SUMMER CAMP
RuPaul’s disaster spoof Stop! That! Train! rides in on rail
Review by Arnold Wayne Jones
I’m old enough to remember when Mel Brooks and the Zucker-Abraham guys all but invented the cinematic send-up. Starting in the 1970s and continuing through the early ’90s – collectively they spoofed every imaginable film genre: horror (Young Frankenstein), Westerns (Blazing Saddles), Hitchcock (High Anxiety), disaster (Airplane!), spy (Top Secret!), war hero (Hot Shots!). Especially for youngsters, but also doped-up teens and cinerds, they were the pinnacle of movie mayhem; Brooks boasted the more prestigious brand – his films had plot and character and big stars– but the Zuckers and Jim Abraham carved out their own niche, where absurdism became so outrageous as to scoff at the thought of continuity and logic. You could enjoy both, but when it came to the Zuckers, you weren’t really supposed to admit it proudly.
Even they had more cache, though, than the string of imitators who followed, from the low-rent purveyors of the Police Academy flicks to the raunchy spate of Scary Movie franchise entries of the 2000s. Even those had all but died out until last week, when the reboot did amazing box office. The spoof has more juice in it still.
Which is not to say that Stop! That! Train! stands much of a chance to be a box office powerhouse. Its niche appeal – the cast is mostly drag queens – and the diffuse targets of its humor lack a coarse, mainstream focus. I’m not even going to tell you it’s a good movie: By most metrics, the execution skews, let’s say, “economically budgeted.” (The opening scroll of B-roll train footage and obvious miniatures is not so much a glitch as a feature of its charm.) But it is undeniably entertaining, with tons of low-brow laugh and a surprisingly sharp social edge. It’s destined to be a cult camp classic.
For fans of RuPaul’s Drag Race, the bones of its structure will be familiar. For most of the latter seasons of the reality competition series, one of the most popular challenges is the Russical, sometimes cast as a movie parody (Moulin Ru!, The Sound of Rusic, Bitch Perfect). Series watchers can agree that, by and large, the quality and showmanship of those episodes are often staggeringly professional, given the constraints of a three-day turnaround. (Hey, drag queens know how to bring it, on a dime.) Stop! That! Train! includes several musical numbers amid all the faux danger of a disaster movie.
The plot is cribbed from travel-based danger dramas like Airport, Snowpiercer and Snakes on a Plane, with countless other tropes generously peppered throughout: There’s the weather phenomenon (Stormaganza!) that provides a risk for the bullet train, while nobody believes the lone rail operator (Rachel Bloom) who tries to ring the alarm; the U.S. President (RuPaul Charles herself) with a conveniently relevant backstory); the venomous scorpion stalking the crew and passengers; the disabled conductor (Chris Parnell) and the broken brakes that make stopping impossible. Oh, and the conflict among the bitchy train hostesses (all graduates of Train Hostess Academy) that makes this Mean Girls on rails.
Two BFF hostesses – DeeDee (Jujubee) and Tess (Ginger Minj) — are laid off when the recently-bankrupted Spirit Airlines of the land, Stank Rail, so quickly hustle up jobs on the fancy Glamazonia bullet service, which hosts rich and obnoxious clientele (among them gaynoscenti icons like Jesse Tyler Ferguson, June Diane Raphael, Sarah Michelle Gellar, Missi Pyle and Lisa Rinna). Initially disparaged by the sassy staff, they eventually are embraced when they save the day. (Hey, I’m not spoiling anything telling you this.) In true spooftastic fashion, the gags come fast and furious. “We went into this business to travel – to see the the Dakotas – both Fanning and Johnson,” DeeDee notes, with the rimshot implied. They pronounce seminar as “semen-ar” and do a variation of Who’s on First until it overstays its welcome. But mostly, you just laugh.
Ginger Minj and Jujubee actually can hold their own as actresses, going jab for jab with Brian Jordan Alvarez and RuPaul. Along with the Rachel Bloom subplot, the script makes some clever stabs about how women are perceived by men (“I didn’t know girls could be so funny” one man says, while others don’t trust Bloom because she’s dowdy and wears glasses). You don’t come to this kind of movie for social commentary, but RuPaul has always tinged her drag with political defiance – just making herself president in the era of Trump is a queer fantasia you can’t help but eat up.
Nobody will be touting Stop! That! Train! for awards consideration come Oscar time, but that’s hardly a criticism in light of its aspirations. This is exactly the style of queer comic kitsch that America needs to salve the roiling political climate of the day. It provides a much-deserved mental break.
Opens June 12 in theaters.
Dallas Arts District Celebrates Pride 2026 With Massive Downtown Block Party Honoring LGBTQ+ Community and Juneteenth
Dallas’ biggest Downtown Pride celebration returns June 19 with drag, dancing, queer art, poetry, DJs, a Kiki Ball, and community programming across three cultural institutions.
Dallas is getting ready to turn up the volume on Pride Month as the Dallas Arts District prepares to host the 9th Annual Pride Block Party, a vibrant, free celebration of LGBTQ+ joy, culture, and creativity in the heart of Downtown.
Set for Friday, June 19, from 6 p.m. to midnight, the beloved event transforms Flora Street into a sprawling celebration spanning the Dallas Museum of Art, Nasher Sculpture Center, and Crow Museum of Asian Art. Organizers say this year’s event marks not only the city’s largest Pride celebration in Downtown Dallas, but also one of four signature events tied to the Dallas Arts District Fest welcoming the FIFA World Cup 26™.
Thousands are expected to gather for an evening filled with live performances, drag, DJs, poetry, dance, food, art activations, and family-friendly experiences — all designed to celebrate the richness and diversity of the LGBTQ+ community.
What makes this year especially meaningful is the timing. With the event taking place on June 19, Pride Block Party also acknowledges Juneteenth, creating a powerful intersection between Black liberation and LGBTQ+ visibility.
“The intersection of these two moments, Pride and Juneteenth, is really moving,” said Jill Magnuson, Interim Director of the Dallas Arts District. “Together they underline the power of community and activism to uplift diversity, love, and freedom — a power so often expressed in the sharing of art and culture.”
Across multiple stages and venues, attendees can expect an eclectic lineup showcasing everything from drag and spoken word to line dancing and queer visual storytelling.
The Dallas Arts District Community Stage will bring high-energy entertainment to Flora Street, featuring performances from Bruce Wood Dance Dallas, Uptown Players, and artists like Kamica King and Mi Diva Loca. Guests can also kick up their boots with guided line dancing led by the iconic Round-Up Saloon dancers before ending the night with a drag finale.
Inside the Dallas Museum of Art, Pride gets a distinctly Dallas twist with a celebration highlighting Black queer culture in honor of Juneteenth. Programming includes a western disco dance class, HIV testing via the “Sexy Health” mobile unit, themed art-making, and a runway showcase from Love Jones Monroe’s Queer the Runway featuring the House of Armadaus. The evening culminates with the museum’s annual Kiki Ball, promising fierce fashion, performance, and ballroom energy.
Meanwhile, the Crow Museum of Asian Art offers a more reflective and intimate vibe with spoken word performances, poetry readings, and an open mic hosted by Filipino American poet Veronica Pamindanan, inviting community voices to take center stage.
At the Nasher Sculpture Center, the celebration continues into the night with a special Pride edition of ‘til Midnight. Guests can enjoy Drag Storytime with Cassie Nova, music from rap-funk artist Cure for Paranoia, drag performances by Bleach and Friends, DJ sets from Barbie and La Taína, and an outdoor screening of the queer cult classic To Wong Foo, Thanks for Everything! Julie Newmar.
Beyond the performances, attendees can explore creative vendors, contribute to a community mural led by artist Ebony Lewis, enjoy gourmet food offerings, and connect with LGBTQ+ organizations and community partners.
As Pride celebrations continue to evolve across Texas, Dallas’ Arts District remains committed to creating spaces where queer visibility, artistic expression, and community connection can thrive — especially at a moment when gathering in celebration feels more important than ever.
The Dallas Arts District Pride Block Party is free and open to the public. For a full schedule and event details, visit the Dallas Arts District website.
Kiesza Returns to the Dancefloor With Dancing and Crying: Volume 3
Electro-pop powerhouse Kiesza is stepping confidently back onto the dancefloor with the release of Dancing and Crying: Volume 3, the latest chapter in her emotionally charged and club-ready music series. Released today, May 8, the project continues the artist’s evolution as one of dance music’s most fearless and emotionally resonant voices.
The new release arrives following the momentum of standout singles “When I’m Dancing” and “Good Morning America,” tracks that showcased Kiesza’s ability to merge infectious dance production with bold commentary and emotional depth. With Dancing and Crying: Volume 3, she leans even further into themes of liberation, joy, self-discovery, and nonconformity while delivering the euphoric energy fans have come to expect.
At the center of the project is the emotionally charged focus track “With You,” accompanied by a colorful visualizer that mirrors the project’s dreamy and immersive atmosphere. The EP embraces a slightly psychedelic edge, blending emotional vulnerability with pulsing dancefloor rhythms.
“I was reminded, through this journey of Dancing and Crying: Volume 3, that all art has its own rhythm and the artists need to synchronize with it,” Kiesza shared about the creative process behind the project. “This process pulled all of us into a little alternate universe, like an inescapable vortex we all fell into.”
Executive producer Jess Cake echoed that sentiment, describing the record as “groovy and fearless,” adding that it truly feels like “a journey of dancing and crying all at once.”
To celebrate the release, Kiesza is heading back on tour this spring with a string of performances along the East Coast of the United States before continuing through Europe with dates in France, Denmark, Germany, and the United Kingdom. The run also includes an appearance at Mighty Hoopla in London before returning stateside for additional northeast club performances, culminating at Williamsburg Music Hall in New York City.
