Brazilian police have arrested two people who allegedly sought to detonate explosives at a free Lady Gaga concert that took place on Rio de Janeiro’s Copacabana Beach on Saturday.

The Associated Press reported Felipe Curi, a spokesperson for the city’s Civil Police, told reporters the men who authorities arrested hours before the concert took place wanted to target LGBTQ+ Brazilians. Civil Police Chief Luiz Lima said the men posted hate speech and violent content online “aimed at gaining notoriety in order to attract more viewers, more participants — most of them teenagers, many of them children.”

“They were clearly saying that they were planning an attack at Lady Gaga’s concert motivated by sexual orientation,” said Cury, according to the AP.

An estimated 2.5 million people attended the concert.

A Lady Gaga spokesperson told the AP the singer learned about the threats on Sunday from media reports.

“Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risks,” said the spokesperson. “Her team worked closely with law enforcement throughout the planning and execution of the concert and all parties were confident in the safety measures in place.”

Lady Gaga in an Instagram post thanked her Brazilian fans.

“Nothing could prepare me for the feeling I had during last night’s show — the absolute pride and joy I felt singing for the people of Brazil,” she wrote. “The sight of the crowd during my opening songs took my breath away. Your heart shines so bright, your culture is so vibrant and special, I hope you know how grateful I am to have shared this historical moment with you.”

“An estimated 2.5 million people came to see me sing, the biggest crowd for any woman in history. I wish I could share this feeling with the whole world — I know I can’t, but I can say this — if you lose your way, you can find your way back if you believe in yourself and work hard,” added Lady Gaga. “You can give yourself dignity by rehearsing your passion and your craft, pushing yourself to new heights — you can lift yourself up even if it takes some time. Thank you Rio for waiting for me to come back. Thank you little monsters all over the world. I love you. I will never forget this moment. Paws up little monsters. Obrigada. Love, Mother Monster.”

An estimated 1.6 million people attended Madonna’s free concert on Copacabana Beach last May.

‘When the Harvest Comes’
By Denne Michele Norris
c.2025, Random House
$28/304 pages

Happy is the bride the sun shines on.

Of all the clichés that exist about weddings, that’s the one that seems to make you smile the most. Just invoking good weather and bright sunshine feels like a cosmic blessing on the newlyweds and their future. It’s a happy omen for bride and groom or, as in the new book “When the Harvest Comes” by Denne Michele Norris, for groom and groom.

Davis Freeman never thought he could love or be loved like this.

He was wildly, wholeheartedly, mind-and-soul smitten with Everett Caldwell, and life was everything that Davis ever wanted. He was a successful symphony musician in New York. They had an apartment they enjoyed and friends they cherished. Now it was their wedding day, a day Davis had planned with the man he adored, the details almost down to the stitches in their attire. He’d even purchased a gorgeous wedding gown that he’d never risk wearing.

He knew that Everett’s family loved him a lot, but Davis didn’t dare tickle the fates with a white dress on their big day. Everett’s dad, just like Davis’s own father, had considerable reservations about his son marrying another man – although Everett’s father seemed to have come to terms with his son’s bisexuality. Davis’s father, whom Davis called the Reverend, never would. Years ago, father and son had a falling-out that destroyed any chance of peace between Davis and his dad; in fact, the door slammed shut to any reconciliation.

But Davis tried not to think about that. Not on his wedding day. Not, unbeknownst to him, as the Reverend was rushing toward the wedding venue, uninvited but not unrepentant. Not when there was an accident and the Reverend was killed, miles away and during the nuptials.

Davis didn’t know that, of course, as he was marrying the love of his life. Neither did Everett, who had familial problems of his own, including homophobic family members who tried (but failed) to pretend otherwise.

Happy is the groom the sun shines on. But when the storm comes, it can be impossible to remain sunny.

