The 13th annual Queerties hit off this year at the biggest venue yet, honoring the best in queer culture and media across the internet, podcasting, TV, film, sports, music and entertainment. 

Over 2.5 million votes were cast to nominate and award the best in LGBTQ+ entertainment. 

The awards ceremony hit off in Hollywood, bringing together the LGBTQ+ community from across LA and beyond. 

Honorees and nominees from David Archuleta to Marissa Bode and a plethora of Ru Paul’s Drag Race queens came together to make this year’s awards ceremony unforgettable. 

Glee star, Chris Colfer presented this year’s Groundbreaker award to Marissa Bode, who made history by playing Nessarose Thropp in the box-office hit, Wicked. 

Colfer gleefully presented the award to Bode, while expressing his own personal experience of having a sibling who uses a wheelchair. He sincerely thanked her for the valid representation she brought on screen as he presented her with the award.

Bode accepted the award for her historic representation as Elphaba’s sister on Wicked. She used her acceptance speech as an opportunity to thank the marginalized communities that she represents as a queer, brown, disabled person. 
The next award was presented to legendary drag king Murray Hill by queer actor Tim Bagley, who is the co-star in Somebody Somewhere, alongside Hill. 

The one and only and absolutely legendary Hill, accepted the Trailblazer Award for paving the way as a historic Drag King who has officially and finally, brought the much-needed drag king representation to mainstream audiences. Hill is a pioneer in entertainment and is hot off a West Coast mini tour spanning through LA, Las Vegas and Palm Springs. After 30 years, he continues to blaze the trails to showbiz for the next generation of queer and trans comedians, drag performers and entertainers. 

His acceptance speech proved why Hill has gained and maintained his reputation as a comedy king in a career that spans decades. He playfully jabbed at the young generation of queers, poked fun at the presenters and reminded us what it means to be a true icon in the queer and trans community. 

LA Blade was on the scene at the red carpet and had a chance to catch up with Hill amidst all his busy endeavors. 

“I personally think it’s my duty to get that weedwacker and forge a path, go through it and have the kids go right behind you,” said Hill on the red carpet. “That’s what it means to be a trailblazer in my opinion.” 

We asked Hill what advice he had for the next generations of queer and trans kids. 

“Fuck ‘em!,” said Hill. “And the other thing is, don’t let anybody – [politicians], administration, neighbors – take away your queer joy or tell you that you are not valuable. We gotta tell ourselves that we are worthy, we deserve equality, and everyone else can go fuck off.”

RuPaul’s Drag Race Season 8 winner and most recently, a contestant on The Traitors, Bob the Drag Queen hosted the awards ceremony, holding the audience captive with her quick quips and Karla Sofía Gascón drags. Proving once again that she is a force to be reckoned with, Bob brought the host vibes we needed to get us through the next four years under the current administration. 

Actor and comedian John Early presented the Icon Award to his good friend and collaborator Cole Escola, who is best known for his undeniable impact on queer comedy and massive success on Oh, Mary!

Bentley Robles and Madison Rose closed out the night with an electrifying performance of their nominated track “Ultra High Def Lover,” turning the venue into a full-blown dance party. 

The Queerties will premiere worldwide on March 18, through WowPresentsPlus. 

For the full list of nominees, awards and winners, visit the Queerty site.

Uzoukwu is enjoying his time in the spotlight, holding his own alongside Laverne Cox and comedy great, George Wallace in Norman Lear’s last comedy. Clean Slate centers on Desiree (Cox), a proud trans woman who is finding her footing in life as she returns to her small hometown and tries to re-build a relationship with her father (Wallace) as his now-daughter.

The show is a comedy with many touching moments and comes at a time when trans representation is so needed. Uzoukwu shines as Desiree’s best friend Louis a closeted gay man who serves as the local church’s choir director. Together the two find their way.

Uzoukwu is also a 2021 Acting Fellow of the Hillman Grad Mentorship Program, led by Lena Waithe. He is also a writer and co-wrote two seasons of Issa Rae’s audio drama “Fruit,” and has been Reader-Endorsed on The Black List for his award-winning spec pilot “Kinfolk.”

We chatted with Uzoukwu about his family, career, self-discovery journey and joining the Norman Lear legacy.

He credits a strong family foundation for teaching him the tools for life as a proud son of immigrant parents.

“I was raised first generation by very proud Nigerian parents, who definitely had their sights set on me being a doctor or a pharmacist. Those are very stable jobs, especially in a country that doesn’t really give you a lot of breaks as an immigrant, even more. They just wanted something that was stable for me. My parents have shown me just what it takes to live in this country as an immigrant. The tenacity, the persistence, the strive to be better. They instilled all of those attributes in me.”

Despite Uzoukwu’s parents wanting him to work in a stable profession, they came to support his dream to become an actor. He ended up graduating cum laude from Temple University, with a Bachelors in Film and Theatre.

“They chose to support my dreams instead of admonishing me for them and it takes a very open and honest heart to say, ‘I want my child to be the best they can be in whatever they choose to do in this life, because it’s their life and not mine.’ That isn’t always easy for parents, but especially more so for immigrant parents, especially Nigerian parents, that’s just something that we did not grow up with. So beyond the tenacity and the perseverance, they also taught me unconditional love and support and those are attributes that I carry with me to this day. They were with me at the [Clean Slate] premier and it was just great to have my father and mom there by my side. It’s a dream come true.”

In typical Norman Lear style, Clean Slate pushes the envelope and makes current hot topics part of the norm. The show deals with trans and queer community narratives, deals with self-acceptance in the face of bigotry, faith v. religion struggles and questions what exactly a family looks like in today’s age. The show, which focuses on a Black family, is part of the current boom in queer storylines in minority-driven programming.

