%$3:)$0#3	*#(2,%3(3*5#G#;$%3,2#3&#;&)E# &%# 37("# :%(&%# "&# +,&+0,# 4&:02# @,,0# ,B,)*37(%1# ;(37&:3# 1,33(%1# "3:4E#(%#37,#7,$B(%,""5#>&:#4$%#,F+,)(,%4,#7,$)3'),$E.#+)&4,""# hope, render nostalgia, find love, and still dance. ;#!4&"#!2/$5!.+/--' era? !"#$#0(330,#9&%"3,).#G#0&B,#37,#),@,),%4,#$%2#4&%"(2,)#(3#$#7:1,# 4&9+0(9,%3.#':3#%&5#G#37(%E#V$1$#:",2#4&:%3)*#$"#$#B,7(40,#3&# deliver that specific body of work that could not have been driv,%#(%#$%*#&37,)#4$)5#G38"#$%#(%4),2('0,#$0':9.#$%2#37,),#("#9:47# $'&:3#(3#37$3#G#$29(),5#N:3#"7,#"3,++,2#2&;%#$%2#&:3#&@#37$3#,)$# and hung up her cowboy hat shortly after its release. Mine is here to stay. Country, which I’ve been avoiding forever, has finally found its way home to me, and I’m not going any;7,),#$%*#3(9,#"&&%5 I can’t not ask you about the loss of Dolly Parton... G38"# $# 3)$1,2*5# P7,# ;$".# 3&# %&# ":)+)(",# $"# $# 4&:%3)*# $)3("3.# $# 1),$3# "&:)4,# &@# (%"+()$3(&%# @&)# 9,# $%2# "&9,&%,# G# 1),$30*# ),"+,43,25#W,)#0&""#("#+)&@&:%2#(%#$#;$*#G#37(%E#;,#B,)*#",02&9# see a loss like this. G#7,$)2#$'&:3#(3#37)&:17#$#1)&:+#&@#@)(,%2"#$%2#1&3#&%0(%,.#$%2# ,B,)*&%,#;$"#+&"3(%1#$'&:3#(35#G#2	,$%#,B,)*'&2*5#X7(47#("#"&# )$),#3&#',#37,#3*+,#&@#1,%,)$3(&%$0#$)3("3#37$3#3&:47,"#,B,)*#"(%10,#+,)"&%5#P7,#;$"#(%@,43(&:"0*#+&"(3(B,.#"7(%*.#$%2#10$9&)&:"# (%#37,#"$9,#;$*"#G#3)*#3&#',5#M&"(3(B(3*#$%2#,9+$37*#$%2#E(%2ness? They work. 67,),#("#$#),$"&%#%&3#$#"&:0#&%#,$)37#2("0(E,2#7,)5#!%2#G#;("7# ,B,)*&%,# ;&:02# 3$E,# %&3,"5# >&:# 4$%# ',# E(%2# $%2# 4$9+*# $%2# @:%%*#$%2#",F*#$%2#*&:)",0@5#P7&:02#;,#47$%1,#37,#$4)&%*9#3&# XXLMLY#X7$3#;&:02#L&00*#M$)3&%#2&Y Why is queer joy so important right now? G#9,$%.#0&&E#$)&:%25#X,#$),#0(B(%1#(%#:%+),4,2,%3,2#3(9,"5# The world is heavy, and I personally find all of the tragedy and 4&%"3$%3#'$2#%,;"#3&#',#2)$(%(%15#G#&+,)$3,#;(37#"	:47#,9+$37*.#$%2#G#$9#@)&O,%#'*#37,#),$0(3*#37$3#G#$9#&%0*#&%,#+,)"&%.#$%2# G#4$%#&%0*#2&#"	:47#;(37#9*#3(9,5#P&#G#47&&",#3&#"+,%2#37$3# 3(9,#),9(%2(%1#&37,)"#37$3#D&*#("#B(3$05#G#E%&;#(3#"&:%2"#0(E,#37,)-
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$+*.#':3#C:,,)#D&*#("#B(3$05#G#;$%3#&37,)"#3&#E%&;#(38"#&E$*#3&#@,,0# 7$++(%,"".#3�,3#1&&2#37(%1"#(%5#Z"+,4($00*#2:)(%1#37("#+$)3(4:0$)# $0':9#4*40,.#D&*#@&)#9,#;$"#$%#&++&)3:%(3*#3(B,#9*",0@#+,)9(""(&%5#G3#;$"%83#$'&:3#2,%($0#&@#),$0(3*H#(3#;$"#$'&:3#),"("3$%4,# 3&;$)2"#$#',33,)#;&)025 8&'4!1/!2/$!0'(4!9,/96,!4/!<,,6!0&,(!4&,2!6"#4,(!4/!2/$5! music? G#;$%3#+,&+0,#3�,$B,#@,,0(%1#(%"+(),2#$%2#9&),#37,9",0B,"5# 67,),# $),# "&# 9$%*# ):0,"# $%2# ,F+,43$3(&%"# (%# 37,# ;&)02# )(173# %&;5#G#;$%3#9*#9:"(4#3&#@,,0#0(E,#$#+,)9(""(&%#"0(+#@&)#+,&+0,#3&# ;,$)#;7$3#37,*#;$%3.#"$*#;7$3#37,*#@,,0.#$%2#,F+,)(,%4,#37,()# ,9&3(&%"#;(37&:3#),9&)",5#G#37(%E#37,#;&)02#%,,2"#9&),#,9+$37*#-#@:00#"3&+5#G@#9*#9:"(4#4$%#7&02#"+$4,#@&)#37,#+,&+0,#7,$)(%1# (3#3&#@,,0.#0&B,.#$%2#4$),#9&),Y#67,%#G800#',#$#B,)*#7$++*#9:"(4($%5 Who are some of your music inspirations? My influences are wide, and that’s probably why my music is too. I grew up loving so many different artists, and all of them find their way into my work. Country artists like Dolly Parton, Shania Twain, Alan Jackson, Orville Peck, and Kacey Musgraves. L("4&#$)3("3"#0(E,#!NN!.#37,#N,,#V,,".#T7$)0,*#M)(2,.