Tag: lgbtq

  • Comedian Tuesday Thomas to Perform at Hudson Theatres

    Comedian Tuesday Thomas to Perform at Hudson Theatres

    Comedian and trans icon Tuesday Thomas, often referred to as the “Punk Rock Dolly Parton,” is performing at the Hudson Theatres in Los Angeles on July 25. According to Thomas, “People can expect an unhinged wild ride through the lens of a character you will swear is real!”

    Thomas is the subject of the award-winning documentary The Trash Goes Out On Tuesday, currently streaming on Tubi, and her comedy special Tuesday’s Trash is available on Amazon Prime. She recently wrapped a series of shows at the Hollywood Fringe Festival and hosts a monthly live comedy show, Altered Reality.

    Also known as the “Tik Tok Tranma,” Thomas uses her experiences as an out trans woman to inspire others. She has been featured on VH1, MTV, E!, and BBC, and can be seen regularly at legendary venues like The Comedy Store and The Laugh Factory.

    You can see her holdover show, Confessions of a Groupie or How I F’ed Jim Morrison The Night He Died but I Didn’t Kill Him on Sat, Jul 25 at 7:00 PM.

    Tickets are $20, available at onstage411.com

  • ‘¡Afuera!’: Historical Queer Publications Showcased at LA Art Book Fair

    ‘¡Afuera!’: Historical Queer Publications Showcased at LA Art Book Fair

    The Queerest attended Printed Matter’s exhibition ‘¡Afuera!: Publishing Queer Liberation’ at its 13th annual LA Art Book Fair, which took place from May 7 to 10, 2026, at ArtCenter College of Design in Pasadena, California.

    ¡Afuera! marked the debut L.A. exhibition of several historical publications and print ephemera published in the 1960s and 1970s by members of three radical coalitions: New York’s Gay Liberation Front (GLF) and Third World Gay Revolution (TWGR), and Argentina’s Frente de Liberación Homosexual of Argentina (FLH). The exhibition’s rare posters, flyers, newsletters, and magazines shed light on the organizing and publishing efforts of a network of determined social, political, and cultural activists of the era. 

    ¡Afuera! highlights the work of graphic artist Juan Carlos Vidal and poet-photographer Néstor Latrónico, gay activists who emigrated from Argentina to New York City in 1968 to find a new community. Vidal and  Latrónico collaborated on illustration and graphic design for the GLF’s newspaper, Come Out!, and for the FLH’s publication Afuera and its bulletin Somos. Examples of their publications, including all issues of Somos and a mock-up cover of Come Out!, were on display. 

    Vidal and Latrónico used visually striking, often colorful publications to draw attention to their queer activism and their messages of intersectional liberation, anti-imperialism, and anti-capitalism. The exhibition highlights the role that artist- and community-run printing projects played in sharing resources and information among queer activists in a pre-Internet age.

    Original cover mock-up of Come Out! Issue 8, Winter 1972, published by the Gay Liberation Front of New York. Courtesy Archivos Desviados.

    The exhibition is drawn from the New York-based collection of Archivos Desviados, which was created by Argentinian-born archivist Juan Queiroz in 2019. The ongoing, independent archive preserves thousands of historical documents from queer movements. 

    Learn more at printedmatter.org/afuera, and follow Archivos Desviados on Instagram @archivosdesviados.

  • A Place for Kink at Pride

    A Place for Kink at Pride

    Every year during Pride month, there is a surge of negative reactions online (and in person) regarding who Pride is for and to what degree. This is particularly salient for kink at Pride. Posts and news stories routinely question why kink is even at Pride. Just a sampling of kink-related Pride posts I found on Instagram offered such original comments as: 

    “Freaks.” 

    “Kink gear in a public area around minors is weird though am i too woke r sum”

    “Keep it in your home.” 

    This type of reaction is unsurprising. Virtually anything furry, kinky, or fetish-adjacent has become increasingly scrutinized amongst the LGBTQ+ community. However, this raises a question that frequently emerges in June as Pride (at least in the United States) becomes more of a focal point: Who belongs at Pride? 

    As celebrations, parades, and parties kick into high gear to celebrate all aspects of the LGBTQ+ community throughout the month, the kink community is a recurring, easy target. 