What can be said about “When the Harvest Comes?” It’s a romance with a bit of ghost-pepper-like heat that’s not there for the mere sake of titillation. It’s filled with drama, intrigue, hate, characters you want to just slap, and some in bad need of a hug.

In short, this book is quite stunning.

Author Denne Michele Norris offers a love story that’s everything you want in this genre, including partners you genuinely want to get to know, in situations that are real. This is done by putting readers inside the characters’ minds, letting Davis and Everett themselves explain why they acted as they did, mistakes and all. Don’t be surprised if you have to read the last few pages twice to best enjoy how things end. You won’t be sorry.

If you want a complicated, boy-meets-boy, family-mess kind of book with occasional heat, “When the Harvest Comes” is your book. Truly, this novel shines.

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

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.

Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.

Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.

Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.

Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it

That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.

Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.

As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.

But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.

Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.

That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.

Queer poetry is well and alive in Los Angeles as OUTSpoken Verse, an evening of poetry, music, open mic and more, comes to The Wild in West Hollywood.

Taking place on Wednesday, April 30, the evening will begin with a writing workshop from 7 p.m. to 8 p.m., with an open mic session for the remainder of the evening. There will also be a special book reading and signing by author Manuel Betancourt.

The Wild, the little club that could, continues to make a name for itself and despite its compact size, hosts a variety of dynamic events that represent many under-sung facets of the queer community. Tod Hallman and Joseph Soto — the masterminds behind many of these events — are on a mission to fill the venue by expanding on the view of who a typical WeHo club go-er is.

OUTSpoken is hosted by Brian Sonia-Wallace, who served as the City of West Hollywood’s 4^th Poet Laureate — will highlight the thriving, queer spoken, word L.A. community.

Tongue Tied, the last event hosted by Sonia-Wallace, featured some of the top queer poets and authors from around the nation. The evening was hosted at Precinct DTLA to a standing room only crowd. One of the only positives from the nation’s social and political climate towards queer folk is the fire that it has ignited as art and literature continue to be the community’s most powerful weapons.

We talked to promoters Hallman and Soto about OUTSpoken and how The Wild continues to represent the diversity of queer Los Angeles.

How did you get into the nightlife scene?

Hallman: My background is rooted in fashion and fashion event production—curating experiences where creativity, style, and storytelling intersect. (Soto) I come from a background of creating brands and shaping how people experience them. As a creative, I specialize in branding, marketing, and experiential activations, with a focus on building authentic connections between people, ideas, and culture. (Tod/Joseph) Believe it or not, we’re neighbors, and through casual conversations while walking our dogs, we realized we shared a passion for building community. That’s how Viberocity was born: out of a desire to create intentional, welcoming spaces where art, fashion, culture, and self-expression collide, and where everyone feels part of something meaningful.

What do you love most about queer nightlife in Los Angeles?

Hallman: Los Angeles is a city defined by its diversity, and that’s especially true within its queer community. The beauty of queer nightlife here is that it holds space for so many different stories, identities, and creative expressions. Every night offers an opportunity to celebrate that diversity.

What sets The Wild apart from other venues in West Hollywood?

Hallman: As event producers, Joseph and I recognize that what truly sets The Wild apart is the communication and support we receive from its owner, Bryan Patrick Franklin. Bryan understands the importance of offering diverse, inclusive events to the community. Some of the experiences we bring to the space include Laugh Out Proud, Purely Wild, The Last Disco, and OUTSpoken Verse. That level of collaboration and support is rare, and it’s why The Wild feels like home for so many of these events. 

What is most important to The Wild in putting on an evening?

Hallman: The Wild truly understands that in today’s world, it’s not enough to simply host an event… you have to create an experience that resonates emotionally with people. Every Viberocity event we produce here is built around that idea: that when you bring together intention, creativity, and community, something meaningful happens. Events like Purely Wild grew directly from listening to what the community was asking for: a vibrant, safe space where people could enjoy crafted mocktails and connect without the expectation of alcohol. The Wild helped us bring that vision to life.