#$%2#L&%%$# Summer. U@# 4&:)",.# 9*# (%"+()$3(&%$0# +&+# 1()0(,"# 0(E,# T7$++,00# /&$%.# Britney Spears, Gaga, Taylor Swift, and Halsey. But I also find inspiration from artists I know and respect: Adam Mac, Cornelius Versa, Zee Machine, Cain Culto, and so many more. Music is in 9*#'0&&2.#$%2#37,#9&9,%3#G#7,$)#;7$3#"&9,&%,#,0",#("#2&(%1.# (38"#$#),9(%2,)#3	,#37$3#0(@,#4$%#',#0&%1#$%2#@):(3@:0.#$%2#G#7$B,# $#0&3#&@#3(9,#$7,$2#&@#9,#3&#,F+0&),#1,%),-',%2(%1.#4&00$'&)$3(&%.#$%2#,F+),""(&%5 Okay, besides inspirations, who is your definitive diva? As "(=!0&"%&!<,)'6,!>/%'6"#4!"(#9"5,#!2/$!/(!'!95/</$(1!6,>,6? V$1$#("#),$00*#9*#%:9',)#&%,5#P7,#:%0&4E,2#"&9,37(%1#(%#9,# $3#$#*&:%1#$1,5#P7,#E(%2#&@#1$B,#9,#37,#+,)9(""(&%#G#",,E#3&# 1(B,#&37,)#+,&+0,#%&;#;(37#7,)#4),$3(B(3*.#;)(3(%1.#E(%2%,"".#$%2# compassion. P7,#),9(%2"#9,#;,#"7&:02#$(9#@&)#,F4,00,%4,.#;&)E#7$)2,).# $%2#',0(,B,#(%#37,#$)3#;,#9$E,5#G%#$#;$*.#G#@,,0#0(E,#"7,#')&E,#37,# 4&2,5#[(E,#"7,#;$"%83#":++&",2#3,3#+$"3#37,#'$))(,).#',(%1#37,# ;$*#"7,#("#$%2#2&(%1#;7$3#"7,#2&,"#$%2#2(25#P7,#9$2,#(3#$1$(%"3# $00#&22"5#P&#G#4),$3,#%&;.#E%&;(%1#37$3#37,),#("#$0;$*"#$#47$%4,# 3%,#"$9,5#N:3#(%#9*#&;%#;$*5 Any exciting live performances and events coming up? Absolutely! I’m performing my new record for the first time $3#N&&93&;%#N),;,)*#&%#P,+3,9',)#\37#;(37#9*#@:00#'$%25#G89# "&#,F4(3,2#3&#+0$*#"&9,#&@#37,",#%,;#3)$4E"#0(B,5#!%2#37,%#G#D:"3# 1&3#'&&E,2#3,$20(%,#$3#U)$%1,#T&:%3*#M)(2,#(%#U43&',).#"&# G89#&B,)#37,#9&&%#$'&:3#37$3Q#!%2#0$"30*.#G#7$B,%83#$%%&:%4,2# 2,3$(0"#*,3.#':3#G89#1&(%1#&%#3&:)#@&)#]#;,,E"#(%#U43&',).#^&B,9',).#$%2#L,4,9',)#;(37#37("#),4&)2#$%2#4$%%&3#;$(3#3$E,#_=# domestic American cities by storm! The album is available to stream on Spotify, Apple Music, and 9&"3#10&'$0#"3),$9(%1#2("3)(':3(&%#",)B(4,"5
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&>>!8L@!MG@@:!8L;<E7!8?!N98FL!8L;7!I9>> Andrew Scott, a new ‘Traitors,’ and plenty of horror By JOHN PAUL KING !"#$%&''$(#&()*$+($,&-#'.$/0)*$/(1$&*2$&'-#&2.$3"#$45/(36(##7$ 8/##-$5)9+#($&*2$("):($&-#$'#&0+*;$)/3$)%$3"#$;&3#<$!"#$*#=3$3:)$ months offer a hearty lineup of big screen and streaming options, :+3"$()5#3"+*;$%)-$#9#-.$3&(3#<$>"#3"#-$.)/?-#$&$%&*$)%$0-#(3+;#$ drama, campy horror, “reality” TV, or just a fan of culturally rele6 vant entertainment in general, you’ll definitely find some titles to pick from in our annual rundown below; and if you don’t want to choose, don’t worry: We won’t judge you if you watch them all. Monster: The Lizzie Borden Story (Netflix, 9/17) @.&*$A/-6 phy starts the countdown to Halloween a little early with a new +*(3&''5#*3$)%$"+($&':&.(62+(3/-,+*;$B,/3$)"6()6#*3#-3&+*+*;C$&*6 3")');.$(#-+#($&,)/3$*)3)-+)/($-#&'6'+%#$5/-2#-#-(1$&*2$3"+($3+5#$ he takes us back to one of the most notorious of all. Ella Beatty plays the legendary 19th-century woman who (allegedly) “took an axe” and whacked her mother and father to death with it. Lesbian rumors have long been part of the subtext around the case, so expect a focus there — but given that it’s the series’ first time cen6 tered on a woman, and that show creator Ian Brennan includes side-trips into the stories of famous female serial killers from both before and after Lizzie’s day. Vicky Krieps, Charlie Hunnam, Jessica Barden, Billie Lourd, and Sarah Paulson also star. !"