    While I am not the definitive voice in the matter by any means, the answer seems obvious to me, of course, kink belongs at Pride. Pride is for all within the LGBTQ+ community, and, surprise, surprise, there are a great number of us who also have kinks or fetishes. Additionally, there’s an exhaustive history within the LGBTQ+ community that directly addresses kinks and fetishes; there are artistic influences that go back centuries; there’s cultural heritage, and a celebration of an individual’s sexual orientation and sexual identity could be easily connected to sexual interests.  

    The question of kink’s place at Pride almost becomes a boring one. For most within the LGBTQ+ community (myself included), we are at least aware of the histories of our community more so than those on the periphery of the community. Even the most supportive of allies may draw a blank if questioned about Tom of Finland, Saint Sebastian, or Saint Andrew and his cross

    There will always be outrage about displays at Pride events, regardless of whether kink is there or not. A completely “vanilla” Pride event would still be derided by those with preconceived notions and deeply embedded homophobia. If someone already has a distrust or negative view of anything even remotely queer-related, they will find a means to continue advocating for that hate. Suppressing displays of kink, then, in an attempt at appeasement, is a fruitless and even regressive endeavor.       

    But what about individuals who are enthusiastic about Pride, allyship, or who may be in the LGBTQ+ community itself, but are uninterested in or even disturbed by kink? Shouldn’t we, as a welcoming community, then at least accommodate those who would otherwise be open but could be uncomfortable seeing, say, a rubber gimp or a leather daddy? 

    (Insert The Simpsons, “Won’t someone please think of the children?”) 

    Or worse! The corporate sponsors! After all, we cannot have a pup on all fours in front of a Raytheon float.  

    The point of Pride is not to make everyone completely comfortable. It never will be, nor ever should be. Pride’s origins as a political movement in the 1960s and 70s—alongside Stonewall, “Gay is Good,” and the Christopher Street Liberation Day—were to equate living one’s authentic self without shame. That act may itself make people—particularly outsiders of the community—uncomfortable. 

    As a commemoration of the first Stonewall Riot, “Pride” as a term was coined by L. Craig Schoonmaker as a means to counteract the immense social shame directed at the LGBTQ+ community. Schoonmaker said, “The poison was shame, and the antidote [was] pride.” At the time, people were “very repressed, they were conflicted internally and didn’t know how to come out and be proud. That’s how the movement was most useful, because they thought, ‘Maybe I should be proud’”

    Isn’t then the truest essence of Pride being able to showcase one’s kink and fetish interests without the often-internal conflict associated with enjoying them? 

    Many kinks are still derided and ridiculed today, even by members of the LGBTQ+ community. It can be easy to point and mock kinks and individuals who engage in them. Look at the reaction to former Department of Homeland Security Advisor Kristi Noem’s husband, Bryon, and the revelation of his “bimboification” kink. This is a type of role-playing in which someone pretends to be a stereotypical bimbo or Barbie doll. The ridicule can focus on the hypocrisy associated with the Noems and their rampant animosity towards the LGBTQ+ community (particularly the trans community), but shouldn’t be towards the kink itself. But that level of nuance in discussion is often ignored.

    This can then lead many (arguably most) people to keep their own kink and fetish interests fiercely private, to avoid ridicule or ostracization. This itself can have a ripple effect, as these individuals remain unaware of how many others share those interests and how safe it can be to explore between consenting adults. From bondage to gear to roleplaying, there’s no shortage of kinks for everyone interested. But many do not believe they can or should engage in these. Where else but at a Pride celebration could one in this situation learn more about kinks and meet those who could illuminate them? 

    As for the ‘keep it to the bedroom’ argument with kink, Pride provides safety in numbers. Many people just starting to dip their toes into kink could risk physical or emotional harm with someone else who may lack proper knowledge or expertise in some kinks, such as bondage or impact play, in an isolated setting. Demonstrations, educational courses, and communal settings serve as ideal places to ask questions, engage, be curious, and reduce taboos. In today’s often reactionary world, Pride can be one of the few genuine opportunities people have for this. 

      Individuals who have the chance to showcase kinks and genuine interest or curiosity at Pride can learn a great deal about themselves, too, and become all the more personally courageous and introspective as a result. 