Uzoukwu explains the increase in representation:

“I just think we are more aware of what’s out there. We have so much more access to other people’s lives at our fingertips. Social media has been a very huge plus in that respect. In a way, it has normalized the idea of having queer people in our lives. We always have, we just weren’t allowed to really be public about it. But now it is normalized and hopefully even more so going forward. I think there is a little bit of a pushback. People talk about a pendulum swing right now, but I think that it forces us to be even more brave and adamant about staking our place in society. We have a right to be here. We all have a right to exist and pursue lives of love and freedom, our God-given rights. I think the more we press forward and continue to live our lives, the more that presence and existence will be seen in our media because we are what we see.”

Uzoukwu nailed his audition for Clean Slate. Reading the sides, he resonated at once with the character of Louis. He sent in his audition tape – which also required singing and two and a half weeks later – he did his screen test. Then BOOM, it was booked. As a queer actor, did Uzoukwu have any trepidation about taking this role for fear of being pigeon-holed?

“There’s always going to be fears about only being seen as one thing. I’m not going to lie, I did kind of have that fear. But I get that anytime I do a bigger project that kind of feels like something that could establish me as a performer in other people’s eyes. You watch a great performance of somebody and you’re like, wow, I could only see them as that. That is something that happens a lot. So there’s always that fear, but I don’t know if it’s something that I necessarily have to worry about. My team is very aware of my talent and what I can do, so my goal is to just go out and try to play as many parts as I can. I just want to keep looking forward and see what else is next, hopefully a season two. Fingers crossed!”

With Norman Lear’s recent passing, being part of the legacy that created All in the Family, One Day at a Time, Maude, The Jeffersons, and so many others, is an actor’s dream. Especially for someone as young as Uzoukwu.

“I definitely still have to pinch myself sometimes when I think about that aspect. I never really saw myself being a comedy actor when I first started out. I thought I was just so much better at drama. So for me to land my first big role in a comedy is kind of like, ‘Oh, you thought you knew what you were about? You thought you knew what you could do, but God had a different story for you.’ You just don’t know what the world, what life will bring. So to be a part of a comedy like this, but also one that is connected to that legacy is a huge deal.

I definitely don’t take it for granted. It means the world to me. When we talked about the show and sort of leading the charge on telling stories of other people and how we can all coexist, he was that person for generations. To be a part of his last comedy is truly a gift. You never could have had me predict that for my future.”

Uzoukwu hopes his personal journey serves as an example for other actors. His message to the community is also his message to himself.

“I spent a lot of time trying to figure out what kind of person I wanted to be in this industry, whether or not I was going to be comfortable enough to come out and be an out gay actor in Hollywood. I didn’t know if it was the smart choice or the right choice.

I realized that in order for me to really tell the stories the way they needed to be told, I had to commit to an identity for myself. I had to choose to be comfortable with myself. That’s something I hope future generations don’t have to sort of battle with or try to figure out for themselves that they can just be and that’s okay. It wasn’t always the case.  I am glad that I took this circuitous journey to choose myself. I hope that the community continues to choose themselves and that they don’t feel that they have to decide between safety and freedom, that we can have both. Because we deserve both.”

Clean Slate is now streaming on Prime.

Last weekend Los Angeles Blade was on the scene and one of the guest judges alongside Los Angeles personalities from the adult and nightlife world including Meatball, Dean Michaelz, Adam Keith, Mr. Sister Leather 2024, Colin MacDougall and Mr. Precinct Leather 2024 to crown the first ever Mr. BarBareians at Precinct DTLA.

The Mr. BarBareians is a nod to the male beauty pageant, just a bit edgier and dare we say, sexier? Four contestants competed against each other in a series of categories that included talent, walk, pose, looks and Q&A.

The pageant’s debut contestants consisted of popular nightlife dancers Judas King, Han Cross, Ace Newbury, and De Hanno. The evening was emceed by Leatherman Moshiel. Playing on the barbarian theme, Precinct’s staff and a number of the patrons were dressed accordingly, adding some skin and muscle to the evening.

The show was well-produced and the contestants certainly gave it their all. There was not a weak contestant among them and the scoring was very tight. As our bold emcee remarked, these contestants are more known for their bodies than for their prose, so a few faltered during the Q&A.

As a fun bonus, illustrator and performance artist Jonathan Kidder was on hand, doing his famous quick sketches. Miraculously, he is able to capture the essence of a person in a matter of a few strokes of the pen. He was able to do a portrait of the entire cast in 60 seconds.

Work by Illustrator JW Kidder

LA-based veteran nightlife photographer Dusti Cunningham was feeling the spirits as he roamed around and captured the evening in his signature style, catching the crowd and the cast in their finest and sexiest.

After a short tally of the scores, De Hanno was crowned Mr. BarBareians 2025.

His winning personality and consistent talent across the categories, together with his winning assets, set him apart from his fellow contestants. In the end, everyone was a winner because the cast clearly had a good time and supported each other during the show.

De Hanno named Mr. BarBareian 2025 / Photo by LA Blade

Precinct couldn’t have been a better venue to hold the event. Not only does it have ample space to accommodate the large crowd, but it has a great staff, stiff drinks, and stellar stage and lighting. We also love the sense of community here. Everyone is welcome under the club’s roof. Gay, straight, queer, trans, bears, twinks, leather lovers, and everything else under the sun. No one feels like an outcast or a stranger and it has become the ultimate safe space for the queer community in Los Angeles. This is how we should be congregating in fellowship, especially during these trying times. Precinct offers a great atmosphere for those who are looking to expand their experience past the Weho crowd (not that there is anything wrong with Weho, we are there all the time as well).

Mr. BarBareians and the BarBareians parties are produced by Hump Events, also responsible for Los Angeles’ Turbo for the dance crowd, Hump night celebrating the Middle Eastern community, and Steam for the cruisers. Like Precinct, they believe in representing the community and everyone is welcome.

Hats off to the first Mr. BarBareians, we will be waiting with our scorecard for next year!

Actor Dyllón Burnside made an impressionable splash by playing Ricky Evangelista in FX’s Pose. Not only was he able to infuse sincerity and pathos into his role, but he has used his platform to speak against toxic masculinity, advocate for LGBTQ safe spaces and inspire activism.