Joining her on the East Coast dates is genre-bending artist Rye Rye, while dancer Jaylen Brown and producer Jess Cake will accompany Kiesza onstage throughout the tour experience.
Kiesza first exploded onto the global music scene in 2014 with her smash hit “Hideaway,” a breakout anthem that has since amassed more than a billion streams worldwide. Its iconic one-shot music video became an instant cultural moment and earned recognition on numerous “Best of the Decade” lists. Her debut album, Sound of a Woman, achieved international success and solidified her status as one of pop and dance music’s most exciting emerging talents.
Over the years, Kiesza has continued expanding her creative vision through collaborations with artists including Diplo, Skrillex, Deadmau5, and Francis Mercier. Despite a serious car accident that temporarily paused her career, she returned stronger than ever with her independently released album Crave, earning widespread critical acclaim and paving the way for the Dancing and Crying era.
In 2024, Kiesza once again proved her staying power when her single “I Go Dance” climbed to #1 on the US Dance Airplay Chart, reaffirming her place at the forefront of modern dance music.
Now, with Dancing and Crying: Volume 3, Kiesza continues to champion a vibrant, emotionally fearless era of female-driven dance music — one rooted equally in movement, emotion, and unapologetic self-expression.
Diplo Returns to Country With “Two Steppin’” Featuring Adrien Nunez
Grammy-winning producer and global music powerhouse Diplo is stepping back into the country music spotlight with the release of his latest single, “Two Steppin’,” featuring rising country artist Adrien Nunez. The upbeat, genre-blending track is out now via Atlantic Outpost and marks Diplo’s first country release since 2025.
The new single made its live debut in spectacular fashion over the weekend at Stagecoach Festival, where Diplo closed out his set in front of a crowd exceeding 65,000 fans. The performance further cemented his reputation for seamlessly merging electronic and country influences into high-energy, crowd-pleasing moments.
“Adrien and I knew we made something special with this track,” Diplo shared. “It was only right that we debuted it at Stagecoach—it’s the biggest party in country music, and there’s no place like it.”
For Nunez, the collaboration represents a natural evolution of his sound. “It’s one of those songs that feels fun from the first listen,” he said. “Blending that country energy with dance music felt like the perfect way to create something wild and upbeat.”
Photo Credit: Maria Jose Govea
A High-Energy Debut at Stagecoach
Stagecoach Festival has become a recurring stage for Diplo, and 2026 marked his sixth appearance at the iconic event. It also featured the fourth installment of Diplo’s HonkyTonk—his curated stage concept that showcases an eclectic mix of artists across genres.
This year’s HonkyTonk brought out an unexpected mix of personalities and performers, including Sydney Sweeney, Waka Flocka Flame, Juicy J, Theo Von, and Caleb Pressley. The weekend also included teasers of unreleased material with breakout country artist Cameron Whitcomb, hinting at even more genre-crossing collaborations to come.
Continuing a Country Music Journey
“Two Steppin’” follows Diplo’s 2025 country single “Ashes” with Bailey Zimmerman and builds on a growing catalog of country-focused work under his Thomas Wesley persona. His previous releases include the platinum-certified Diplo Presents Thomas Wesley, Chapter 1 — Snake Oil (2020), Chapter 2 — Swamp Savant (2023), and The Mixtape (2024).
Throughout these projects, Diplo has collaborated with some of country music’s most respected names, including Sturgill Simpson, Thomas Rhett, Sierra Ferrell, Maren Morris, and Paul Cauthen. His crossover hit “Heartless” with Morgan Wallen remains one of his most successful tracks, earning billions of streams and achieving RIAA Diamond certification.
A Global Year for Diplo
The Stagecoach debut caps off a massive year for Diplo across genres. In April, he returned to the Coachella main stage with Major Lazer, performing for more than 80,000 fans. Earlier this year, he also served as executive producer on BTS’s highly anticipated album ARIRANG, collaborating with longtime producer Pdogg and contributing to five tracks.
Beyond music, Diplo continues to expand his cultural footprint with the launch of Diplo’s Run Club, a unique event series combining 5K races with mini music festivals across nine U.S. cities.
A Sound Built for the Dancefloor—and the Honky Tonk
With “Two Steppin’,” Diplo and Adrien Nunez deliver a track that captures the spirit of both the dancefloor and the honky-tonk. It’s a high-energy fusion that reflects Diplo’s ongoing commitment to pushing genre boundaries while staying rooted in the communal joy of music.
As Diplo continues to blur the lines between country and electronic sounds, “Two Steppin’” signals that his country era is far from over—it’s just getting started.
Single Artwork
DIPLO LIVE
May 1—XS Las Vegas—Las Vegas, NV
May 9—XS Las Vegas—Las Vegas, NV
May 14—XS Las Vegas—Las Vegas, NV
May 22—Echostage—Washington, DC
May 24—Encore Beach Club—Las Vegas, NV
May 29—XS Las Vegas—Las Vegas, NV
June 13—Encore Beach Club—Las Vegas, NV
June 22—Hi Ibiza—Ibiza, ES
July 1—Pacha—Ibiza, ES
July 3 - 5—Kappa Futur—Turin, IT
July 11—Belly Up Aspen—Aspen, CO
July 12—XS Las Vegas—Las Vegas, NV
July 25—XS Las Vegas—Las Vegas, NV
August 1—Encore Beach Club—Las Vegas, NV
August 20—Hi Ibiza—Ibiza, ES
August 29—Encore Beach Club—Las Vegas, NV
September 4—Encore Beach Club—Las Vegas, NV
September 5—Cabo Country Splash—Cabo San Lucas, MX
September 11—Encore Beach Club—Las Vegas, NV
September 26—Encore Beach Club—Las Vegas, NV
October 17—Big Fresno Air—Fresno, CA
DIPLO’S RUN CLUB
July 12––Cheesman Park––Denver, CO
July 18––Lincoln Financial Field––Philadelphia, PA
September 12––Seattle Center––Seattle, WA
October 3––Humboldt Park, Zone 1––Chicago, IL
October 18––Robin Williams Meadow at Golden Gate Park––San Francisco, CA
October 24––Flushing Meadows Corona Park––Queens, NY
November 8––Los Angeles Historic State Park––Los Angeles, CA
November 21––Gallagher Square at Petco Park––San Diego, CA
January 23––Margaret T. Hance Park––Phoenix, AZ
Quentin Channels Heartbreak and City Longing on New Single “i miss new york”
The Texas-born artist’s latest release blends stripped-back emotion with cinematic storytelling, previewing the forthcoming album TOMGIRL
There’s a particular kind of heartbreak reserved for cities—the kind that lingers long after a relationship fades. On “i miss new york,” multidisciplinary artist Quentin captures that exact feeling, delivering a poignant new single and self-directed video that blurs the line between love lost and place left behind.
Shot guerrilla-style across Times Square and Central Park, the accompanying visual plays like a cinematic goodbye. Quentin moves through New York City in a haze of memory and emotion—waiting tearfully on a subway platform, wandering the streets draped in red, white, and blue, and ultimately boarding a train with suitcase in hand. It’s a quiet but powerful final act: not just leaving a relationship, but leaving the city that held it.
“This time,” Quentin says, “I’m not making a statement. I’m just feeling the feelings.”
That emotional clarity defines the track itself. Clocking in at just over two and a half minutes, “i miss new york” starts with delicate acoustic guitar and hushed vocals before swelling into something far more cathartic. As drums and electric guitar build beneath Quentin’s voice, the song lands on a line that feels both devastating and freeing: “I miss New York, more than I miss you.” It’s a lyric that reframes heartbreak through geography—suggesting that sometimes, the place carries more weight than the person.
The single marks the third release from Quentin’s upcoming album TOMGIRL, due July 24 via Playing In Traffic Records. Produced by Freddy “Kinderr” Perez with additional work from Jonas Wilson—whose credits include collaborations with Heartless Bastards, Urban Heat, Shakey Graves, and The Black Angels—the track balances intimacy with a slow-burning intensity. Contributions from drummer John Speice (Grupo Fantasma, Golden Dawn Arkestra), alongside Wilson and Perez on guitar, bass, and piano, give the song a textured, live-wire feel without ever overwhelming its emotional core.
A Texas-born artist working between Austin, Los Angeles, and New York City, Quentin has steadily built a name for blending raw, confessional songwriting with striking visual worlds. Recent releases have earned praise for being “powerful, evocative and anthemic as hell” (KUTX) and “fierce, iconic instant anthem(s)” (Start-Track), signaling an artist unafraid to merge vulnerability with bold creative direction.
With “i miss new york,” though, Quentin pulls everything inward. The result is a stripped-down, deeply human moment—one that captures the bittersweet tension of holding on and letting go at the same time.
“i miss new york” arrives May 8, offering a quietly devastating preview of what’s to come on TOMGIRL.
HAAi Is Reclaiming the Dance Floor — Just in Time for Pride
The London-based, Australian-born DJ/producer is entering a defining moment with marathon U.S. sets, major accolades, and a renewed focus on queer connection through sound.
In an era where nightlife is constantly being reshaped by algorithms, streaming culture, and post-pandemic recalibration, HAAi is doubling down on something far more human: the dance floor as sanctuary.
The London-based, Australian-born DJ, producer, and vocalist — born Teneil Throssell — has built a career at the intersection of emotional release, queer identity, and immersive club culture. Now, as Pride season approaches, she’s stepping into a pivotal moment with a string of ambitious U.S. performances that feel less like DJ sets and more like endurance rituals for connection.