#$!%&'()%*+$,#-$./))0 (NBC/Peacock, 9/17) !"#$0)0/'&-$ reality competition show, in which actor (and queer icon) Alan Cumming presides over a cutthroat game of intrigue and elimi6 nation in a Scottish castle, makes its return – but this time, in a new iteration that features non-celebrity contestants, Otherwise, it promises to offer more of the same delicious deception and Ma6 chiavellian manipulation that fans have come to love. Black Church Bay (Theaters, 9/25) “Heartstopper” star Joe Locke is set to make a splash on the big screen opposite Tom Cul6 '#*$+*$3"+($,-))2+*;$5.(3#-.$3"-+''#-$&($&$;&.$(3/2#*3$:")(#$2+(6 appearance stirs up long-buried secrets in a small Welsh coastal village. First-time writer/director Rhys Marc Jones says it “explores 3"#$'#*;3"($()5#$0#)0'#$:+''$;)$3)$+*$)-2#-$3)$"+2#$3"#+-$3-/#$(#'%17$ so be ready for a dark tale of secrets and lies. American Horror Story: 13 (FX/Hulu, 9/25) @.&*$A/-0".$+($ ready, as usual, to hit the fall season with a “one-two” punch, and the second punch is the 13th season of his venerable, campy, and extremely queer horror anthology, which brings back beloved alumni from seasons past (yes, even Jessica Lange) in the roles they originally played. Since a good number of those characters were dead the last we knew of them, seeing how the show man6 ages to bring them all back is itself enough reason to make this landmark installment – which also features Sarah Paulson, Angela Bassett, Kathy Bates, Evan Peters, Emma Roberts, Billie Lourd, and even the Pope of Trash, John Waters himself – required viewing for a whole legion of queer pop culturistas with a taste for the ma6 cabre. 1&*($)2$10#3 (Netflix, 10/1) D&*($)%$3"#$'&3#$,+(#=/&'$"#&-36 throb James Dean clearly remember the 1955 film version of John Steinbeck’s classic novel, but that movie only told the second half of the story. This new limited series adaptation (from Zoe Kazan, granddaughter of Elia Kazan, director of the original film) takes advantage of a seven-episode running time to take on the entire novel from the beginning. The saga of a broken family in the Sali6 nas Valley, it sprawls over the first two decades of the 20th centu6 ry to document the struggles of a wealthy landowner whose wife abandons him to become a brothel madam after giving birth to his twin sons; following the boys as they grow up and apart, it mir6 rors the Biblical story of Cain and Abel, exploring the dynamics of
a family haunted by the shadow of an “original sin” – and wheth6 er or not they are doomed to be defined by it. No directly queer content here, perhaps, but the direct family tie to a cinema classic (plus the presence of queer fan favorite Florence Pugh as Cathy, 3"#$(3)-.?($%&,/')/('.