Recently, he has partnered with BET+ for the film Fighting To Be Me, playing perhaps his most ambitious role to date. Dyllón plays Dwen Curry in a new biopic where he plays a celebrity stylist known for working with big names like Missy Elliott, DMX, Mariah Carey and more.

Leading a double life in many ways, Dwen also spearheaded a multi-million dollar fraud ring that came to be known as The Gay Gangsters. The film is part true crime, part Hollywood glam and all LGBTQ+ storytelling. The film is about family, identity, survival and self-acceptance as Dwen transitions from a gay man, to a proud transgender woman.

The film comes at a crucial time, where the nation is experiencing cutbacks in DEI initiatives that are affecting both the Black and the queer community. Fighting To Be Me is the latest in BET+’s efforts to highlight stories from the queer community.

Representing both the Black and queer communities in this film, it was essential for Dyllón to portray Dwen in a way that was both truthful and sincere.

We chatted with Dyllón ahead of the film’s premiere about his experience.

“It’s unlike any other project that I’ve been a part of. I have my processes and the things that I do as an actor to prepare that are my baseline. It’s rooted in my background in the theater and the things that I learned from my teachers in drama school and the different directors that I’ve worked with.”

But this process, while those things definitely helped Dyllón, there was so much of that, that Dyllón couldn’t pull from. He says he had to really stretch himself to immerse himself in Dwen’s story and world.

“I had a lot of conversations with her. It required me to be more curious than I think I’ve ever been in a role. I’m a seeker in that way, and I think that’s what I really love about working as an actor is really that process of discovery and getting curious and finding connections and doing the research. I love that kind of stuff.”

Dyllón was not familiar with Dwen’s story at first. After reading the script, he was compelled to tell her story, but it was imperative that he received the blessing from Dwen herself.

“I needed to have a conversation with her to make sure that she wanted me to play her. I wanted to be clear that this person, this trans person wants me to play them and they feel like I am the right person to portray them in this story. We had a beautiful conversation and it was that talk, just getting to look her in her eyes and understand her heart that made me decide I want to be a part of this project.”

Fighting To Be Me comes at a time when the nation is divided. Dyllón’s involvement as both the star and as one of the film’s executive producers is a testament to his belief that now is the time for this story to be shared.

“When we look at the times that we’re living in, when trans people are being attacked daily by the current administration, it is really troubling. The dehumanization of trans folks has gotten out of hand. I think we need to all have the opportunity to sit with the fact that my lived reality is not the same as someone else’s reality, but that doesn’t make their lived reality any less human or any less important or any less true.”

“I think that one of the beautiful things about this story is that it’s unlike any other story that I’ve ever heard or told. Yes, there’s the trans element, but it’s a full life story. It’s important to talk about trans issues as a means of advocacy. I’m also really interested in talking about Dwen Curry as a human being. What are the circumstances that conspired to create the situations that forced Dwen Curry to make the decisions that Dwen Curry made? We’re talking about the socioeconomic climate of the eighties. We’re talking about the politics of the eighties. We’re talking about HIV and AIDS. We’re talking about the stigma around being queer. We’re talking about poverty. All of these issues conspire to create a situation where the wind has to make certain decisions in order to survive and thrive.”

According to Dyllón, the story directly relates to what is happening right now. He elaborates:

“So many of us find ourselves in that position right now where there are all of these different systems and institutions that seem to be closing in around us and putting us between a rock and a hard place. We have to figure out how to stay true to ourselves. How do we protect ourselves? How do we eat? How do we stay safe from the cops shooting us down in the streets or from some person who hates us because of the color of our skin, or our gender or sexual identity? All of these things create a situation for people that drives them to make really hard decisions. And I think I’m more critical of those systems than I am the individual who is forced to exist in those systems.”

BET+’s inclusion of queer stories is a milestone. Typically, minority programming was resistant to talking about queer people. As part of that representation with Pose and now with this film, Dyllón has his take on the growing trend of inclusion.

“I may not say that minorities don’t celebrate folks, but I will say that historically we’ve seen that the media companies across the board have not supported stories. I think folks see we’re able to recognize the cultural impact as well as the fiscal benefits of telling more inclusive and expansive stories about who we are, who we get to be. I hope that continues. I hope we continue to see that in spite of all of the efforts to roll back DEI, and that media companies will stand firm in their commitment and desire to tell stories, real authentic stories about real authentic people.”

Totally giving himself over to the portrayal of Dwen on her journey of self-discovery and acceptance, Dyllón has started to look at his own relationship with identity and being true to himself. It is the message he has for himself, it is the message he has to his fans.

“One of the things that I’m really striving for in my life is integration, this idea that I don’t have to be a separate human being with my family that I am with my friends, that I am at work on set, that I am on stage, performing my music, that I am in the recording studio, that I am when I give a speech somewhere as the advocate in a political space. I don’t have to compartmentalize myself in those ways and I get to bring all of myself to every space that I’m in, even if that means I’m overwhelmed,  or I’m tired, or I’m stressed, or I’m afraid.

The conversation that I’m having with myself in this moment, and by extension having with my audience, is this message around integration. And standing firmly 10 toes down in the truth of who I am and allowing that to be messy and allowing that to be uncertain and weird and to be unapologetic about the messiness and the weirdness and the lack of clarity.

Just show up as your full self wherever you find yourself and trust that your spirit will lead you and guide you in the way that you should go. Unplug from social media and get outside.”

Fighting to Be Me: The Dwen Curry Story is now available on BET+

‘And still, I rise.’ If you’ve been using this quote nonstop this week, you have also been obsessed with the instantly iconic third and final part of The Real Housewives of Potomac reunion. The final chapter in season 9 of RHOP really had it all.