This May, HAAi will bring her signature intensity stateside with two marathon appearances: a six-hour set at Public Records in Brooklyn on Mother’s Day as part of its “All Day Long” series, followed by a seven-hour session at Into the Woods Festival on May 17 — just hours after taking the stage at EDC Las Vegas. It’s a demanding schedule that underscores both her stamina and her philosophy: the longer the set, the deeper the emotional arc.
For HAAi, the dance floor has never been just about music. It’s about what happens in the room.
Her world is rooted in nightlife as a space for queer expression and chosen family — a place where vulnerability and euphoria coexist. That ethos has become central to her growing influence, especially as conversations around queer joy and community spaces take on renewed urgency. If anything, her current run feels like a reminder of what club culture has always owed to queer communities: not just innovation, but intention.
That perspective has followed her into her recorded work as well. Her 2024 album HUMANiSE — released via Mute Records — was named one of the year’s best dance albums by Billboard, cementing her reputation as one of electronic music’s most emotionally resonant voices. The project expanded on the sonic world she first introduced with her debut, blending techno, breakbeat, and synth-driven pop into something both cerebral and deeply felt.
Critics took note. The New York Times praised her ability to balance “psychedelic electronica” with “remarkably fun DJ sets,” while standout single “Can’t Stand To Lose” earned recognition as one of the year’s top tracks from Beatportal.
That momentum hasn’t slowed. HAAi recently received a nomination for Producer of the Year at the inaugural Beatport Awards, further solidifying her standing within the global electronic scene. She’s also continued her creative collaboration with Fred again.., contributing a remix of “The Floor” to his USB002 Remixes project — an extension of their ongoing artistic dialogue that began with 2022’s “Lights Out,” which also featured Romy.
Still, it’s in her live performances where HAAi’s vision comes fully into focus.
Fresh off a standout appearance at Royal Albert Hall, she’s preparing for an ambitious new live show at Abbey Road Studios this September, where she’ll collaborate with The Royal Ballet to reinterpret a classical work by Edward Elgar. It’s a bold fusion of electronic production and high art — one that mirrors her broader approach to genre and form.
But before that, all eyes are on her U.S. run — and what it represents.
As Pride month looms, HAAi’s marathon sets feel especially timely. They’re not just performances; they’re extended invitations to gather, release, and reconnect. In a cultural moment where digital life often eclipses physical experience, her work asks a simple but powerful question: What does it mean to be together, in real time, on a dance floor?
If her trajectory is any indication, the answer is still unfolding — one beat, one body, one shared moment at a time.
Spring 2026 Tour Dates
May 8 — Philadelphia, PA @ Making Time Warehouse
May 9 — Washington, D.C. @ Culture
May 10 — Brooklyn, NY @ Public Records Nursery (All Day Long)
May 16 — Las Vegas, NV @ EDC (b2b Luke Alessi)
May 17 — Los Angeles, CA @ Into the Woods Festival
Meet the 18 Queens Returning for RuPaul’s Drag Race All Stars Season 11
Courtesy of Paramount+
The runway is about to get even more legendary as RuPaul’s Drag Race All Stars returns for its highly anticipated 11th season—bringing together 18 fierce queens from across the franchise for another shot at the crown.
Premiering May 8, 2026 on Paramount+, the new season continues the high-stakes “Tournament of All Stars” format, where contestants are divided into brackets and compete for a chance to advance to the finale—and ultimately win $200,000 and a coveted place in the Drag Race Hall of Fame.
This season’s cast blends iconic veterans, fan favorites, and rising stars, each returning with something to prove and everything to gain.
A Cast Packed with Legends and Fan Favorites
Among the returning queens are seasoned competitors who have already left a lasting mark on the Drag Race legacy. Dallas favorites Kennedy Davenport and A’Keria C. Davenport bring pageant polish and powerhouse performance back to the main stage, while OG icons like Morgan McMichaels and Mystique Summers return years after their original seasons for redemption.
Also stepping back into the spotlight is Vivacious, whose legendary status and unforgettable entrance moments have made her a cult favorite among fans.
Newer Queens Ready to Dominate
Season 11 isn’t just about nostalgia—it’s also a proving ground for newer queens eager to elevate their drag careers. Contestants like Dawn, Morphine Love Dion, and Sam Star represent a new generation of performers bringing bold aesthetics, high-concept drag, and social media savvy to the competition.
Meanwhile, quirky standout Crystal Methyd returns with her signature surreal style and fan-favorite charm, ready to push her creativity even further.
A Diverse Lineup of Talent
The full cast reflects the wide spectrum of drag excellence—from comedy queens to pageant legends, club kids to polished performers. Other returning contestants include April Carrión, Aura Mayari, Jasmine Kennedie, Joey Jay, Salina EsTitties, Shuga Cain, Hershii LiqCour-Jeté, and Lucky Starzzz.
Each queen enters the competition with a unique story, a refined drag identity, and a determination to rewrite her Drag Race legacy.
Bigger Stakes, Higher Drama
With 18 contestants and a tournament-style format, Season 11 promises more strategy, more drama, and more unforgettable moments than ever before. The expanded cast allows for a deeper showcase of talent, giving queens additional opportunities to prove their growth since their original seasons.
From emotional redemption arcs to fierce rivalries and jaw-dropping runway looks, fans can expect a season packed with everything that has made Drag Race a global phenomenon.
The Road to the Crown
As the competition unfolds, only one queen will rise above the rest to claim the All Stars crown. But with such a stacked lineup, predicting a winner is no easy task.
What’s certain is this: RuPaul’s Drag Race All Stars Season 11 is shaping up to be one of the most exciting chapters in the franchise’s history—where legends return, new icons are born, and the art of drag reaches dazzling new heights.
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Courtesy of Paramount+
Keeana Kee Turns Up the Heat With “WASABI” for Lesbian Visibility Week
DALLAS, TX — April 21, 2026 — Queer pop artist Keeana Kee is marking Lesbian Visibility Week with a bold new release that celebrates sapphic love, energy, and unapologetic self-expression. Her latest single and music video, “WASABI,” featuring DJ Citizen Jane, arrives as a vibrant, high-impact anthem designed to capture the thrill of instant attraction.
The track pulses with high-energy production and undeniable chemistry between its collaborators, translating the spark of emotional and physical connection into a dancefloor-ready hit. But it’s the visual component that pushes “WASABI” into full sensory experience territory.
Directed by Alex Lay, the video unfolds in a vivid, anime-inspired world that leans into a “spicy-cute” aesthetic—equal parts playful and provocative. From schoolgirl-inspired fashion to a stylized, surreal setting led by a modern geisha figure, the visuals embrace bold colors and exaggerated storytelling. A sushi-making sequence evolves into a cheeky, sensual metaphor for curiosity and connection, reflecting the track’s central theme of discovering someone’s unique “flavor.”
Musically, “WASABI” expands Keeana Kee’s global appeal. With lyrics that fluidly weave English and Spanish—like the standout line “catch me in the air con la miel en mi piel”—the song blends cultures as effortlessly as it blends genres. The result is a track that feels equally at home in headphones and on packed dance floors.
“I wanted ‘WASABI’ to feel like that instant spark you can’t ignore—the kind that surprises you, excites you, and pulls you in before you even realize it,” Keeana Kee shares. “It’s about being open to passion and letting yourself feel something intense and new.”
Releasing the track during Lesbian Visibility Week was a deliberate choice. “This week is about celebrating who we are, unapologetically,” she explains. “Releasing ‘WASABI’ now felt powerful because it’s a love story between women that’s playful, confident, and full of joy. Visibility matters, and I want people to see themselves in moments like these.”
Watch WASABI Here:
https://youtu.be/a4LYL-kb15c?si=HHOqnuwwoYXnNXxT
SILO Dallas Rises to Global Prominence, Lands in DJ Mag’s Top 100 Clubs
Dallas, TX — April 20, 2026 — In less than two years, SILO Dallas has transformed from an ambitious newcomer into one of the most influential electronic music venues in North America. Now, the venue has reached a new milestone—earning the #4 spot in the United States and #39 globally on DJ Mag’s prestigious Top 100 Clubs list.
The recognition cements SILO’s status as a powerhouse in the global dance music scene and adds to a growing list of accolades, including Time Out Texas’ “Best New Nightlife Venue” and the Dallas Observer’s “Best Live Venue for Electronic Music and Dance.”
Built as a space where music and community intersect, SILO’s rapid rise reflects not only its cutting-edge programming but also the artists, fans, and creative team who have fueled its momentum.
From Bold Concept to Cultural Force
Since opening its doors, SILO has distinguished itself by blending underground credibility with arena-scale production. The venue has become synonymous with immersive experiences, delivering a steady stream of sold-out shows and unforgettable performances.
Over the past year, SILO has welcomed some of the biggest names in electronic music, including RL Grime, FISHER, The Chainsmokers, and Illenium for multiple-night runs. The lineup has also featured global tastemakers like Peggy Gou, Vintage Culture, and Nora En Pure, alongside rare, intimate sets from legendary artists such as Richie Hawtin, Fatboy Slim, Sasha, and Green Velvet.
Artists themselves have taken notice of the energy inside SILO’s walls.
“Dallas — one of my favorite shows all year. The energy in that room was insane,” said Zedd.
“Already can’t wait to come back to SILO Dallas,” added Krewella.
“Loved it. Thanks for having me,” shared Armin van Buuren, while Sullivan King described his experience as an “absolute 10/10 time.”