What are the biggest challenges in promoting nightlife in WeHo? How have you overcome those challenges?

Hallman: When I first moved to West Hollywood in the mid-80s, the Rainbow District had about six bars. 

Soto: Now, with more than 17 bars and countless event options, plus the rise of social media, people have limitless choices every night. As event producers, it challenges us to go deeper. When you create something with real heart, the right audience finds you, and they come back. 

You’re bringing poetry to WeHo with OUTSpoken Verse. What can attendees expect from the evening?

Soto: OUTSpoken Verse is truly one-of-a-kind because no two events are ever the same. Every night, there’s an electric unpredictability that makes the experience so special. Our core group of OG poets anchors the evening, but it’s the new voices, the open mic participants, who bring a freshness and vitality to the space. It’s a celebration of raw expression, courage, and artistry. Attendees can expect to leave feeling inspired, moved, and connected to something greater. 

View this post on Instagram

A post shared by THE WILD (@thewildweho)

What do you love most about open mic nights?

Hallman: Coming from a background in acting and dance, I find it thrilling to see artists step into the spotlight, many for the very first time. Providing a space for them to express themselves creatively is deeply rewarding. [Joseph] I love the spontaneity of it. Every artist brings their own style and energy to the mic, making each OUTSpoken night a completely unique experience. 

Why are poetry and music in queer culture so important right now?

Hallman: With everything happening in the world—and within the LGBTQ+ community in particular—spaces for expression, solidarity, and support are more important than ever. Poetry and music allow us to share our stories, our emotions, and our resilience in powerful ways.

Manuel Betancourt is stopping by OUTSpoken Verse. What do you love most about his work?

Soto: We rely on the expertise of our OUTSpoken host, Brian Sonia-Wallace, to bring us artists who are a great fit for the evening. When Brian introduced us to Manuel Betancourt’s work, we were excited. His voice and storytelling are a perfect addition to the energy of the night, and we’re thrilled attendees will have the opportunity to hear him read and purchase copies of his book, Hello Stranger. 

What else can we expect from your events at The Wild in the future?

Soto: While we can’t reveal too much just yet, we’re working on a large-scale activation that will bring a wide range of experiences together to celebrate culture and community in a new way. 

What is your message to the WeHo nightlife community?

Hallman & Soto: Our message is simple: we see you, we celebrate you and we’re here to create spaces where you can truly belong. In a city with endless options, it means something special when people choose to come together to share music, creativity and connection at one of our events. 

OUTSpoken Verse is produced by Viberocity partners, Tod Hallman and Joseph Soto.

Get your tickets for OUTSpoken

Local actor Mike Bowers is no stranger to Live Spot at Musical Mondays at The Abbey. He has been a part of the MuMo family for quite a while now, returning to the live performance spotlight several times a year. This Monday, Bowers will take the stage again for the themed night, “Aspects of Love.”

Bowers is a true man of the theatre. He has produced a number of musicals, cabarets, and plays in Los Angeles, after moving here over a decade ago. Bowers received his theatre degree from Florida State University and moved to Seattle to pursue a career in stage management. But the stage continued to call and pivoted back to his love of acting and directing.

He came to Los Angeles with no theatre contacts, working at a retail job. Fueled by his passion, he infiltrated the theatre community and hasn’t looked back since. He is the founder of Southern Bard, a theatre company that does readings of Shakespeare with Southern accents at The Roguelike Tavern in Burbank.

We caught up with Bowers as he prepares for his return to MuMo.

What first inspired you to fall in love with the stage? 

I’ve enjoyed performing ever since I was little, but it was in high school that I really started singing, and it’s been my favorite thing in the world ever since. 

You came to LA without any industry contacts, working retail. How did you become such an integral part of the LA theatre community? 

I really owe it to my friends Madelyn Hayman and Becker Grumet, who cast me in my first stage musical in LA in 2016. I found my theatre community with them, and it only grew from there. 