No joke, I’ve watched it three times this week. In case you missed it, QVC queen Stacey Rusch got dragged by the women, the production and the man she allegedly paid to play her boyfriend on TV. This man not only said Rusch hired him to be her boyfriend on TV, but she also still owes him money for it. Rusch did not believe it until production brought out the raw footage and even then she kept it calm, cool and collected. Either way, she earned her spot in a second season. Meanwhile, between that bombshell and the ‘oh-so-staged’ Karen Huger video, the other ladies were reading and roasting the house down. Then they went in on Huger and everyone spilled the tea about her day drinking around the D.C area.

What a great finale! Also, Mia wasn’t there because she left in a huff last episode, which leads to the question: do we still need Mia Thornton for season 10? 

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Talk about a show to put you to sleep. Let’s jump over to our home franchise of Real Housewives of Beverly Hills. Why am I so bored this season? Even this lively episode of Sutton’s fashion show gave meh the whole time. The only thing worth mentioning from an hour-long episode is that Kyle Richards was hurt after photos surfaced of her estranged – and hot – hubby Mauricio Umansky, kissing another woman at the airport.

She had a whole meltdown about it as if she hasn’t been flaunting her late-in-life lesbian relationship all over TV, social media and the paparazzi. Richards, give it a rest and come out. Do your part to make this boring show somehow interesting. I do love that Garcelle Beauvais is determined to out her on TV, which seems fair after Richard’s involvement in the whole Denise-Brandi drama a few years back. 

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Speaking of Denise Richards, I gave her new spin-off Denise Richards & Her Wild Things a shot. It’s random and not really worth watching. Almost all the Housewives of Beverly Hills past and present make cameos throughout the season, which feels a tad desperate. She did somehow manage to bring up again how hung her hot husband is in the first episode, but is that enough to keep the gay audience? Doubtful.

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Now a reality show that totally delivered this week was the finale of The Traitors on Peacock. 

Spoilers ahead! 

In the final episode of the Emmy-winning competition, we saw traitor Danielle finally go home, sent packing by her Big Brother fr-enemy Britney. Now Britney is the only traitor left in the finale and the faithful must either banish her before it’s too late or lose all the prize money. Luckily, cutie Dylan Efron puts the pieces together and sways the rest of the castle to vote out Britney. Then the four remaining players decide to split the winning and the game is ended. The best gamers in the world competed and yet, Traitors was won by a royal, a bachelorette, a real housewife, and a nepo celeb. That’s TV gold, folks.

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It has been 8 years since Margaret Cho released her Grammy-nominated American Myth album. She’s back to the music scene with her new album, Lucky Gift, an 11-track collection of anthems and pop tunes, a tribute to Robin Williams, and a shout-out to non-binary and gender non-conforming people.

The album captures the whirlwind that is Margaret and all of the different facets of her talents that have made her a powerhouse in entertainment and a leader in activism. In Lucky Gift, she’s getting her point across while having fun and getting glam.

We caught up with the activist and artist to chat about her music, our political climate, and

Known for her comedy, acting and activism, she felt it was long overdue to get her music back out there too.

Cho shares some insight on her next moves:

“I make music often. It’s a part of my daily life, it’s a big part of my social life, and it’s just something that I just love to do for my own relaxation and fun. I had enough for an album and I wanted to finally put them out. I was just really proud of how it all sounded together,” shares Cho.

“It’s a power pop record. For me, the songs are really meaningful. They’re all in their own way love songs. I’m a big fan of my own music (laughs), I really like the way that I sound and it’s really special to do. People know me as a comedian, and I have also made music for a long time, but it’s sort of a side project, and so it was time to put more out again.”

Her album also includes a touching tribute to Robin Williams. The entertainment community is finally more comfortable talking about mental health more openly. When relating mental health to her own life, Margaret, in true Margaret form, quickly turned the conversation to reflect today’s political climate.

“I have to maintain a level of peace and quiet and sometimes maybe get away from the news, although that’s tough because I am obsessed. I want to know what is happening. I’m really worried for our community, especially the trans community.  I’m worried that this Administration is trying to separate T and the Q from the LGBTQIA, and it’s really frightening.”

As an elder, Cho says she has to also remember that we’ve been through this before and it’s actually been much worse. The LGBTQ+ community has been through a similar situation and at that point we were facing down a pandemic which was killing the community by the millions. Now, Cho says at least we don’t have to fight AIDS, as well as this onslaught of homophobia.

“We have fought for our rights, and we still have them, but we may not have them for long. So our mental health is very important to preserve now because we have to fight. The one thing to remember is they can’t do everything at once. They can’t take away trans rights, queer rights, gay rights, gay marriage, antidepressants (ha!) at the same time. So what we can do is just try to remain as calm as possible and fight as strongly as we can. But yeah, mental health is really vitally important right now.”

Cho’s long history of queer activism stands for itself. She does not shy away from current issues, she uses her platforms to incite, educate, and question. For Margaret, there is no time off from being an activist. She was born into it, so to speak, being raised in San Francisco in the 1970s, her parents the owners of a gay bookstore and their employees, followers of Harvey Milk.

“My activism is that I don’t have a choice. I’m going to be an activist no matter what. We’re doing this together, we’re going through this together. I will always be political. It’s just disheartening to see the ignorance of people and the lies that are being told that are believed.”

Lucky Gift comes at a perfect time when the queer community can come together over music. Cho looks at her album as a tool to empower an underdog community through the power of music.

“It’s the triumph of pop above all. We need to look to our pop divas above all. So now I’m more than ever, leaning on Madonna. Thank God for [Lady Gaga’s] “Abracadabra” because I think that things like that boost our community so much. When you can just get together and have a “brat summer,” that boosts our community so much in this togetherness, this explosion of excitement. I think Chappell Roan really ignited the pop capacity for healing. I love Lucky Gift because it is my stepping into a pop diva moment. Pop Divas should not be discounted for how important they are to our society and how much they lift us up.”

In addition to releasing her new album, Margaret will continue to hit the road this year with her Live and LIVID! Tour, celebrating over four decades of live stand-up shows. On this tour, she promises to rage about homophobia, sexism, racism, and the fight to stay alive. The five-time Grammy and Emmy-nominated performer is not holding back. According to her, the nation is not divided, just a little lost.