A Citywide Cultural Moment
SILO’s influence extended beyond its walls in 2026 with its Race Week programming, which coincided with the inaugural Arlington INDYCAR Grand Prix. The multi-day takeover transformed Dallas into a cultural hotspot, highlighted by a large-scale block party at the AT&T Discovery District headlined by Tiësto, alongside performances from Alison Wonderland, Prada2000, and Beltran.
The weekend showcased SILO’s ability to merge global entertainment with local culture—drawing both motorsport fans and electronic music enthusiasts into a shared experience.
The Underground Edge: Ductwork
Integral to SILO’s success is its sister venue, Ductwork—a 650-capacity space designed for a more intimate, underground experience. Featuring a custom-tuned Funktion-One sound system, Ductwork has quickly developed its own reputation as a haven for high-fidelity sound and forward-thinking programming.
The space has hosted artists like Danny Avila, Chris Luno, Lil Texas, JSTJR, and Porter Robinson, along with curated label takeovers and cutting-edge club nights that complement SILO’s larger-scale events.
Leadership Behind the Vision
“Breaking into DJ Mag’s Top 100 and continuing to climb is a huge moment for us,” said James “Disco Donnie” Estopinal, Founder & CEO of Disco Donnie Presents. “In under two years, SILO has become something truly special for Dallas, bringing world-class talent and unforgettable experiences to the city week after week.”
Co-founder Patrick Tetrick echoed the sentiment: “We’re incredibly grateful to the artists, partners, and fans who have supported us from day one. The response to both SILO and Ductwork has exceeded expectations, and we’re just getting started.”
What’s Next for SILO
Looking ahead, SILO’s 2026 calendar continues to reflect its hybrid approach—pairing global headliners with underground talent across both venues. Upcoming events include Elrow’s Dance with the Serpent (two nights), along with performances by Alesso, Four Tet, SLANDER, Cloonee, Chris Stussy, Steve Aoki, Benny Benassi, and Hardwell.
Meanwhile, Ductwork will continue spotlighting emerging artists and experimental sounds, reinforcing SILO’s commitment to nurturing the next wave of electronic music.
Expansion is also on the horizon, with SILO Houston slated to open in Fall 2026—further solidifying the brand’s growing footprint.
A Historic Space Reimagined
SILO’s story is as unique as its programming. Originally built in 1959 by Delmo Johnson of the Johnson Grain Company, the 30,000-square-foot concrete structure is one of only three of its kind in North America. Once a vital part of Dallas’ food supply chain, the building has been reimagined into a modern cultural hub.
Renovations began in late 2021, blending preserved architectural elements with state-of-the-art sound, lighting, and video systems. Strategic acoustic enhancements—developed in partnership with Owens—have elevated the listening experience while maintaining comfort within the expansive space.
Today, SILO stands as a versatile venue capable of hosting concerts, art shows, conventions, and private events, contributing significantly to the Design District’s cultural and economic growth.
A Defining Moment for Dallas Nightlife
With its rapid ascent, global recognition, and ambitious expansion plans, SILO Dallas is not just a venue—it’s a defining force in the evolution of nightlife and electronic music culture.
As the city continues to grow as a destination for world-class entertainment, SILO is leading the charge—proving that Dallas has firmly secured its place on the global stage.
SILO UPCOMING 2026 Calendar
April 17 & 18 – Elrow – Dance with the Serpent
April 23 – ÆON:MODE
April 24 – Alesso
April 25 – Cloonee
May 1 – Four Tet
May 2 – STMPD RCRDS Label Night
May 7 – Flux Pavilion
May 8 – Bonnie x Clyde & Cash Cash
May 9 – SLANDER
May 14 – Midnight Tyrannosaurus
May 15 – Chris Stussy
May 16 – Klangkuenstler
May 21 – Infected Mushroom
May 22 – Disco Dom
May 23 – Said The Sky
May 24 – Steve Aoki
May 28 – KAS:ST
May 29 – Timmy Trumpet
May 30 — D.O.D
June 4 – RINZEN
June 5 – Benny Benassi
June 6 – Chase & Status
June 12 – Hardwell
June 13 – Oliver Heldens
June 14 – Cristoph
June 17 – Paul Oakenfold
June 18 – KLOUD
June 19 – Lane 8 b2b Sultan + Shepard
June 20 - Gordo
June 21 – Hernan Cattaneo
June 25 – Lady Faith
June 27 – BRESH
June 28 – Emorfik x Usaybflow
July 2 – Sacha Robotti
July 3 – Sullivan King
July 10 – DILLSTRADAMUS: Dillon Francis b2b Flosstradamus
July 11 – yetep
July 12 – Bun Xapa
July 18 – Wax Motif
July 24 – Mita Gami
July 26 - Eli & Fur
July 25 – Walker & Royce
July 31 – Maceo Plex
August 7 – Noizu
August 22 – Dr. Fresch
September 13 – Wooden Wisdom ft. Elijah Wood + Zach Cowie
DIFFA DALLAS HAPPY HOUR BENEFIT BY UNLEASHED LGBTQ+ PREMIUM VODKA & THE IVY TAVERN
Unleashed LGBTQ+ and The Ivy Tavern Monthly Fundraising Series Supporting Dallas LGBTQ+ Nonprofits Continues with Benefiting DIFFA DALLAS
Unleashed LGBTQ+ Premium Vodka and The Ivy Tavern are proud to continue our monthly initiative dedicated to raising funds and awareness for LGBTQ+ nonprofit organizations across Dallas.
Join us on Friday, APRIL 17th as Unleashed LGBTQ+ Premium Vodka and The Ivy Tavern continue event in this exciting series. Guests can enjoy refreshing specialty cocktails, including the Pink Flamingo (Unleashed Vodka + Pink Lemonade) and the Southern Belle (Unleashed Vodka + Sweet Iced Tea), with 10% of all featured cocktail sales benefiting this month’s nonprofit partner, DIFFA DALLAS.
Learn more about DIFFA DALLAS’ mission below:
“We’re excited to invite the community to House of DIFFA, happening Saturday, May 9th at the Sheraton Downtown Dallas. This incredible event not only celebrates fashion, creativity, and community, but also supports a mission that truly matters. DIFFA Dallas raises vital funds for AIDS Service Organizations across North Texas, and what makes our work unique is that we provide unrestricted funding—allowing these organizations to use the resources wherever they’re needed most in the fight against HIV/AIDS. Our board is a working board, meaning every event we produce directly contributes to the impact we’re able to make. We look forward to seeing everyone come together for an unforgettable night with a powerful purpose.” says J.R. Shoman.
House of DIFFA returns on Saturday, May 9th at the Sheraton Dallas Hotel, bringing together the Dallas community for an evening of high fashion, entertainment, and meaningful impact.
Hosted by DIFFA Dallas, the event serves as one of the organization’s premier fundraisers, supporting its mission to provide financial assistance to AIDS Service Organizations (ASOs) throughout North Texas. Unlike many grant programs, DIFFA Dallas distributes unrestricted funds, allowing recipient organizations the flexibility to allocate resources where they are needed most—whether for prevention, treatment, housing, or direct support services for individuals impacted by HIV/AIDS.
What sets DIFFA Dallas apart is its dedicated working board, whose members actively produce and execute the organization’s major fundraising events. Through initiatives like House of DIFFA, the team raises critical funds that are then reinvested into the local community, ensuring continued support for frontline organizations addressing HIV/AIDS.
As anticipation builds for this year’s event, attendees can expect a dynamic evening that blends purpose with celebration—an opportunity to engage, give back, and be part of a cause that continues to make a lasting difference across North Texas.
All nonprofit organizations are encouraged to attend this evening at The IVY Tavern—whether featured for the month or not. Participating groups will have the opportunity to host a table, share information, and promote upcoming events and initiatives. “We hope this creates a space where organizations can connect, collaborate, and simply enjoy a fun, relaxed environment together,” Smoot says.
The evening will feature music by Dallas favorite DJ Tony Dean, MC from Kidd Kraddick Morning Show, Part Time Justin, and Award-Winning Stage/Drag Performer, Jada Pinkett Fox— along with discounted drinks, complimentary bites, and opportunities for guests to make additional donations—because every contribution, big or small, makes a difference.
Unleashed LGBTQ+ and The Ivy Tavern will continue this monthly series, supporting a rotating lineup of nonprofits, with a focus on AIDS Service Organizations (ASOs) and community-driven initiatives.
Non-profits interested in being considered as a future beneficiary are encouraged to reach out to Justin Grucholski at info@unleashedlgbtq.com.
#UNLEASHEDLGBTQ
#DIFFADALLAS
Danni Nicholls Finds Her Power on Upcoming Album Making Moves
From a small English market town to the heart of Nashville’s thriving Americana scene, singer-songwriter Danni Nicholls has spent the last decade quietly building a powerful and respected career rooted in authenticity, soul, and storytelling. Now, with her fourth studio album Making Moves set for release in Summer 2026, Nicholls is stepping into a bold new chapter defined by resilience, reinvention, and artistic clarity.
Born in Bedford, England, Nicholls’ musical foundation was shaped early by her Anglo-Indian grandmother’s record collection—rich with American roots, country, and soul. That influence would eventually guide her across the Atlantic to Nashville, Tennessee, a place she long considered her spiritual home. Today, she proudly calls Music City home, continuing to deepen her presence in the U.S. while maintaining a strong international following.
Nicholls’ career trajectory took a defining turn following a chance meeting with Nashville producer and bassist Chris Donohue, known for his work with Emmylou Harris. The collaboration resulted in her critically acclaimed debut A Little Redemption (2012) and its follow-up Mockingbird Lane (2015). Both albums showcased a roster of legendary Nashville musicians and earned widespread praise for their emotional depth and timeless sound.