What do you bring to the theatre community that is unique? 

I feel like I have a really innate sense of what works and what doesn’t, and I’m not overly precious about ideas. 

You produce, act, and direct – what aspect do you enjoy doing the most? 

Nothing brings me greater joy than singing, but I think if I had to pick a forever career, it would be directing. 

What has been a favorite LA theatre project you’ve worked on so far? 

I’m really proud of the work I did with Conundrum Theatre Company while I was there, and in 2022 I directed a production of Cabaret that I wish could have run for years. 

What was your first exposure to Musical Mondays? 

Gosh, it’s been so long! I think it was through my friend Mandie Hittleman, who invited me to one when it was still at Rage (RIP).

What do you love most about performing at the Live Spot at Musical Mondays? 

It’s a great, supportive, low-pressure way to explore music and push myself vocally in a welcoming, safe space. 

What can we expect from this upcoming Musical Monday Live Spot? 

Great vocals!

What do you love most about Musical Monday audiences? 

Just how supportive they are of the entire theatre community. 

View this post on Instagram

A post shared by Mike Bowers (@bikemowers)

You are also the mastermind behind Southern Bard. Shakespeare with Southern accents? What inspired you to put the company together and was in the connection between the Bard and the South? 

There was a trend on social media of people doing Shakespeare monologues in Southern accents and I was surprised at how well the language fit in that dialect. Taking it further, many researchers believe that the Southern accent is closer to what the British accent was in Elizabethan times. We’ve found that the accent can make the language more accessible to audiences, and it’s been fun to explore that with different plays and through a queer lens.

What is your message to MuMo fans? 

Thank you for always being there! 

Los Angeles theatre audiences will next see Bowers in a unique adaptation of the classic novel, The Time Machine, at this year’s Hollywood Fringe Festival in June.

‘Shame-Sex Attraction: Survivors’ Stories of Conversion Therapy’
By Lucas F. W. Wilson
c.2025, Jessica Kingsley Publishers
$21.95/190 pages

You’re a few months in, and it hasn’t gotten any easier.

You made your New Year’s resolutions with forethought, purpose, and determination but after all this time, you still struggle, ugh. You’ve backslid. You’ve cheated because change is hard. It’s sometimes impossible. And in the new book, “Shame-Sex Attraction” by Lucas F. W. Wilson, it can be exceptionally traumatic.

Progress does not come without problems.

While it’s true that the LGBTQ community has been adversely affected by the current administration, there are still things to be happy about when it comes to civil rights and acceptance. Still, says Wilson, one “particularly slow-moving aspect… has been the fight against what is widely known as conversion therapy.”

Such practices, he says, “have numerous damaging, death-dealing, and no doubt disastrous consequences.” The stories he’s collected in this volume reflect that, but they also mirror confidence and strength in the face of detrimental treatment.

Writer Gregory Elsasser-Chavez was told to breathe in something repellent every time he thought about other men. He says, in the end, he decided not to “pray away the gay.” Instead, he quips, he’d “sniff it away.”

D. Apple became her “own conversation therapist” by exhausting herself with service to others as therapy. Peter Nunn’s father took him on a surprise trip, but the surprise was a conversion facility; Nunn’s father said if it didn’t work, he’d “get rid of” his 15-year-old son. Chaim Levin was forced to humiliate himself as part of his therapy.

Lexie Bean struggled to make a therapist understand that they didn’t want to be a man because they were “both.” Jordan Sullivan writes of the years it takes “to re-integrate and become whole” after conversion therapy. Chris Csabs writes that he “tried everything to find the root of my problem” but “nothing so far had worked.”

Says Syre Klenke of a group conversion session, “My heart shattered over and over as people tried to console and encourage each other…. I wonder if each of them is okay and still with us today.”

Here’s a bit of advice for reading “Shame-Sex Attraction”: dip into the first chapter, maybe the second, then go back and read the foreword and introduction, and resume.