    On a personal note, after a few years of skipping Pride celebrations, in 2022, I returned to Pride celebrations, given that a former high school classmate of mine had been arrested as part of a thwarted white supremacist riot at an Idaho-based Pride celebration. I had known him for years, had gone to lunches with him with classmates and other friends, and was shocked and horrified to see this white nationalist turn and vitriol towards Pride. 

    So, I got a rubber tank top, some splashy pants, and even some impressive leather boots, and strutted my stuff at Denver Pride. If for nothing else than to show, this was a hell of a lot better look than whatever lame tough guy cosplay these hate-mongers would ever hope to wear. But in a more real sense, I did it because I wanted to be proud of who I was and could be. That is the core of Pride’s existence. No matter what hate, ridicule, or mockery countless others may throw, Pride should be a beacon of hope for self-expression.  

  • VFX Artist Calls Out AI Use in RuPaul’s“Stop! That! Train!”

    VFX Artist Calls Out AI Use in RuPaul’s“Stop! That! Train!”

    In the weeks leading up to its theatrical release, RuPaul’s upcoming comedy Stop! That! Train! has been under immense scrutiny for its alleged use of AI-generated special effects. 

    Much of the controversy started when Gloria Cook, a VFX artist and experimental filmmaker, attended the film’s premiere in New York on May 28 and posted a review on Letterboxd shortly after, writing, “It’s one of the most conspicuous uses of AI I’ve seen in a film, with a lot of VFX looking like gen AI… Confirmed in the end credits that Acme AI was the top-billed VFX company on the film.”

    After similar allegations rapidly spread across the internet, Shankman addressed the controversy on June 3, posting an official statement on Instagram, stressing that the movie was “made by human hands.” However, he notably did not address the undeniable collaboration with AI VFX companies.

    Cook, now clapping back at Shankman’s vehement denial, released a video pointing out several discrepancies in the movie, visible even in the film’s trailer.

    The train, for example, appears with a different number of windows in various shots, a suspicious detail since human VFX artists would have reused the same CG model for different shots. There would be no purpose in recreating and intentionally changing the amount and placement of windows.

    Additionally, there is a shot of the train crossing a bridge with one of its support legs completely missing, another highly suspicious detail.

    The IMDb credits list 26 compositing artists but not a single 3D or CG artist. No one is credited with creating the train assets, only with combining assets. While there is a chance that the IMDb credits are incomplete, Cook notes that “it feels like an odd omission, especially when these VFX shots could only be done with CGI… or AI. And AI requires no animators, only compositors to clean up shots and combine elements together.”

    Cook adds that proving these effects were not AI-generated would be fairly easy. “All [Shankman] has to do is post wireframes of these scenes to show off the 3D models.”

    But instead, he released a very carefully worded statement, dancing around the issue:

    Claiming that the movie doesn’t contain any “fully generative AI shots” (emphasis on “fully”) and that not a single shot was “conceived by AI” does not dispute the accusation that AI was used to generate special effects that would have otherwise been created by a human.

    Generative AI is extremely harmful to the environment, with data centers increasing carbon dioxide emissions and pressure on the electric grid, straining municipal water supplies, and disrupting local ecosystems. On top of that, it takes jobs away from actual people. But of course, it is faster and cheaper for a company to use generative AI than to pay a human being. So the only thing we can do to stop it is to make our anger known. Filmmakers must be held accountable for using generative AI; otherwise, its use in the film industry will only grow and become normalized. 

  • QUEER x hope you have a good time: New Art Show in LA

    QUEER x hope you have a good time: New Art Show in LA

    QUEER x hope you have a good time is an art show in Mid-City Los Angeles, bringing together over 20 artists responding to the following quote from Bell Hooks:

    “[queer] not as being about who you’re having sex with – that can be a dimension of it – but queer, as being about the self that is at odds with everything around it and has to invent and create and find a place to speak and to thrive and to live.”

    HYHAGT × QUEER explores the self at odds with the surrounding world, featuring art installations from 20+ artists, tarot card reading, community art experiences, donation-based drinks, and a DJ set by Emily Alegria.

    The marketplace and gallery will be open on May 30th from 5-10pm.

    Click here to RSVP

  • RuPaul’s Drag Race Star, Honey Davenport, Wins IML

    RuPaul’s Drag Race Star, Honey Davenport, Wins IML

    RuPaul’s Drag Race star, Honey Davenport, wins IML (International Mister Leather) 2026, a multi-day competition and fetish event based in Chicago.