Her third album, The Melted Morning (2019), produced by Jordan Brooke Hamlin, marked a shift toward a more intimate and haunting sonic landscape. The record was celebrated for its vulnerability and originality, further solidifying Nicholls’ reputation as a compelling voice in the Americana genre.
Now, with Making Moves, produced by Sarah Peacock, Nicholls embraces growth and transformation. The upcoming album blends her signature rootsy warmth with subtle modern textures, capturing a period of personal and creative evolution. Themes of courage, letting go, and forward momentum run throughout the project, signaling an artist fully stepping into her own power.
Critics have long praised Nicholls’ artistry, with Maverick Magazine dubbing her a “one in a million” talent with a “velvet voice,” while R2 Magazine has described her songs as “classy and compelling.” On stage, she continues to captivate audiences across the globe, whether performing in intimate listening rooms or commanding festival main stages
Over the years, Nicholls has shared stages with notable artists including Lucinda Williams, The Secret Sisters, and Sturgill Simpson, while her music has also reached wider audiences through placements on television, including the hit series Sons of Anarchy.
A three-time nominee for the Americana Music Association UK, Nicholls has performed at some of the world’s most respected festivals, including the Cambridge Folk Festival, Tønder Festival, AMERICANAFEST, Mile of Music, and 30A Songwriters Festival.
Often compared to artists like Brandi Carlile, Rosanne Cash, and KT Tunstall, Nicholls continues to write songs that explore hope, healing, and the human experience with sincerity and grace.
With Making Moves on the horizon and momentum building on both sides of the Atlantic, Danni Nicholls is not just evolving—she’s arriving. And if her latest work is any indication, her voice will continue to resonate deeply for years to come.
Unleashed LGBTQ+ Expands Impact Through Continued Partnership with Mark Cuban Foundation
Dallas, TX — Unleashed LGBTQ, LLC has announced the continuation of its partnership with the Mark Cuban Foundation, reinforcing a collaboration that has already played a significant role in the organization’s growth and programming. With initial support beginning in 2025, the foundation’s grant funding has enabled Unleashed LGBTQ+ to elevate its offerings, including securing high-profile talent such as legendary filmmaker John Waters.
“We have received generous support for two years now, and it’s clear the foundation recognizes the work we are doing,” said Wesley Smoot, Founder of Unleashed LGBTQ+. “We couldn’t be more grateful. Leaders like Mr. Cuban and his team provide both hope and inspiration—not only for our organization, but for the broader community we serve.”
Since its founding in 2020, Unleashed LGBTQ+ has established itself as a dynamic platform where brands, artists, entertainers, and LGBTQ+ professionals can connect, collaborate, and celebrate community. Its annual events have featured a diverse range of programming, including panel discussions, keynote speakers, live performances, and networking experiences that span industries such as film, television, music, business, and technology.
Past participants and featured talent have included Antoni Porowski, Indya Moore, Dyllón Burnside, and Carmen Carrera, among others. In addition to its entertainment and professional programming, Unleashed LGBTQ+ has also maintained a strong commitment to community impact, partnering with leading nonprofit organizations such as the Human Rights Campaign (HRC), DIFFA, The Trevor Project, and Legacy Cares.
Looking ahead, the organization plans to deepen its engagement with nonprofit partners by expanding opportunities for participation, including interactive mixers and live entertainment experiences designed to connect attendees directly with impactful causes.
“Unleashed LGBTQ+ 2026 will be a stronger and more impactful event because of this grant,” said Justin Grucholski, Director of Non-Profit Relations. “This support allows us to grow our mission while creating even more meaningful experiences for our attendees and partners.”
The 2026 Unleashed LGBTQ+ Conference and Festival is scheduled to take place September 18–20 in Dallas, Texas. Event passes are now available, with the full lineup of speakers, talent, and programming to be announced in the coming months.
For more information or to purchase passes, visit www.unleashedlgbtq.com.
Unleashed LGBTQ+ and The Ivy Tavern Launch Monthly Fundraising Series Supporting Dallas LGBTQ+ Nonprofits
Unleashed LGBTQ+ and The Ivy Tavern are proud to introduce a new monthly initiative dedicated to raising funds and awareness for LGBTQ+ nonprofit organizations across Dallas.
Join us on Friday, March 20th as Unleashed LGBTQ+ Premium Vodka and The Ivy Tavern kick off the inaugural event in this exciting series. Guests can enjoy refreshing specialty cocktails, including the Pink Flamingo (Unleashed Vodka + Pink Lemonade) and the Southern Belle (Unleashed Vodka + Sweet Iced Tea), with 10% of all featured cocktail sales benefiting this month’s nonprofit partner, Legacy Cares.
When asked about partnership between The Ivy Tavern and Unleashed LGBTQ+, Lisa Georgalis had this to say, “The partnership between The Ivy and Unleashed LGBTQ+ has been a natural fit from the start. Both brands share a commitment to delivering quality experiences, creating memorable moments, and making a meaningful impact within the LGBTQ+ community. Together, we’re proud to combine great products, vibrant energy, and purpose-driven initiatives that give back.”
“Legacy Cares is an incredible organization that I’ve been proud to support since moving to Dallas,” said founder Wesley Smoot. “Their work—providing access to medication, job placement, housing, and so much more—truly changes lives. Their compassionate and dedicated leadership continues to make a meaningful impact in our community, and we’re honored to spotlight them as our inaugural beneficiary.”
All nonprofit organizations are encouraged to attend—whether featured that month or not. Participating groups will have the opportunity to host a table, share information, and promote upcoming events and initiatives. “We hope this creates a space where organizations can connect, collaborate, and simply enjoy a fun, relaxed environment together,” Smoot added.
The evening will feature music by Dallas favorite DJ Tony Dean, along with discounted drinks, complimentary bites, and opportunities for guests to make additional donations—because every contribution, big or small, makes a difference.
Unleashed LGBTQ+ and The Ivy Tavern will continue this monthly series, supporting a rotating lineup of nonprofits, with a focus on AIDS Service Organizations (ASOs) and community-driven initiatives.
Nonprofits interested in being considered as a future beneficiary are encouraged to reach out to Justin Grucholski at info@unleashedlgbtq.com.
Unleashed LGBTQ+, LLC Launches New Podcast Network with Debut Show Coffins and Cocktails
Dallas, TX — March 17, 2026 — Unleashed LGBTQ+, LLC, the organization behind the nationally recognized Unleashed LGBTQ+ Conference & Festival, is expanding its media footprint with the launch of a new podcast initiative, debuting with the original series Coffins and Cocktails. The new podcast, currently in production, will premiere weekly episodes beginning April 15, 2026.
Hosted by Todd Interiano-Shifflett, a licensed funeral director and embalmer and the general manager of a funeral home that is owned by the world’s largest funeral home and cemetery providers — who also serves as Director for Pride Sports — Coffins and Cocktails offers a bold, sometimes eerie, often funny, and always entertaining exploration of what happens when we die.
“The format is simple,” explains Interiano-Shifflett. “We host special guests and take questions about what people really want to know about death — body removal, service planning, burial versus cremation, and everything in between. There’s so much curiosity around this topic, and we want to create a space where people can learn without fear.”
Guests will range from death-care professionals to entertainers, including drag performers, actors, and personalities from across the LGBTQ+ community and beyond.
“The tone of the show will vary depending on who we have on,” Interiano-Shifflett adds. “We want conversations to be informative, but when we bring in some fabulous queens, you can be sure we’ll be laughing. If anyone can make the subject of death feel light, it’s a drag queen.”
The podcast also reflects Unleashed LGBTQ+’s continued evolution into multimedia storytelling and community engagement.
“We’ve built an incredible network through our conference and festival over the years,” says Wesley Smoot, Founder of Unleashed LGBTQ+. “When the idea for this podcast came along, it just made sense. The subject is fascinating, and I know some hilarious, brilliant people who will add a lot to the content. Plus, they’ll all be enjoying Unleashed LGBTQ+ Premium Vodka during the show — so that’s a win-win.”
Coffins and Cocktails marks the first in a planned lineup of podcasts under the Unleashed LGBTQ+ brand umbrella, expanding the company’s reach into digital entertainment while continuing its mission of community connection, storytelling, and visibility.
ICYMI: Oscars edition Looking for (but often not finding) queer appeal in some of the frontrunners for this year’s Academy Awards
Reviews by Arnold Wayne Jones
The Academy Awards are almost here, and the slate each year provides a snapshot of the culture at large – sometimes positively for queer folks, sometimes not so much. We decided to preview some of the top competitors.
The gayest of the movies up for some major awards this year is probably Blue Moon, the character study of tortured, closeted lyricist for much of the Great American Songbook, Lorenz Hart. A master storyteller in a three-minute idiom, Hart was a flamboyant, alcoholic, often profane wit, and the film captures its subjects inherent contradictions: about “Blue Moon,” perhaps his most popular song, he expresses embarrassment if not outright regret; while he titled a song “My Funny Valentine” to sound either comic or romantic, he let composer Richard Rodgers set it in the melancholy key of C Minor. In ways such as these, the film captures the desperation and sadness often reflected in his songs, as well as the frustration, affection and borderline pity of those who surround him.
Director Richard Linklater stages everything like a play: Basically a single setting (the bar at Sardi’s after the opening in 1943 of Rodgers & Hammerstein’s revolution musical Oklahoma!), playing out in real time, as denizens of Broadway filter in and contend with Hart’s barbs, couched praise and ironic observations. Robert Kaplow’s Oscar-nominated screenplay unfolds like modern-day William Saroyan with tons of Easter eggs hidden among all the celebrity cameos.