“We’re not divided. Everybody hates this. We all hate this. The fact is, the majority of the country does not want this. Unfortunately, a lot of people just didn’t vote because they just didn’t want to participate. That’s why we’re in the situation that we’re in. So to be on the road is a pleasure. And I rarely come against opposition. Every once in a while there’s something, but it’s something that we all handle. I think we all need a voice, a strong voice of reason to combat all of the hysteria.”

And her message to her fans?

“We’ll get through this. We’ll get through this with Pop Divas. “Abracadabra,” learn the choreography, you do it sitting down. At least we have pop music, I have my hat in the ring here. But at least we have each other and we’re going to be okay. It’s going to be a ride, it’s going to be intense, but we can do this. We’ve been through this before and we are going to be fine.”

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Lucky Gift is now available on all major streaming platforms

‘The Lamb: A Novel’
By Lucy Rose
c.2025, Harper
$27.99/329 pages

What’s for lunch?

You probably know at breakfast what you’re having a few hours later. Maybe breast of chicken in tomato sauce. Barbecued ribs, perhaps? Leg of lamb, beef tongue, pickled pigs’ feet, liver and onions, the possibilities are just menus away. Or maybe, as in the new book, “The Lamb” by Lucy Rose, you’ll settle for a rump roast and a few lady fingers.

Margot was just four years old when she noticed the mold on the shower walls, and wondered what it might taste like. She also found fingers in the shower drain from the last “stray,” the nails painted purple, and she wondered why they hadn’t been nibbled, too.

Cooked right, fingers and rumps were the best parts.

Later, once Margot started school, Mama depended on her to bring strays from the woods to their cottage, and Mama would give them wine and warm them up. She didn’t often leave the house unless it was to bury clothing and bones, but she sometimes welcomed a gardener who was allowed to leave. There was a difference, you see, between strays and others.

But Eden? Margot couldn’t quite figure her out.

She actually liked Eden, who seemed like a stray but obviously wasn’t. Eden was pretty; she never yelled at Margot, although she did take Margot’s sleeping spot near Mama. Eden made Mama happy; Margot could hear them in the bedroom sometimes, making noises like Mama did when the gardener visited. Eden was a very good cook. She made Mama softer, and she made promises for better times.

And yet, things never got better. Margot was not supposed to call attention to herself, but she wanted friends and a real life. If she was honest, she didn’t want to eat strays anymore, either, she was tired of the pressure to bring home dinner, and things began to unravel. Maybe Mama didn’t love Margot anymore. Maybe she loved Eden better or maybe Mama just ached from hunger.

Because you know what they say: two’s company, three’s a meal.

Not a book to read at lunch? No, probably not – although once you become immersed in “The Lamb,” it’ll be easy to swallow and hard to put down.

For sure, author Lucy Rose presents a somewhat coming-of-age chiller with a gender-twisty plot line here, and while it’s occasionally a bit slow and definitely cringey, it’s also really quite compelling. Rose actually makes readers feel good about a character who indulges in something so entirely, repulsively taboo, which is a very surprising – but oddly satisfying – aspect of this unique tale. Readers, in fact, will be drawn to the character Margo’s innocence-turned-eyes-wide-open and it could make you grow a little protective of her as she matures over the pages. That feeling plays well inside the story and it makes the will-they-won’t-they ending positively shivery.

Bottom line, if you have a taste for the macabre with a side order of sympathy, then “The Lamb” is your book and don’t miss it. Fans of horror stories, this is a novel you’ll eat right up.

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If any form of artistic expression can be called the “front line” in the seemingly eternal war between free speech and censorship, it’s pornography.

In the U.S., ever since a 1957 Supreme Court ruling (Roth v. U.S.) made the legal distinction between “pornography” (protected speech) and “obscenity” (not protected speech), the debate has continued to stymie judicial efforts to find a standard to define where that line is drawn in a way that doesn’t arguably encroach on First Amendment rights – but legality aside, it’s clearly a matter of personal interpretation. If something an artist creates features material that depicts sexual behavior in a way that offends us (or doesn’t, for that matter), no law is going to change our mind.

That’s OK, of course, everyone has a right to their own tastes, even when it comes to sex. But in an age when the conservative urge to censor has been weaponized against anything that runs counter to their repressive social agenda, it’s easy to see how labeling something as too “indecent” to be lawfully expressed can be used as a political tactic. History is full of authoritarian power structures for whom censorship was used to silence – or even eliminate – anyone who dares to oppose them. That’s why history is also full of radical artists who make it a point to push the boundaries of what is “acceptable” creative expression and what is not.

Indeed, some of these artists see such cultural boundaries as just another way for a ruling power to enforce social conformity on its citizens, and consider the breaking of them not just a shock tactic but a revolutionary act – and if you’re a fan of pioneering “queercore” filmmaker Bruce LaBruce, then you know that’s a description that fits him well.

LaBruce, a Canadian who rose to underground prominence as a writer and editor of queer punk zines in the ‘80s before establishing himself as a photographer and filmmaker in the “Queercore” movement, has never been deterred by cultural boundaries. His movies – from the grit of his gay trick-turning comedy “Hustler White,” through the slick pornographic horror of “LA Zombie,” to the taboo-skewering sophistication of his twin-cest romance “St. Narcisse” – have unapologetically featured explicit depictions of what some might call “deviant” sex. Other films, like the radical queer terrorist saga “The Raspberry Reich” and the radical feminist terrorist saga “The Misandrists,” have been more overtly political, offering savagely ludicrous observations about extremist ideologies and the volatile power dynamics of sex and gender that operate without regard for ideologies at all. Through all of his work, a cinematic milieu has emerged that exists somewhere between the surreal iconoclasm of queer Italian provocateur Pier Paolo Pasolini and the monstrous camp sensibility of John Waters, tied together with an eye for arresting pop art visuals and a flair for showmanship that makes it all feel like a really trashy – and therefore really good – exploitation film.