The reason: author Lucas F. W. Wilson’s intro is deep and steep, full of footnotes and statistics, and if you’re not prepared or you didn’t come for the education, it might scare you away. No, the subtitle of this book is likely why you’d pick the book up so because that’s what you really wanted, indulge before backtracking.

You won’t be sorry; the first stories are bracing and they’ll steel you for the rest, for the emotion and the tears, the horror and the unexpected humor.

Be aware that there are triggers all over this book, especially if you’ve been subjected to anything like conversion therapy yourself. Remember, though, that the survivors are just that: survivors, and their strength is what makes this book worthwhile. Even so, though “Shame-Sex Attraction” is an essential read, that doesn’t make it any easier.

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

Jessica Wagstaff is the founder of Homology L.A. and most recently partnered up with The Queer 26, a nonprofit platform for QTBIPOC creatives, to produce Lez Brunch. The brunch will be hosted on May 17, from noon to 4p.m., at Sorry Not Sorry. The 4,000 sq-ft event space is a well-respected wine-forward, cocktail bar in Los Angeles that also hosts lots of other LGBTQ events, drag shows and more, throughout the year. 

Wagstaff believes it is important to not only host this event, but also to make it as safe and inclusive as possible. They have also incorporated a community outreach aspect to this event by giving back to their community by donating proceeds to non-profit and mutual aid organizations.

Everything down to the ticketing site, is queer and inclusive. 

“The ticketing website allows attendees to enter in their name which may differ from their legal name, which I think is a really important aspect right off the top of the bat, they know we care about who they are right at the start of their experience with us,” said Wagstaff. “In fact the ticketing website is the only platform that is queer owned and operated in the world, it’s called Sickening Events. So we know that it’s also benefiting our community.”

The performers are also part of the LGBTQ+ community and Wagstaff believes that by having a line-up of performers and entertainers who mirror and represent the community, it allows people to feel safe, heard and seen. 

“I’ve always been very passionate about having a lineup that directly mirrors our community from BIPOC, trans, queer, non-binary, etc,” said Wagstaff. 

Wagstaff is also a licensed security guard who says safety and security is on the top of their priorities when it comes to hosting these events. 

“I will have a code of conduct signage and training at the front door which will be promoted by wait staff, restaurant management, plus all Lez Brunch talent and staff,” said Wagstaff. 

The event will be hosted by Ruthie Alcaide who is a TV personality who has been a contestant on The Real World: Hawaii, a finalist on Battle of the Sexes and All Stars 1, and she also competed on Battle of the Sexes 2, The Gauntlet 2, and The Duel II.

Wagstaff is also working in collaboration with Camille Ora-Nicole, founder of The Queer 26 and multi-hyphenated creative. 

Ora-Nicole has been hosting events and collaborating with queer and trans BIPOC creatives across Los Angeles to bring more visibility to those marginalized communities. Her and Wagstaff agree that queer joy is the biggest form of resistance and that hosting these events during this politically polarizing time is much needed for survival and for the people in these communities to have the space to heal, gather, celebrate and network. 

To learn more about The Queer 26, visit their website.

The Los Angeles Blade kicked off its “Free Community Series” in partnership with Roar
Resistance, for a rousing discussion panel titled “Time To Get Informed, Time To
Resist” at The Abbey in West Hollywood last Saturday.

The event featured a panel of notable figures in the city’s government and queer
activism circles who spoke about how to organize and protect queer rights in the current
political climate.

The panel was moderated by Roar Resistance’s Michael Ferrera, and included West
Hollywood Mayor Chelsea Byers, former WeHo Mayor and queer activist Abbe Land,
Equality California Communications Director Jorge Reyes Salinas, Political Vice
President of the Stonewall Democratic Club, Nico Brancolini and NAACP LGBTQ
Committee Chair Chris Baldwin.

The discussion kicked off with a call by Abbe Land for participants to stay focused on
the issues that matter, despite the flood of new developments constantly coming from
the White House.