    Davenport is best known for her appearance on season 11 of RuPaul’s Drag Race. Seven years later, they are revealing a whole new side of themselves to the world. 

    After moving to Palm Springs and finding a sense of community in the local gay leather scene, Davenport realized this was more than an interest but a passion. After winning Mr. Palm Springs Leather, IML was the next logical step.

    During the contest, Davenport introduced themselves to the audience with the same line they used on Drag Race: “There’s only one thing you need to know about me. This honey is raw and unfiltered.”

    Shortly before the final night of the contest, Davenport took to instagram to say:

    “When I walked into the work room of [Drag Race], I said my tag line. When I walked on The [IML] stage, I spoke my truth. Same words with new meanings.”

    After their win, Davenport shared “And just like that history was made. I am your new [Mister International Leather] 2026. This was definitely a hard one but well worth the blood, sweat and tears. I am so grateful for all of kind words, hard work, and sponsorship my community gave me on this journey. Together we brought this sash home.”

    Davenport is the first Drag Race queen to win the title and marks the second year in a row that the title has gone to a Mr Palm Springs titleholder. The runners-up this year were Sgt. Alex (Mr. Cincinnati Leather 2025) and Denzel Belin (Mr. Twin Cities Leather 2026).

  • At Cannes, Rami Malek Describes ‘Fear’ of Playing Another Gay Character

    At Cannes, Rami Malek Describes ‘Fear’ of Playing Another Gay Character

    After The Man I Love debuted at Cannes this week, Rami Malek made comments about his initial hesitation to accept the role of Jimmy George, a gay theater artist in the 1980s diagnosed with AIDS. The character was originally intended for queer actor Ben Whishaw, who had to drop out due to another commitment. Though Malek is a talented actor, it is a shame that director Ira Sachs didn’t prioritize casting another queer actor in Whishaw’s place.

    When the film screened at Cannes, Malek told reporters: “When I read the script, I said, ‘I can’t do this,’” noting too many similarities between Jimmy George and Freddie Mercury, the latter of whom Malek portrayed in Bohemian Rhapsody back in 2018, winning him the Academy Award for Best Actor.

    “There was a certain sense of fear,” Malek said. “And I started to really think about what I was afraid of. Was it the similarities? Was it the singing? Was it obviously what was going on in the period? And the fear was, I knew I had to address the fear.”

    Malek further reflected on his performance as Freddie Mercury, stating, “If there’s anything Freddie taught me, it was ‘address the fear.’ And when I raced into it, I started to discover that these were men that were similar, but they were also worlds apart . . . You have an icon, a legend in Freddie, who really had a destination, whereas Jimmy is just searching for creativity and love and intimacy and joy and pleasure in every moment.”

    The film received an eight-minute standing ovation at Cannes and initial reactions to the film have mostly been positive. However, this expression of “fear” from Malek comes across as somewhat tone-deaf, given the frequent backlash when straight actors play queer characters.

    The majority of roles in Hollywood are already written for straight, cisgender men, so it’s frustrating to see Malek taking this role from a queer actor. It’s even more frustrating to see Malek admit that he was scared to play “another” gay character with AIDS, and how he feels the need to justify the decision, when a queer actor likely wouldn’t feel the need to address it all . . .

    Although it is noteworthy that there is more queer representation in Hollywood (and at Cannes) in 2026, queer actors are not getting cast in lead roles. LGBTQ+ actors are out there, but as long as bigger names are prioritized for these roles, it remains extremely difficult for queer actors to break into the industry and make a name for themselves.

  • Blair Davie’s “So What?” is a Passionate Declaration of Love

    Blair Davie’s “So What?” is a Passionate Declaration of Love

    Openly queer and non-binary singer Blair Davie released the single So What on May 13th, featuring not only the title song but an additional track, “When You Fall In Love,” which was initially released as its own single on March 11th.

    Known for songs like “Lovely,” “Butterflies,” and “Wouldn’t Be Right,” Davie frequently showcases passionate, raw vocals and heartfelt lyrics. Romance is a recurring motif in their music, and this latest release is no exception.