In his latest work, he brings all those elements together for a reworking of Pasolini’s 1968 “Teorema,” in which an otherworldly stranger enters the life of an upper class Milanese family and seduces them, one by one. In “The Visitor,” Pasolini’s Milan becomes LaBruce’s London, and the stranger becomes an impressively beautiful, sexually fluid alien refugee (burlesque performer Bishop Black) who arrives in a suitcase floating on the Thames. Insinuating himself into the home of a wealthy family with the help of the maid (Luca Federici), who passes him off as her nephew, he exerts an electrifying magnetism that quickly fascinates everyone who lives there. Honing in on their repressed appetites, he has clandestine sex with each in turn – Maid, Mother (Amy Kingsmill), Daughter (Ray Filar), Son (Kurtis Lincoln), and Father (Macklin Kowal) – before engaging in a incestuous pansexual orgy with them all. When the houseguest departs as abruptly as he arrived, the household is left with its bourgeois pretensions shattered and its carnal desires exposed, each of them forced to deal with the consequences for themselves.

Marked perhaps more directly than LaBruce’s other work with direct nods to his influences, the film is dedicated to Pasolini himself, in addition to numerous visual references throughout which further underscore the “meta-ness” of paying homage to the director in a remake of one of his own films; there are just as many call-backs to Waters, most visibly in some of the costume choices and the gender-queered depiction of some of its characters, but just as obviously through the movie’s “guerilla filmmaking” style and its gleefully transgressive shock tactics – particularly a dinner banquet sequence early on which leisurely rubs our noses in a few particularly dank taboos. There are also glimpses and echoes of Hitchcock, Kubrick, Lynch, and other less controversial (but no less challenging) filmmakers whose works have pushed many of the same boundaries from behind the veneer of mainstream respectability.

Despite all of these tributes, however, “The Visitor” is pure LaBruce. Celebratory in its depravity and unflinching in its fully pornographic (and unsimulated) depictions of sex, from the blissfully erotic to grotesquely bestial, it seems determined to fight stigma with saturation – or at least, to push the buttons of any prudes who happen to wander into the theater by mistake – while mocking the fears and judgments that feed the stigmas in the first place.

That doesn’t mean it’s all fluid-drenched sex and unfettered perversion; like Pasolini and his other idols, LaBruce is a deeply intellectual filmmaker, and there’s a deeper thread that runs throughout to deliver an always-relevant message which feels especially relevant right now: the treatment of “otherness” in a society governed by homogeny, conformity, and xenophobia. “The Visitor” even opens with a voiceover radio announcer lamenting the influx of “brutes” into the country, as suitcases bearing identical immigrants (all played by Black) appear across London, and it is by connecting to the hidden “other” in each of his conquests that our de facto protagonist draws them in.

LaBruce doesn’t just make these observations, however; he also offers a solution (of sorts) that matches his fervor for revolution – one in which the corruption of the ruling class serves as an equalizing force. In each of the Visitor’s extended sexual episodes with the various family members, the director busts out yet another signature move by flashing propaganda-style slogans – “Give Peace of Ass a Chance,” “Go Homo,” and “Join the New Sexual World Order” are just a few colorful examples – that are as heartfelt as they are hilarious. In LaBruce’s revolution, the path to freedom is laid one fuck at a time, and it’s somehow beautiful – despite the inevitable existential gloom that hovers over it all.

Obviously, “The Visitor” is not for all tastes. But if you’re a Blade reader, chances are your interest will be piqued – and if that’s the case, then welcome to the revolution. We need all the soldiers we can get.

“The Visitor” is now playing in New York and debuts in Los Angeles March 14, and will screen at roadshow engagements in cities across the U.S. Information on dates, cities, and venues (along with tickets) is available at thevisitor.film/.

If you frequent Beaches in West Hollywood towards the later end of the week, you know and adore bartender Sumner Mormeneo. While he is an artist behind the bar, he is also a consummate artist with a list of credits who can create a variety of art with a paintbrush or typed words. Like many, he is making his way in the Los Angeles art and entertainment scene, after packing up his life and driving across the nation to follow his dreams.

We sat down to get to know your local bartender to discuss queer nightlife, his love of horror, life beyond the bar, his sober journey and his first group show now exhibiting at Circus of Books.

Hometown: I consider Orlando my hometown but was born and raised in South Florida.

Tell us about your journey to LA:

I have visited here a handful of times but specifically, it was a vacation with my dad when I was 12 when I knew I would end up here one day. It was a Santa Monica Beach sunset that did. Ever since I was a child, I was always creating, invested in art and the arts. Whether it was forcing my neighborhood friends to be in my camcorder horror movies or to star in my poolside rendition of Jaws: Live! featuring a green and purple inflatable Bruce the Shark.

If it wasn’t some sort of show, I was painting, drawing, makeup, music, anything and everything at some point. I reached a point, living in Orlando, where I felt like I did everything I wanted to do there. I love the city, the parks, and the community Orlando has, but I felt myself repeating the same work with nothing to push me out of my comfort zone. I was on a waitlist for the art Grad program at USC, ready to get my master’s and be an art professor. Los Angeles was always on the horizon for me because of what it has to offer in terms of entertainment and the arts. I can’t imagine moving here straight out of college and trying to figure myself out. I am very grateful that I allowed myself the experience to become a fully realized and recognized artist in another city before moving here.

How would you describe your art?

I’m a multimedia or interdisciplinary artist. The work itself I would describe as surreal. Haunting. Honest. And most importantly, Gay. My paintings and performance art take place in some sort of void.

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What do you love most about being part of the queer nightlife scene in L.A?

Working specifically in West Hollywood, it’s hearing people’s stories. I’m fortunate to have a family and come from a place that’s not only accepting but loving. That’s not the same for everyone. Working in West Hollywood, you meet so many queer people from all over the world with so many different stories. Once in a while, you’re the first person a queer person on the run meets. Giving my advice on how to navigate this city or sometimes just a genuine smile and “Welcome to Los Angeles” is enough to make me cry on my drive home from work. And yes, I usually listen to “Pink Pony Club” on those drives.