$5)*(3-)/($5)3"#-C$;+9#($+3$&*$&00#&'$3"&3$ feels like must-see TV, anyway. Tip Toe (STARZ, 10/2) This taut UK miniseries from “Queer As Folk” creator Russell T. Davies has already been a critically lauded sensation in its home country, making its U.S. premiere an event worth putting on your calendar. Alan Cumming stars as a gay bar owner who is forced to face the shifting cultural tide when online homophobia begins to turn his once-friendly neighbor (David Morrissey) into a deadly enemy. A grim psychological thriller for an increasingly unsettling time, it’s bound to strike a chord with queer viewers who remember an era when “the closet” was the safest place to be – and with those who fear its return. Street Fighter (Theaters, 10/6) It might seem as if a mov6 ie based on a 1980s video game would have limited appeal for anyone who isn’t a Gen-X “gaymer” who remembers when it cost 25 cents a pop to be one – but this reboot of the film franchise that sprung from it in 1994 is also the screen debut of gay coun6 try-western heartthrob Orville Peck, who appropriately takes on the role of Vega, a fighter who always wears his mask. It also stars Noah Centineo, David Dastmalchian, and Jason Momoa, among )3"#-(<$ Carrie (Prime Video, 10/7) Horror fans may have mixed feel6 ings about this new eight-part miniseries based on Stephen King’s much-adored seminal novel, given that the popular 1976 film adaption has endured as the definitive version – something that proved a factor when filmmaker Kimberly Pierce’s 2013 remake failed to win over fans. Even so, this retelling (featuring Summer H. Howell as the troubled teen title character and Samantha Soy6 en as her overbearing and increasingly unhinged mom) comes from horror maestro Mike Flanagan (“Oculus,” “The Haunting of Hill House,” “Midnight Mass,” “Dr. Sleep”), who has already proven himself as a director of King’s work and comes to the project with a considerable fan base of his own. Either way, given its release less than a month before Halloween, we know all you horror fans – queer and otherwise – will be binge-watching it honor of the hol6 +2&.< It Gets Worse (UK Channel 4, 10/14) American audiences might have to wait a few months – unless they have access to Britain’s “public access” network Channel 4 – but we’re putting it on our list anyway, mostly because of the presence of premier gay thespian Andrew Scott, whose role as a therapist has already sparked frenzy over a line in the trailer about his patient being “just a hole for daddy.” Consider all of us intrigued, to say the least. Sense and Sensibility (Theaters, 10/16) !"#$ 5&3#-+&'$ +3(#'%$ may not be particularly queer, but this new screen adaptation of the classic Jane Austen novel – like anything related to Jane Austen – has queer appeal, anyway. That’s especially true when it comes from lesbian filmmaker Georgia Oakley (“Blue Jean”), who will surely highlight all the reasons why Austen (or any other source for this kind of lush period costume romance) has queer appeal, no matter what. Stars include Daisy Edgar-Jones, Catriona Balfe, George MacKay, and Fiona Shaw. Klara and the Sun (Theaters, 10/23) Adapted from the 2021 novel by Kazuo Ishiguro, this dystopian fantasy from New Zealand filmmaker Taika Waititi (“What We Do in the Shadows,” “JoJo Rab6 bit”) may not be directly queer-centric, but its story of an “artificial