    “So What?” is a passionate declaration of love, with Davie singing, “I think we’re set for life,” transitioning into the chorus, which expresses finding happiness through love, after years of “hell,” and essentially asking their partner if they feel the same, ending the song with:

    "And I got my eyes on you
    And I bet my life on you
    Spent all of my time on you
    So what are you gonna do?
    "

    The lyrics are sugary sweet with an upbeat, perky melody to match. It’s a lovely feel-good expression of love and finding someone you want to spend the rest of your life with.

    “When You Fall In Love,” on the other hand, has a much more somber, soulful sound, but an equally romantic message. With beautiful acoustic instrumentation accompanied by Davie’s soft hums, the lyrics read almost like a letter to Davie’s past self, feeling isolated and broken, urging them to hang in there because good things are on the horizon.

    "Good things just need the right time
    And you don’t know yet
    But it’s coming
    Someone’s out there, yeah
    Makes it worth it"

    Through love, Davie has found stability and a sense of belonging, soulfully declaring quite frankly, “When you fall in love/ It’ll save you.”

    The song is melancholic yet hopeful, with Davie sending love to their past self, who was hurting and alone, now feeling healed and in a healthy, loving relationship.

    These two songs showcase Davie’s versatility and mark an exciting start to 2026. The singer is currently on tour through July 21, and their next EP, “You Like Ugly, Don’t You Babe?” is coming out on September 9th, 2026.

  • L.A. Queer Zine Fest Comes to USC this Sunday

    L.A. Queer Zine Fest Comes to USC this Sunday

    Los Angeles Queer Zine Fest, a one-day celebration of queer and trans zine makers, artists, printmakers, publishers, and performers, is taking place this Sunday at the ONE Archives at the USC Libraries. The event will combine: 

    (1) 45+ queer and trans-identifying vendors;
    (2) live drag performances, music, and poetry; and
    (3) a zine-making workshop. 

    Per the ONE Archives, zines “have long been a tool for queer and trans people to document our lives, share resources, tell our stories, build community, and create outside of traditional publishing.” Building on this tradition, the L.A. Queer Zine Fest intends to “platform queer voices and encourage participation in the preservation and celebration of queer history.”

    During the 2026 Fest, guests are encouraged to visit NEED ME, or, (de)mystifying the myth of the modern primitive, which is billed as “the first ever public exhibition to present the Western history of body piercing and its roots in queer history.” NEED ME will highlight the artwork and ephemera of queer individuals who were essential to modern piercing history, including Catherine Opie, Ron Athey, Bob Flagan & Sheree Rose, Leigh Bowery, Annie Sprinkle, and Efrain Gonzales.

    Founded in 1952, the ONE Archives is the largest repository of LGBTQ+ materials in the world, containing millions of items including art, books, films, videos, audio recordings, and periodicals. The Fest is presented by TRANS•FORM, a growing programming series of workshops, performances, and community events which “creates space in the world for trans people through art, resources, and collective care.” The Fest is free of charge and open to the public. RSVP is not required, but encouraged. The Fest will take place in the ONE Archives parking lot. Public transportation (Metro E Line) is encouraged. Aside from street parking, a paid lot is a 2-minute walk from the Fest.


    May 17, 2026, 11 a.m. to 5 p.m.
    Free
    ONE Archives at the USC Libraries, 909 West Adams Boulevard, L.A., CA 90007

  • Artist As Catalyst Comes to Santa

    Artist As Catalyst Comes to Santa

    Artist as Catalyst (AAC) is a regional initiative created by The Peace Studio, intended to provide young creatives (aged 18 – 30) with networking opportunities and the resources to “use their craft in the service of peacebuilding.” AAC is a three-day immersive experience that assists new artists and creative leaders across multiple disciplines in finding their voices.

    In the AAC program, participants will “engage in a unique blend of workshops, keynotes, collaborative labs, and community events… With city-specific creative direction and cross-cohort follow-up support, AAC fosters a new generation of artist-leaders using story to shift culture and activate change.”

    The program is also a fully funded experience and provides free meals and parking for its participants.

    Program dates: June 12 – 14, 2026

    Location: Santa Monica, CA

    The application priority deadline is May 8th and the final deadline is May 15th.

    To learn more, follow @The_Peace_Studio on Instagram and sign up for the Newsletter to receive the most up-to-date news on program opportunities.