Much of the heavy lifting rests on the shoulders of Oscar nominee Ethan Hawke, who flits around as an effete little man, crowing of a sexual conquest with a college coed (Margaret Qualley) whom everyone rightly suspects is more protege than paramour. Hawke’s affectations and pained reactions show a profoundly unhappy man in a closet with the door cracked open, taking a hard assessment of his life (Hart would die before the end of the year). It’s all so Hart-breaking.
Probably no best picture nominee addresses queer life more directly than The Secret Agent, the Brazilian political thriller set in the late 197os, when its authoritarian government criminalized dissent, homosexuality (especially presented in a fairly explicit, if absurdist, cruising scene) and every perceived disruption to the social order its right-wing leaders’ whims could conceive. The central story deals with college professor Armando, aka Marcelo (nominee Wagner Maura), who returns to his hometown of Recife to escape persecution because of his forcefulness in defending his independence concerning adacemic research.
Writer-director Kleber Mendonca Filho incorporates unexpected imagery in what could look like a straight-forward docudrama: A housecat born with two faces, rotting corpses reprseenting the putrefecation of society, and of course the unfairly targeted gay community, all of which serves the themes of duality and hypocrisy that threatens the simple act of living your life authentically. Sound familiar?
If you missed Sinners — and you probably didn’t if you were interested in movies or pop culture over the last year — you recognize that its homoerotic quotient is pretty low… except that you get by osmosis simply by (a) being about vampires and (b) starring Michael B. Jordan. Nevertheless, its absolutely gobsmacking energy transcends genres and genders: Sinners was one of last year’s most compelling watches.
Part of the wonder of the film is that so much – and so little – is going on. Virtually all of it takes place over the course of a single 24 hour period in October 1932, when twin brothers Smoke and Stack (both Jordan) return to their small Mississippi town after having worked as enforcers in Chicago for Al Capone. They reappear with little explanation but tons of suggestive backstory, determined to immediately open a jukejoint for the working class Black patrons, including the women each man left behind. Then vampires show up.
If it’s superficially a horror film, it’s tempermentally a thoughtful melodrama about outsiderism, loss, struggle, faith and, ultimately, race. Like Jordan Peele’s Get Out, Sinners investigate themes of pride, artistic integrity, vision and morality with a pulsating unpredictability. Writer-director Ryan Coogler takes huge swings, keeping his audience off balance by toggling between Ultra Panavision wide screen and a beefed up academy ratio to contrast between the intimate and the epic, with the costuming, color saturation and edits at unexpected times – a vampire lifts off the ground, about to attack, then we smash cut away from the violence – make for compelling cinema. No wonder its up for a record-setting 16 Oscars. Sinners is a visionary and creative artistic enterprise.
Director Guillermo Del Toro isn’t so much a creative artist as an interpretive one. Most of his films are adaptations — from comic books (the Hellboy and Blade movies), literature (Pinocchio), even other movies (Nightmare Alley and his reimagining of Creature from the Black Lagoon, The Shape of Water). As a director, he builds his inspiration on others’ foundations. His latest, Frankenstein, has a painterly beauty (some shots echo paintings by Gainsborough or Goya) that eventually challenge the viewer to ignore thinking, “He’s cribbing from Branagh’s version, Coppola’s Dracula … even Doctor Strange.” His love of movies stands in the way of his individuality; Mary Shelley famously wrote nothing about how the creature was brought to life; Del Toro spends half an hour on it, making the scenes as moist and sinewy as a slaughterhouse, because… well, because he can. At least Del Toro is a master craftsman: He steals from geniuses, and does so expertly.
In this telling, Victor Frankenstein (Oscar Isaac) is an erstwhile mama’s boy whose resentment over his father’s wanton cruelty and carelessness during childbirth leaves him defiant. From the moment Isaac replaces the child actor as his younger self, his “mad scientist” persona takes over. There’s little humanity behind his mania … which, of course, is the ultimate irony, as Dr. F famous mimics humanity with his creature (nominee Jacob Elordi). That’s always the twist, isn’t it: We care more for the artificial man’s suffering than for his creator’s fits of pique. Of course, one reason for that is Elordi’s sculpted, towering frame, clad modestly in a large napkin, imbuing the appropriate amount of homoeroticism into this man-on-man horror show. Frankenstein is a nice looking movie without much heart.
The act of titling your film something as flat-footed as F1: The Movie is as much a declaration of the makers’ ethos as it is a clarification (like, were we going to an IMAX and accidentally think we’ll be watching an actual race? Or is that to differentiate it from the macro on the upon row of a keyboard?). F1 is what I have dubbed a “commotion picture:” Noisy, unsubtle, predictable, with concepts cobbled together by a committee into putative scenes. No cliche goes unrepeated, no speech of trite exposition trimmed to give us a reasonable runtime (F1 clocks in at nearly three hours). It’s a garbage movie… Which isn’t to say it’s not enjoyable. Damson Idris offers a few scene of beefcakery and even slathered in a loose-fitting leather speed suit, Brad Pitt excudes BDE. (The downside of all the fuel-injected testosterone is a movie that exemplifies the kind of toxic masculinity and misplaced bro-ey oneupsmanship that’s polluting our real culture more than the fossil fuel-burning cars at its center. Still, despite a meaningless “best picture” nomination, F1 is a shoo-in for the best sound Oscar, with all its revved engines and squealing tires. I’m OK with that; sometimes thinking stands in the way of a good sit.
Yorgos Lanthimos is no stranger to quirk, nor does he back away from an investigatively queer sensibility in his absurdist satires: The Favorite, Poor Things, The Lobster, and more. In his latest, best picture nominee Bugonia, he aims more for insane sentiment between two disturbed young men (Jesse Plemons, neurodivergent newcomer Aidan Delbis) who target a ladyboss (Emma Stone) with kidnapping, suspecting her of being an alien. The madness is both hilarious and disturbing, and once again Stone transforms her body for a daring character portrayal (hey, it won her an Oscar for Poor Things and she’s nominated again here). The film feels more trifling than its best picture nom suggests, but run-of-the-mill Lanthimos is worth more than peak Michael Bay.
There were many elements of Paul Thomas Anderson’s One Battle After Another that I enjoyed: the performance of Benicio Del Toro and especially Sean Penn (who compete against each other this year, with Penn the likely victor); tense moments on a highway; the underlying absurdity of a futuristic world riven with extremism and violence (not-so-futuristic nowadays). But, again, for its running time I’m not sure it all comes together. It’s position as a darling of the Academy is, frankly, puzzling, and not just because there’s also not much here for queer audiences to revel in. It’s one battle ultimately not worth fighting.
Blue Moon and Frankenstein available on Neflix.
The Secret Agent available on Disney+/Hulu.
Sinners and One Battle After Another available on HBO Max.
F1 available on AppleTV+.
Bugonia available on Peacock.
Jessie Ware Ignites the Dancefloor With Sultry New Single “Ride” Ahead of Upcoming Album Superbloom
After first teasing fans with a surprise live debut at Glastonbury in 2024, Jessie Ware has officially released “Ride,” a bold, sensual new single that signals the next era of her sound — and sets the stage for her forthcoming album, Superbloom.
Originally unveiled at the iconic NYC Downlow nightclub immediately following her headline performance on the festival’s West Holts stage, “Ride” quickly became one of the most talked-about unreleased tracks among fans. Now, after nearly two years of anticipation, the song arrives in its full studio form — and it delivers exactly the kind of euphoric, body-moving energy audiences hoped for.
Built on a hypnotic groove that subtly nods to The Good, the Bad and the Ugly theme, the track unfolds as a slow-burning dancefloor moment. Ware’s commanding vocal sits front and center, radiating confidence, desire, and control. Lyrics like “I’m bad / Beautiful / Hold my hips / Watch me move” capture a playful but powerful sensuality that has become a signature of her recent work, blending intimacy with cinematic scale.
Speaking about the single, Ware revealed its personal significance in shaping the new project.
“‘Ride’ was the first song I wrote for this record,” she said. “I made it in 2024 with my best friend Jack Peñate and Karma Kid, who feature throughout the album. It’s a song for the clubs, for the dancefloor — fun, cinematic, cheeky and powerful.”
She also recalled the moment fans first heard it live.
“I first performed it at NYC Downlow at Glastonbury after headlining West Holts, and I’ve been waiting two years to finally put it out. I know others have been waiting too… So here it is. You’re welcome.”
The single offers a glimpse into Superbloom, due April 10, which promises to place Ware at the center of a world defined by glamour, tension, and physicality. Early indications suggest the album will continue her evolution into sophisticated, disco-infused pop while expanding its cinematic ambition.
With “Ride,” Ware once again demonstrates why she remains one of contemporary pop’s most compelling voices — an artist equally at home delivering emotional nuance and commanding the dancefloor. The track feels both like a celebration of her current creative peak and a confident teaser of what’s still to come.
“Ride” is out now via Interscope Records, with Superbloom available for pre-order.
GLOVE, ACTUALLY | FILM REVIEW
PILLION LUBES UP TO EXPLORE THE GAY SUB-CULTURE
Review by Arnold Wayne Jones
Alexander Skarsgård and Harry Melling star in Pillion. Courtesy of A24
Sometimes the truly remarkable thing about a movie isn’t what it does, but that it gets the chance to do it in the first place. Pillion is an enthrallingly unexpected dom-com about gay leather/BDSM culture, and I’ll explain why in due time; but can we linger for a moment on the marvel that it got made at all?!?!? The pitch isn’t exactly a box-office slam-dunk… even after the surprising (and woefully undeserved) success of the Fifty Shades movies. Fifty Shades of Grey – the only one I had the wherewithal to endure in the theater – was a disastrously smug but prudish little titilator. The film pretended that it was a racy dive into the sexual underworld, but I’ve seen more sensual bondage in a Tom Ford print ad for cologne. It wasn’t even outrageous enough to work ironically as camp. (The South Park episode where Mr. Slave “out-whores” Paris Hilton had more oomph in its final two minutes than all hours of the Fifty Shades did combined.)