“I do think it was designed that way to keep us crazed, to keep us unfocused, to keep us
in a state of panic and fear,” said Land. “We have to look at what is happening and
where is our lane and where are we going to focus our energies and have trust that
there are other people that are focusing in other areas that need focus.”

Each of the panelists then described how the first few months of the current
administration has impacted the work they’re doing in the community and the dangers
they see on the horizon.

“I have been deeply disturbed by the elite capitulation that occurred this time around,”
Brancolini said, noting the big law firms and media corporations that have acceded to
“unconstitutional orders” and rushed to make settlements with Trump and his family.

“Frankly, I’ve been disappointed by a lot of the national Democratic leadership. I think
they treated a 1.5% plurality victory on Trump’s behalf as if it was a huge blowout, and I
think that’s a big mistake,” said Land.

Reyes Salinas pointed out that a one of the most vulnerable communities right now is
trans youth.

“The target is on their backs and the backs of their families and providers,” he said.
“Here in California, we have laws that protect them and we keep improving those, but
there’s still so much fear, and it’s important for everyone to be able understand that
these are children’s lives at stake here.”

But while there was agreement that there is much at risk at the current moment, Chris
Baldwin said this was a time to build stronger coalitions.

“I don’t live my life in fear. I am a Black woman born in the 60s, at a time when my father
when we traveled to Alabama had to step across the street to let a white man pass,”
she said. “We will get through this. Black people have lived through much worse.
Welcome to the civil rights movement. We are going to experience setbacks but we will
keep pushing forward.”

Later, Baldwin invited attendees to join the NAACP, noting that it is an interracial
organization whose membership is open to all. Chelsea Byers echoed that sentiment, noting that this moment presents an opportunity for a new generation of leaders to imagine new ways to solve society’s big problems.

“We know that people are under-resourced. We need to make education accessible to
people bring them on board, help them understand these processes and meet them
where they’re at,” she said. “We need to bring people on board. We can’t go back to
what was, because it wasn’t working. We need to activate our political imaginations in
the biggest way possible.”

When the discussion turned to what people can do to protect our rights, the panelists
focused on practical things anyone can do to help build a successful coalition for
change.

“Every day, do something. It doesn’t have to be a big thing. It might be just calling
someone to check in on them, it might be writing a letter, or calling your congressman. It
might be a passive thing,” said Land. “That moment when you think, ‘Oh my god, I can’t believe this,’ that’s when you do something, anything and it’ll propel you for the next
day.”

The panel also addressed concerns from the audience that we have to ensure that our
activism is inclusive and intersectional.

“Feminism without intersectionality is just white supremacy,” Baldwin said. “Going
forward with your coalitions, I encourage you to be intentional with your intersectionality,
not just tokenism.”

“There are some common needs that we all care about and it doesn’t matter who you
are, and that’s where we have to be. But when we’re fighting for those things, we have
to recognize there are some people who have different ideas of what that looks like, and
we have to be open to that,” said Land. Reyes Salinas added that it’s an important priority for Equality California to use its platform to lift the voices of diverse parts of the community.

“We can elevate your coalitions, your storytelling, whatever’s happening, my team can
make sure that that’s elevated to ensure that other people see you as a trusted source,”
he said.

Reyes Salinas added that Equality California offers leadership training programs for
people who want to get experience in politics and running for office.

The Los Angeles Blade is planning more community forums to discuss hot-button
issues as they arise.

If you’ve ever wondered why so many queer movies are are coming-of-age stories, it might be that you were lucky enough to go through the transition into young adulthood without having to worry about your sexual alignment or gender identity being acceptable to your family or your friends or the world at large – and if that’s the case, we are truly happy for you. That’s the way it should be for everyone.

Unfortunately, it’s not.