What do you love most about living in L.A?

There was a tweet (is that what they’re still called?) that was going around on socials during the aftermath of the fires. It says “…Los Angeles is a proud blue-collar city with people from all walks of life. And then the creative black sheep from every family in America comes here to create art together. Do you realize how beautiful that is?” Every time I read it, I get emotional. I was the weird one my whole life, still am! But even more than that, being a creative is hard to explain to people. Most people don’t understand it. It’s beautiful, intimidating, and magical to live in a place filled with others like me.

What is your signature drink to pour?

It doesn’t have a name, but I make a version of a drink I had in Miami when I was 16. It was a blueberry mojito. I’ve recreated my version of it. I like to think that being half Cuban has something to do with being able to make a good mojito.

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How do you balance your art with your nightlife?

It used to be very unbalanced! I still question if I’m doing it right. Not even the nightlife part, just balancing art with life. I find comfort in knowing many artists and creatives struggle with this. I sometimes get into a groove of a schedule and then it falls off. My ADHD brain likes to pick up new things and get over them quickly, too. Thankfully, I’ve learned to filter out which ones (projects) are worth keeping. In recent months, I’ve cleared a couple of days out of the week before working at night to make sure I always have at least 2 full days a week to invest in whatever I’m working on.

You celebrate the sober life. How does that work with you being a bartender?

I hear this question a lot and it’s the same response every time. It is so much easier for me than you think. I work the late hours of West Hollywood when people just want to get fucked up and party. A lot of them are fun and even more of them are messy (ha ha). Seeing the messy people is an instant reminder of what I do not want to be.

You also have a love for horror. What is it about horror that attracts you so much?

I wish I had a straight answer for this. There are full-length documentaries and studies on why people are attracted to it. I used to say that when I was young, I couldn’t handle it at all. The hard rated-R movies gave me nightmares for years and I’m still convinced Pennywise will tickle my feet in the shower. However, recently, I’ve realized I was actually always attracted to it. Maybe in a conquer my fears way, or maybe attracted to it in an “otherness” sort of way. I was the Wicked Witch of the West for Halloween when I was maybe 5 and Phantom of the Opera when I was 7. I insisted on renting Hocus Pocus every Blockbuster visit. The first VHS I bought with my allowance was Beetlejuice.

Oh, and the “Behind the Scenes” VHS that came with the Jaws 25th Anniversary Release was monumental in shaping my poolside production. My mother always loved horror and would show me the Classic Universal Monsters when I was little. I still have an affinity for Frankenstein. Eventually, her love for John Carpenter’s Halloween is what bled out onto me and I embraced it. I remember cowering in the theater when I was 12 during the Texas Chainsaw remake, but by 14, I was stupidly excited about going to Halloween Horror Nights.

So I’m guessing turning 13 has something to do with it? There’s a humor in some horror that allows you to laugh at life and then there’s other horror that allows you to look at life’s experiences profoundly. I think both are equally important.

How do the horror and queer worlds complement each other?

Nothing is more queer than a final girl. Under attack, stressed, trying to survive. Sounds pretty relevant to me! The queer coding of villains is something that’s come up a lot recently and that one probably has the deepest hook in me. It’s almost common knowledge now that the drag queen Divine inspired Ursula. Ursula is a drag queen. Scar is that one catty gay everyone knows and Jafar is the pretentious one. I love how the genre is being turned around from what was once considered trash to moving its way into the Oscars.

And of course, there’s that whole 14-acre expansion coming to the Magic Kingdom in Orlando celebrating the villains. The genre has so many sub-genres that can explore queerness and complement each other. I mentioned slashers and Disney villains, but even just to quickly apply it to something like a paranormal story- it could easily be translated into an “unknown” haunting relating to someone’s coming out story or someone’s identity being suppressed. Horror is the one genre that allows you to say whatever you, however you want.

What are you currently working on in the art/entertainment world?

My heart breaks a little when I tell people I don’t paint anymore or don’t plan on bringing my show The Infinite Conversation here. I would still love to paint some murals out here if given the opportunity. I think I hinted towards it earlier, but L.A. has more to offer than what I would have been able to do just on my own in Orlando. And that’s film and music. They are my first two loves and the mediums that always seemed so impossible. I realized on my U-Haul drive over here that writing scary movies was the one thing I’ve always really wanted to do, it just seemed out of reach or impractical living elsewhere. So that’s what I’m working on! I’m about to get started on my third draft of a queer paranormal feature that I’m in love with. I started writing and rehearsing with a band late last year, too. It didn’t work out with them, but I’ve been working on some stuff with another band more recently. We’ll be meeting up next week to see if we’re a good fit for each other. So, instead of sitting in a theater and watching me perform, you might get to dance in a mosh pit and watch me perform soon instead (haha). I’m showing a couple of pieces in my first group show here in L.A. at Circus of Books. The show is called Dark Hearts and was curated by Sküt. It’s up until March 17.

What do you want most out of your career in LA?

My dream is to one day focus solely on my creative work. I love bartending, but I didn’t move here to do it forever. To be pushed more, out of my comfort zone, to be able to create new things, tell new stories, experiment with and learn from new mediums, and eventually be able to make a living out it. That’s what I want out of L.A. That’s the Hollywood dream, right? To keep it simple, I just want to make scary movies and heavy metal (haha).

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What is one thing in LA that you haven’t done yet that is on your list?

Go to a premiere for a movie I wrote? (ha ha) I think this bleeds into the last question and what I’m really here for. I get hard on myself sometimes, thinking I should be working harder and longer. But realistically, I know things take time and I’m still young and learning. Eventually, getting my movie made would be nice. I already know the next couple of stories I want to write. And maybe in the next year, I will play my first show as a frontman in a metal band. Both are possible! I know you asked for one, but I’ve been focused on two things as of late.