So what about Pillion? While it stays this side of an NC-17 rating (at least in the edited U.S. release), it holds back almost nothing in the frankness of its portrayal of a gay subculture: that of sub-culture.
The plot plows right in with little explanation but tons of texture. Colin (Harry Melling) is a snaggletoothed Caspar Milquetoast with a sad mop of greasy hair and an unfortunate affinity for barbershop quarteting. He and his dad (Douglas Hodge) are performing in a gay bar to the delight of his terminally ill mom (Lesley Sharp) and a blind date mom set up when Colin glances at a pair of gay biker boys in a dom-sub relationship. We can see on Colin’s face that the sexual adventurousness of the scene intrigues him; Colin seems like the type whose idea of a hot date is over-the-jeans frottage or a meek handy before shamefully darting off. The sweet-natured bear date and the supportive parents suddenly disappear: Colin has found his people.
One of the leathermen – who only goes by Ray (Alexander Skarsgard) – drops his instructions to Colin at the pub – not his number or email but directions: Be this place, this time. An order. Colin complies, Ray commands him into humiliating but steamy alley sex, then blows him off. They are in a relationship now. Colin doesn’t have a choice. And he kinda likes it that way.
Pillion — the title refers to the small seat on the back of a motorcycle where non-drivers “ride bitch” – offers a smutty tour of the underbelly of leathermen and their subs. At first, Colin is as disoriented and awkward about it as we are: Is he allowed to talk? To resist? To make his needs known? What are the rules? But then again, figuring out the rules – succumbing to the intoxicating magic of sexual surrender – is a huge part of the appeal in the first place. Colin is a born sub, he just needs to figure out its parameters.
It’s probably not a spoiler to say that the only dramatic direction Pillion can head toward is conflict in the relationship: Is Colin actually fulfilled by his time with Ray? But the darkly comic tone belies the possibility that Pillion will devolve into some kind of ’80s-style erotic thriller. There’s too much skewed romance and Edgar Wright-ish British “who, me?”-isms to seem like it will turn into Looking for Mr. Goodbar, Spetters or Basic Instinct. And we don’t really want it to. We may not fully invest in the rightness of this particular relationship, but queer audiences have a built-in tolerance for angular arrangements: Polys, throuples, opens … love is love, man, whether it’s fulsome or Folsom, P-town or piss parties. Whatever floats yer boat.
Which, of course, it what makes the film anti-commercial. Despite some predictable story arcs, we can’t really “blame” Ray – he’s not “the bad guy.” When Colin insists he spend a lunch with mom and dad, we know it won’t go well, but that’s as much the fault of mom’s confrontational moments and Colin’s poor judgment as it is Ray’s enigmatic behavior. Forays into heteronormative domesticity are doomed; the appeal of being queer sometimes is not owing anyone an explanation.
Another reason we don’t lay all the responsibility on Ray’s broad shoulders is because he’s Alexander-effin-Skarsgard!! Clad in a leather bodysuit, his scruffy beard poking out of a chiseled face beneath a brooding baritone, he’s a tall muscular daddy of swoon-worthy dimensions – who among us wouldn’t be tempted to do what he told us to do? Just as good is Lesley Sharp as the protective, nothing-left-to-lose mom and Douglas Hodge as the most supportive gay dad since Michael Stulbarg in Call Me By Your Name. Melling, while good, starts off as an acquired taste. He’s meant to be bland as unsalted grits which makes him a bit of a cipher. When he transforms into a devoted pup, however – and eventually a graspingly lovesick mutt – he’s much more relatable and likeable. The ending feels almost inevitable thanks to him and the uncompromising screenplay and direction by first-timer Harry Lighton. His ride-or-die approach creates tension in such prosaic moments as keys pecked out on a piano but then sashays seamlessly into rough sex with a touch of goofy charm. Ultimately, he says, getting what you want is a discovery… and turning yourself over into getting it is an act of grace.
Now playing nationwide. Opens in Dallas at the Angelika on Feb. 19.
IT’S ABOUT TIME | FILM REVIEW
BY ARNOLD WAYNE JONES
The convoluted emotional seesaw of being closeted is explored through quirky storytelling in the racy Heated Rivalry & the somber Plain Clothes
The coming out process is a confusing and inherently dramatic one, and for many, often inchoate. The first person you have to come out to, of course, is always yourself; the second is often the object of your desire. Beyond that? It gets dodgy. Things have definitely become easier over the decades in terms of social acceptance, legal protections and community support, but for many, family expectations and coworkers often remain a stumbling block. It can be so confounding, in fact, remembering what you’ve told to whom and who you can trust creates a brainstorm of jumbled recollections and conflated experiences. Closeted gay people often live inside a mental chasm of breathless expectations and pulsating memories which can, let’s be honest, fuck you up.
Two recent queer entertainments do a remarkable job of capturing that sense of uncertainty, trepedation and sexual excitement, both by savvily corkscrewing their storytelling timelines: The HBO miniseries Heated Rivalry and the indie film Plain Clothes.
Chances are you’ve seen at least some of Heated Rivalry, and probably many readers furiously binge-watched it as soon as they could. It has tapped into the Zeitgeist as few expressly queer-themed content ever has. The initial appeal is obvious: Young, impossibly attractive men engaged in racy nude sex scenes. But aside from what could be called lurid fascination, it’s true artistic merits lay in the dizzying whirlwind of its storytelling.
The opening scene of Episode 1 lasts all of two minutes, then flashforwards a month, then six months, then six months ago. Initially, this can be attributed to merely expedient exposition, but it continues this breakneck pace all throughout. And it dawns on you: Series creator Jacob Tierney isn’t merely covering a lot of plot, but approximating the mental gymnastics that sexual hunger can put us through.
The series focuses primarily on just two characters, which both helps justify the time jumps and intensify the viewers’ shared excitement. Shane Hollander (Hudson Williams) is a introverted Canadian hockey phenom, about to be drafted into the NHL. He’s considered the most promising rookie to join the league… other than the insolent Russian braggard Ilya Rozanov (Connor Storrie), who simultaneously intimidates, aggravates and tiltillates Shane. They are drafted by rival teams and the media feed their perceived animosity, but very quickly they pursue a mutual sexual attraction: For Shane, his first foray into his sexuality, for Ilya, just his latest following a volatile situationship with his coach’s son back in Russia (where coming out, even in the 2010s, is simply not an option).
Shane and Ilya have passionate encounters that, just as they build up momentum, get derailed by such complications as seasons, scheduling and interference from clueless friends and family. But the end of Episode 2, we’ve probably jumped ahead four years or so; when Episode 3 begins, we start jumping backwards in time as well. All of this sudden unpreditable generates emotional tension, primarily in Shane, whose diffident nature make his constantly worried about what signals he might be giving off. We see less of Ilya’s internal struggle; despite his own issues, the repressive culture of Russia offers him fewer options, so he suppresses his feelings more, even to himself.
Connor Storie and Hudson Williams in HEATED RIVALRY, Photograph by Sabrina Lantos Photo courtesy of HBO Max/WBD
That kind of repression also leads to some juicy betwee-the-sheets panting. One of the tremendous stylistic victories of the series is that the sex, is presented neither coyly or explicitly. We never see full frontal or anything penetrative, but it feels largely like that’s due to the skill of the film editors. There’s nothing “soft core” Skinamax about the sex; it just feels like we caught them moments before or after the raciest moments. But there’s also a sweetness to the storytelling, aided immeasurably by the guileless performances by Storrie and Williams. I have no idea about the personal sexuality of their man, but they commitment and easy of their performances adds an especial resonance.
The sports setting is used not only to justify the closeted nature of the men (it’s remarkable how few active professional athletes have come out since basketball player Jason Collins became the first presently-rostered member of a major team sport in the U.S. came out in 2013), but also to create geographic barriers and, frankly, show hardbodied young men engaged in tantalizing coitus. Team sports provide an inherently provocative venue for “secret love” stories, what with all the lockerroom antics, mind games and physical contact on and off the ice, plus it provides a high profile for the lovers – who cares if two schoolteachers are carrying on? They may be on the ice, but Heated Rivalry is pure fire.
Speaking of prosaic coming out stories, Plain Clothes employs a similarly disjointed narrative story with, in some ways, lower stakes but greater impact. Set in the late 1990s or so, it’s not as lively and accessible as Heated Rivalry but trods along the same ground.
Tom Blyth and Russell Tovey in PLAINCLOTHES, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
Lucas (Tom Blyth) is an undercover cop in suburban Upstate New York. His gig for a while has been cruising the men’s room at the local mall, coaxing men into exposing themselves so that they can be arrested for indecent exposure – and, predicably, perhaps ruin their lives. Everything dances on just this side of entrapment, with the cops knowing full well the arrestees won’t fight the charges for fear of being outed and labeled sex offenders, all of which buggers the question: Then why lure them into such conduct in the first place?
It’s a questionable policy led by a seemingly homophobic lieutenant (John Bedford Lloyd), but is especially conflicting for Lucas, who himself is deeply closeted. He endures the feeling of disconnection until one john, Andrew (Russell Tovey) triggers something primal in him. He lets Andrew off by tanking the sting, but the two later meet. Lucas seems woefully inexperienced when it’s not part of his job description; Andrew is the more seasoned cruiser, who knows how to meet, where to go and what he wants … which is not, on balance, to ever hookup a second time. But he makes an exception for Lucas (whom he knows as “Gus”) … at least initially. As things become more complicated, the tone wanders from melodrama to psychological thriller without the lurid component.