For many millions of queer kids, growing up is still an experience fraught with fear, shame, and very real peril, and this was true even before the current era of government-sanctioned homophobia and bigotry. It’s never been easy to become who you are when you’re surrounded by a family or community that refuses to accept who you are. It’s as near a “universal” queer experience as one can imagine in a demographic as diverse as ours, and it reinvents itself with each new generation — so there will always be an appeal for queer audiences in stories which express that often painful odyssey in a way that makes us feel “seen.”

That’s why “Egghead & Twinkie” — a 2023 film fest fave only now getting a VOD release (on April 29) — is such a welcome and refreshing addition to the genre. A passion project from Asian American filmmaker Sarah Kambe Holland, who expanded it into a feature from a “proof-of-concept” short she made in 2019, it brings a Gen Z perspective, which makes it as unique and contemporary as it is recognizable and relatable.

Set in suburban Florida, Holland’s movie centers on the relationship of its two title characters. “Egghead” (Louis Tomeo) and “Twinkie” (Sabrina Jie-A-Fa), childhood friends with a deep bond from growing up across the street from each other, face a crossroads as the cute-but-nerdy Egghead prepares to depart for college, leaving behind Twinkie — an Asian-American adoptee raised by socially conservative white parents who is one year his junior just as she is beginning to come to terms with her long-hidden lesbian identity.

Planning to connect with her social media crush (Ayden Lee) at a nightclub event in Texas, she enlists Egghead to accompany her as she “runs away” from her restrictive parents into the arms of a girlfriend she has never actually met in person, at a bar she’s too young to get into. Needless to say, it’s not a great plan — especially since the straight Egghead has long-hidden feelings of his own for his B.F.F — but it leads to a shared adventure in which they each must redefine both their feelings and their commitment toward each other, while staying one step ahead of her frantic family and dealing with the mishaps inherent in taking an impromptu cross-country road trip in a car you stole from your father.

There’s a youthful verve to the whole affair, punctuated with the inevitable irony that comes from watching it unfold through the eyes of age and experience. Something that younger viewers may appreciate less than its spirit of boldness and (admittedly comedic) rebellion — and embellished with a visual aesthetic that reflects both Holland’s background as a YouTube “content creator” and the lead characters’ shared love of comics and anime.

But what gives the film that extra “oomph” and makes it feel more significant than many of the other youth-oriented queer entertainments of recent years is not so much about the style of its storytelling as it is the nature of the relationship at its core.

Though “Egghead & Twinkie” is unequivocally a queer coming-of-age movie — which certainly deals with its teen lesbian protagonist’s journey to self-acceptance and includes an unexpected but irresistible connection with a fellow queer, Asian American teen (Asahi Hirano) she meets along the way, unapologetically endorsing the validity of its heroine’s romantic pursuit, however misguided it may seem — it is ultimately a film less about queer identity than it is about friendship.

While it allows ample opportunity for Twinkie to refine her values and learn from the mistakes of her rebellious quest for self-acceptance, it never loses sight of the fact that her long-term relationship with Egghead is one of mutual support and unconditional love. More than a romance, this YA-ish story of love beyond sexuality is a tale of true ally-ship, in which the unconditional understanding between friends — between fellow living beings — becomes more important than the romantic fantasies of a more naive conception of queer existence.

It’s a love story, to be sure, but the love it lifts up is the kind ultimately has little to do with questions of sexual identity. Instead, it’s the kind that transcends biology and sexuality to express something arguably more essential — the genuine emotional bond between two kindred souls that has nothing to do with either, but rather draws its power from shared experience and mutual acceptance. It’s that rarest of movies that celebrates the value and importance of platonic love that stretches across personal boundaries or divides, and ultimately reinforces the connections of shared humanity as being at least as much important as those created by our sexual makeup.

It’s a love story between friends, not a romance between strangers, and the fact that its platonic protagonists are able to find the value of their connection beyond juvenile assumptions and impulses makes it arguably a more mature and insightful experience than even the most idealistically rendered young-love fantasy could ever hope to be.