There have been many changes in queer nightlife over the last few years, and now we are under political attack. What do you think the future of queer nightlife looks like?

It’s weird. I had a close experience with the Pulse Shooting in Orlando. I’ve seen a community come together and stronger than ever, and I’ve seen it change into something I don’t recognize. I’ve noticed far less drinking with this newer generation, too. I appreciate the growing popularity of experiential events, pop-ups, and venues. I look at things like Meow Wolf or smaller-scale events created by promoters with creative and community-driven intent. There’s always going to be bars and clubs, but I’ve noticed a slow progressive lean into experiencing things with friends, others, or a community. I think that’s beautiful. And as a sober person, more fun. Whatever political agenda is taking place in Office, and however fucked it is, we as queer people have always been here and are always going to be here. Nothing can change that.

 What is your message to the queer community?

Your voice is important. In this city and media moving forward, especially. I’m sure others can relate, but growing up queer in a straight world, I was taught to let things go, to turn a blind eye to things that didn’t sit right with me, and ultimately, as a millennial, was taught that there was only one type of gay man. Plot twist, there isn’t. Speak up, and share your story, because your story can help someone else’s perspective or even save a life.

First off, let’s congratulate the winners — and no, we are not including Emilia Peréz in the official winners category — though the cast and crew did snag a few ‘wins.’ The real winners were actors and actresses who graced the Red Carpet with dashing and smashing looks and those who stunned us with their acceptance speeches. 

The Wizard of Oz intro to this year’s awards ceremony dazzled us all, as we were swept off our feet by Erivo and Grande’s dreamy and stunning Defying Gravity duet. 

Let’s just say Cynthia Erivo and Arianna Grande blew us away so far into the sky with their performance, we defied gravity. 

Erivo’s partner Lena Waithe, creator of TV series The Chi, also made an appearance from the audience during many moments sprinkled throughout the Oscars broadcast. 

Though I’m sure Waithe looked at Erivo in awe and adoring admiration during her partner’s solo moment on stage, the way the cameras captured the adoring look Ari gave Erivo, just about melted our queer little hearts. 

It seems like this year we saw alarmingly low BIPOC and LGBTQ+ representation overall in nominees and winners.

This is painfully surprising considering that we are peaking nearly 100 years of Oscars Awards ceremonies. 

Still, the opening intro dazzled us all with Ari’s historically important Dorothy slippers clapping together in unison with the intro of the music.  

Before getting into the winners, can I also just quickly mention how cringe it was for the acceptance song, for the Emilia Peréz Academy Award for Best Original Song? I hope I’m someday able to wipe that from my memory.

Okay, now that I got that off my chest, let’s get into the awards. 

My biggest criticism about anyone at the Oscars this year is toward the Emilia Peréz cast and crew, whose silence spoke loudly when none of them thanked the trans community in any of their acceptance speeches.

They won Academy Awards for a storyline about the trans community and about the Mexican history of desaparecidos, but they did not acknowledge the community or the culture. Instead, I was expecting a shepherd’s cane to pull Camille Ducol backstage and off the mic. 

In my humble opinion, this film is not getting nearly enough criticism as it should be getting for being called a Mexican film — yet not starring a single Mexican actor. The film also just about the worst musical numbers I have ever heard. Zoe Saldaña won the Oscar for Best Supporting Actress, for her role as a singing lawyer who helps the cartel leader played by Karla Sofía Gascón, undergo gender-affirming care and begin the process of transitioning. 

The film featured a terribly choppy syntax not normally used in Spanish language, as well as accents and pronunciation that completely butchered the melody behind what maybe could have otherwise been somewhat palatable songs. 

I’m just going to say it one more time for those in the back — we could have done without that embarrassing sing-along for one of the few wins Emilia Peréz snagged. 

Many people across social media channels have tuned in to give their two cents on Emília Peréz. Most are calling for more disapproval of the film — and we couldn’t agree more. 

And no, we’re not even going to waste precious time going over every single controversy currently plaguing the Emília Peréz cast and crew. There just isn’t enough time. 

At the 97th Oscars ceremony, Paul Tazewell became the first out gay, Black man to win the Oscar for Best Costume Design for his work on the box-office hit, Wicked. In my humble opinion, it was a well-deserved win, but it’s also safe to say that it was tough competition as the other nominees designed the costumes for The Complete Unknown, Conclave, Gladiator II and Nosferatu.

Paul Tazewell, the celebrated costume designer who is renowned across Broadway, regional theatres and the big screen got his second nomination and his first win for his work and we are just over-the-moon about it. Wicked also took home the award for Best Production Design. Production designer Nathan Crowley and set decorator Lee Sandales, accepted the award and in Sandales’ acceptance speech, he thanked his husband. 

Queen Latifah made a grand appearance and stunned the audience with her tribute to the late Quincy Jones, who passed away in November and who left behind an immense legacy in the music industry. 

All in all, only two queer nominees took home awards. 

Now, let’s get into Conan’s non-funny jokes.

This isn’t necessarily a queer recap moment, but we as we queers at LA Blade, did have some queer thoughts about this issue. Conan hosted the 97th Academy Awards and we’re going to make a guestimation that 97 percent of his jokes did not hit. 

I think most of us were definitely expecting a joke or two about Garcón, but the two that Conan delivered, were at best mediocre. “Anora uses the F word 479 times, that’s only three more than the record set by Karla Sofía Gascón’s publicist,” said Conan on stage.  “And if you are going to tweet about the Oscars, remember, my name is Jimmy Kimmel.” 

At this point, I’m not even sure if it was really the audience laughing, or if it was some sort of button that plays 90s canned laughter when pressed by the show producers when the jokes aren’t funny and no one is actually laughing. 

So, who slayed with their fits and who didn’t at the Red Carpet and afterparty? 

It’s safe to say that Colman Domingo, Erivo and Grande were among the best dressed at this year’s Oscars at the Dolby Theatre in Hollywood. Every single one of their looks, ATE. 

What were some of your favorite looks? What were others who didn’t deliver?