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friend” (Jenna Ortega of “Wednesday” fame) who strives to save the sickly child for whom she has been purchased will surely reso6 nate with queer audiences, evoking themes of otherness, societal disconnection, and simple empathy that transcends the imposed boundaries of what it means to be a conscious being in a world to which you can never truly belong. Amy Adams, Steve Buscemi, and Natasha Lyonne also star. Club Kid (Theaters, 11/6) A new big-screen offering from gay actor/creator/personality Jordan Firstman (“Rotting in the Sun,” “The English Teacher”), who makes his feature directing debut with this comedy-drama about a washed-up party promoter whose career woes suddenly take a back seat when he is charged with the care of a 10-year-old son (Reggie Absolom) he never knew he had. This one premiered in the “Un Certain Regard” session at this year’s Cannes Film Festival, where it received a glowing response, and has won praise for its candid and non-judgmental depiction of underground queer nightlife and the people who find commu6 nity there. Also starring Cara Delevingne, Kirby Howell-Baptiste, Colleen Camp, Vicki Pepperdine, Nigil Whyte, Eldar Isgandarov, Saturn Risin9, Miss Benny, Alaska Riley, and Diego Calva. Yellowjackets, Season 4 (Showtime, 11/22) !"#$%)/-3"$B&*2$ final) season of this acclaimed Ashley Lyle/Bart Nickerson-created series (the second-most-streamed in Showtime’s history) is on its way into your living rooms, bringing to a close its tangled saga of a group of teen girls forced to survive in the wilderness after a plane crash, and their struggle to repair their damaged lives as adults 25 years later. It’s been a tale full of mysteries, secrets, shocks, &*2$3:+(3(1$()$+%$.)/?-#$&$%&*1$.)/?-#$0-),&,'.$#&;#-$3)$;#3$()5#$ answers at last awaiting the answers – but don’t be surprised if this devilish show throws a few more curves your way before it finally delivers them! Melanie Lynskey, Tawny Cypress, Christina Ricci, Sophie Nélisse, Jasmin Savoy Brown, Sophie Thatcher. Sam6 mi Hanratty, and Warren Kole all return, with Hillary Swank, Elijah Wood, June Squibb, and Molly Ringwald along for the ride in re6 curring roles. Elsinore (Theaters, 11/20) Andrew Scott reappears on our list as the star of what seems to be the most-anticipated movie of the season, a biographical drama about the last days of gay British actor Ian Charleson (“Chariots of Fire”), as he prepares for the lead role in a National Theatre production of “Hamlet” while secretly dying of AIDS. Scott’s performance as Charleson has been showered with raves, and so has that of Olivia Colman as the doctor who helps him get through the ordeal of rehearsing theater’s most demanding role while suffering from the symp6 toms of his disease. Director Simon Stone collaborated closely with both Scott and screenwriter Stephen Beresford in develop6 ing what was for them a deeply personal project, which explores the challenges of being queer but closeted in the public eye while emphasizing the ability of art and self-expression to empower us 4&;&+*(3$3"#$('+*;($&*2$&--):($)%$)/3-&;#)/($%)-3/*#7$#9#*$/*3)$ the very end. Yes, it sounds like a downer, but the reports from 3")(#$:")$(&:$+3($0-#5+#-#$&3$3"#$!#''/-+2#$D+'5$D#(3+9&'$#&-'+#-$ this month assure us otherwise. The ensemble supporting cast includes Billie Piper, Johnny Flynn, Juliet Stevenson, Joe Locke, Pe6 ter Mullan, Georgie Glen, and David Dawson as pioneering queer filmmaker Derek Jarman, a friend of Charleson’s who was also lost to AIDS.
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