Of course, its success in achieving that goal hinges on the chemistry between its two young stars, and both Jie-A-Fa and Tomeo capture that alchemical magic with natural ease; both performers originated their roles in the short that inspired the feature, and the familiarity of their chemistry goes a long way toward making it work. Additionally, the performances of both Hirano and Lee — indeed, even of Kelley Mauro and J. Scott Browning as Twinkie’s clueless but ultimately loving adoptive parents — avoid the kind of judgement and clichéd convention that might otherwise make them predictable stock caricatures.

In the end, though, it’s the hopeful, humanistic vision of Holland — who also wrote the screenplay — that informs “Egghead & Twinkie” and helps it resonate beyond the typical. In crafting a queer coming-of-age story that has less to do with sexual wiring than the need for the grounding, life-affirming reinforcement that comes from unconditional love, she has managed to craft a vibrant, hopeful and heartfelt testament to the power of real humanity to overcome and transcend the prejudices and boundaries imposed by a social order that hinges on conformity over individual fulfillment.

That’s not just a queer issue, it’s a human issue — which is why this sweet, charming, and genuinely funny teen “non-rom com” captures us so willingly and so completely.

Lesbian Visibility Week, which is running now to April 27, is a nationally recognized celebration created by The Curve Foundation to honor lesbians and sapphics and their accomplishments. 

The events this week will be hosted by Cinnamon Rivera, a well-known and active voice in the queer, Latinx,community, and Alex Banx, a well-known community voice in the queer, Black community. 

“I’m personally excited about our BIPOC Lesbian Speed Mingling event happening on Lesbian Visibility Week Friday,” said Banx. “The event sold out with more than a week to go, [so] the need was clearly there. A lot of people can be socially timid, so this is why we wanted to make it easy — take the pressure out. This isn’t just about dating, this is about creating sustainable, long-lasting connections; whether they be friends, lovers, business partners, or whatever else happens.” 

On Thursday, LVW will celebrate with a Drag King takeover at Micky’s in West Hollywood. The event will be a collaboration between The Curve Foundation and Them Fatale, a drag king collective that is inclusive of performers who do not identify as cis men outside of drag. 

The event will feature drag by Manny Oakley, Malcolm Xtasy, Jack Doff, Precious Julz, Anna Shevitz and will be hosted by Provvidenza. 

On Friday, Lesbian Visibility Week will make its way through Long Beach. Adelita’s Revenge, a Latinx, queer-owned business, inside Viento y Agua, a Latinx and queer-owned coffee shop. They will be hosting the Lynx for Lez Speed Mingle night. 

On Saturday, LVW will host two events across L.A. and Long Beach. 

One will happen at KISO, DTLA’s newest queer bar. The event hosted by Cinnamon Rivera will feature a line-up of poets, DJ’s, vendors and art on display. 

The event, which will happen from 4p.m. to 9p.m., will also feature live performances by Irene Díaz, a Chicana singer-songwriter from East Los Angeles who gained popularity for her timeless love songs. Nico Turner, a multi-instrumentalist and musician from Los Angeles, who’s known for hosting the infamous Gay Asstrology parties.

The exciting line-up of poets will feature Karla Lamb who’s known as VinylOwl on Instagram, host Cinnamon Rivera and Verónica Reyes, who’s known as EastLosAngelesPoet on IG. 

That same day, LVW will also host the Queer Women in Sports Day panel at Watch Me Sports Bar at 3p.m. 

The event is set to feature an exciting line-up of panelists such as Rachel Pearson, lead video editor and ESPN EQUAL Advisor for ESPN; Carmen Bona, president of business operations at Angel City Football Club; Evan Unrau, director of social and community impact at LA84; Julie Shaw, Ph.D., leadership and DEI consultant; and Jax D., owner of Watch Me! Sports Bar.

To learn more about this week’s events and find local, as well as national events, visit the website.