Writer/director Carmen Emmi throws everything off balance by jumping between timelines – one, the linear plot with Andrew, and a second, at some point in the future where Lucas has a moustache and a complicated relationship with his family of homophobic assholes. At first, we don’t even realize the time displacement or that it’s even Lucas – he bears a stark resemblance to one of the johns he arrested earlier. But like a cabbage twist fall off in layers, providing a psychological payoff that, while not all that surprising, feels earned.
The film that Plain Clothes most reminds me of is the gay indie Pit Stop (seek it out!). Both have a measured pace and somewhat dour look, but avoid being either boring or chiche-ridden. The character developments resonate as sad reminders of a time – and mentality – when being yourself was the worst thing imaginable… and hopeful lay for us a roadmap of how to avoid those traps again
Heated Rivalry, all episodes available on HBO; Plain Clothes available on Prime Video and Mubi.
Theatrical one-sheet for PLAINCLOTHES, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
'DEATH BECOMES HER,' JINKX MONSOON LEAD IN LGBTQ CRITICS’ DORIAN THEATER AWARD NOMINATIONS
Andrew Scott, André De Shields, Jonathan Groff Score Double-Nods;
Megyn Hilty, Audra McDonald, Nicole Scherzinger, Kit Connor, Paul Mescal Also in Mix
New York, N.Y. (May 13, 2025) — GALECA: The Society of LGBTQ Entertainment Critics has announced its latest shortlist of standout New York stage productions for the third annual Dorian Theater Awards. Honoring excellence across Broadway and Off-Broadway during the 2024–2025 season, the awards celebrate both mainstream achievements and works that reflect LGBTQ+ themes and perspectives—in the spirit of GALECA’s longer-established film and television honors.
Leading the Broadway categories with seven nominations is Death Becomes Her, the musical adaptation of the cheeky 1992 fantasy film about two women seeking eternal (outer) beauty. In addition to nods for Outstanding Broadway Musical and Outstanding LGBTQ Broadway Musical, the show—directed and choreographed by Christopher Gattelli, with music by Noel Carey and Julia Mattison—earned acting nominations for Megan Hilty, Jennifer Simard, and Christopher Sieber. The team's production number “For the Gaze" is in line for the wing's signature Broadway Showstopper Award.
Boosted by appreciation for their well-represented cast members, three productions show six Dorian nominations each: the provocative The Crucible-meets-#MeToo tale John Proctor is the Villain, the reflective civil rights drama Purpose, and the second-ever Broadway revival of Sunset Blvd., another musical take on a film about ephemeral beauty (the first stage mounting premiered in 1994).
In the Off-Broadway categories, Cats: The Jellicle Ball leads with five nominations, including acting nods for André De Shields, Sydney James Harcourt, and ballroom icon “Tempress” Chastity Moore. DRAG: The Musical and its stars Alaska Thunderfuck and Jujubee, both of TV's RuPaul's Drag Race fame, all hold nominations. And the Manhattan Theatre Club's We Had a World, by playwright Joshua Harmon, is in the running for Outstanding LGBTQ Off-Broadway Production World's stars Joanna Gleason and Jeanine Serralles are nominated as well.
Nominees for GALECA’s LGBTQ+ Theater Trailblazer Award—which honors a lifelong commitment to creating art that inspires empathy, truth, and equity—include performer André De Shields, playwright Branden Jacobs-Jenkins, actor Andrew Scott, costume designer Paul Tazewell, director George C. Wolfe, and Drag Race alum turned multihyphenate Jinkx Monsoon.
Monsoon is also up for Outstanding Featured Performance in a Broadway Musical for Pirates! The Penzance Musical, as well as another special accolade, LGBTQ Theater Artist of the Season.
Last year, the Off-Broadway staging of Oh, Mary! and the Broadway revival of Merrily We Roll Along topped the Dorian Theater Awards, winning four prizes each. The wing’s voters also fell in love with the queer sensibilities at the heart of Sufjan Stevens' Illinoise, naming the dance musical Outstanding Broadway Musical and Outstanding LGBTQ Broadway Musical. In the inaugural year, the musicals Kimberly Akimbo and Titanique!, and drama Fat Ham scored the most Dorian wins.
GALECA will once again help kick off Pride Month by announcing the winners of the 2025 Dorian Theater Awards on Monday, June 2.
Full list of 2025 Dorian Theater Awards nominees:
Outstanding Broadway Musical
Death Becomes Her
Dead Outlaw
Just in Time
Maybe Happy Ending
Operation Mincemeat
Real Women Have Curves
Outstanding Broadway Play
English
The Hills of California
John Proctor is the Villain
The Picture of Dorian Gray
Purpose
Outstanding Broadway Musical Revival
Floyd Collins
Gypsy
Pirates! The Penzance Musical
Sunset Blvd.
Outstanding Broadway Play Revival
Eureka Day
Our Town
Romeo + Juliet
Yellow Face
Outstanding LGBTQ Broadway Production
Cult of Love
Death Becomes Her
Purpose
Redwood
SMASH
Outstanding Lead Performance in a Broadway Musical
Darren Criss, Maybe Happy Ending
Andrew Durand, Dead Outlaw
Tom Francis, Sunset Blvd.
Jonathan Groff, Just in Time
Megan Hilty, Death Becomes Her
Audra McDonald, Gypsy
Jasmine Amy Rogers, BOOP! The Musical
Nicole Scherzinger, Sunset Blvd.
Helen J. Shen, Maybe Happy Ending
Jennifer Simard, Death Becomes Her
Outstanding Lead Performance in a Broadway Play
Kit Connor, Romeo + Juliet
Laura Donnelly, The Hills of California
Mia Farrow, The Roommate
Daniel Dae Kim, Yellow Face
Sydney Lemmon, JOB
Louis McCartney, Stranger Things: The First Shadow
Jon Michael Hill, Purpose
LaTanya Richardson Jackson, Purpose
Sadie Sink, John Proctor is the Villain
Sarah Snook, The Picture of Dorian Gray
Outstanding Featured Performance in a Broadway Musical
Natalie Venetia Belcon, Buena Vista Social Club
Jeb Brown, Dead Outlaw
Gracie Lawrence, Just in Time
Justina Machado, Real Women Have Curves
Jak Malone, Operation Mincemeat
Jinkx Monsoon, Pirates! The Penzance Musical
Lea Salonga, Stephen Sondheim’s Old Friends
Christopher Sieber, Death Becomes Her
Taylor Trensch, Floyd Collins
David Thaxton, Sunset Blvd.
Michael Urie, Once Upon a Mattress
Joy Woods, Gypsy
Outstanding Featured Performance in a Broadway Play
Alana Arenas, Purpose
Tala Ashe, English
Molly Bernard, Cult of Love
Jessica Hecht, Eureka Day
Francis Jue, Yellow Face
Marjan Neshat, English
Bob Odenkirk, Glengarry Glen Ross
Zachary Quinto, Cult of Love
Fina Strazza, John Proctor is the Villain
Amalia Yoo, John Proctor is the Villain
Kara Young, Purpose
Outstanding Broadway Ensemble
Cult of Love
Death Becomes Her
John Proctor is the Villain
Real Women Have Curves
Sunset Blvd.
The Broadway Showstopper Award
— To a standout production number or scene
Death Becomes Her - “For the Gaze," performed by Megan Hilty
Gypsy - “Rose’s Turn," performed by Audra McDonald
John Proctor Is the Villain - “Green Light," performed by Sadie Sink, Amalia Yoo
Maybe Happy Ending - “Chasing Fireflies," performed by Darren Criss, Helen J. Shen
Sunset Blvd. - “Sunset Boulevard," performed by Nicole Scherzinger
Outstanding Off-Broadway Production
Cats: The Jellicle Ball
Grangeville
Liberation
Vanya
Wine in the Wildernes
Outstanding LGBTQ Off-Broadway Production
Cats: The Jellicle Ball
DRAG: The Musical
Grangeville
The Fires
We Had a World
Outstanding Lead Performance in an Off-Broadway Production
Patsy Ferran, A Streetcar Named Desire
Susannah Flood, Liberation
Brandon Flynn, Kowalski
Joanna Gleason, We Had a World
Marla Mindelle, The Big Gay Jamboree
Paul Mescal, A Streetcar Named Desire
Andrew Scott, Vanya
Paul Sparks, Grangeville
Alaska Thunderfuck, DRAG: The Musical
Olivia Washington, Wine in the Wilderness
Outstanding Featured Performance in an Off-Broadway Production
Betsy Aidem, Liberation
Billy Crudup, Henrik Ibsen’s Ghosts
André De Shields, Cats: The Jellicle Ball
Drew Elhamalawy, We Live in Cairo
Sydney James Harcourt, Cats: The Jellicle Ball
Jujubee, DRAG: The Musical
Ahmad Kamal, SUMO
Julia Lester, All Nighter
Paris Nix, The Big Gay Jamboree
Jeanine Serralles, We Had a World
Kyra Sedgwick, All of Me
“Tempress” Chastity Moore, Cats: The Jellicle Ball
Jenny Lee Stern, Forbidden Broadway: Merrily We Stole a Song
Jason Veasey, The Fires
Natalie Walker, The Big Gay Jamboree
LGBTQ Theater Artist of the Season
Michael Arden
Tommy Dorfman
Jonathan Groff
Branden Jacobs-Jenkins
Jinkx Monsoon
LGBTQ+ Theater Trailblazer
— For a lifelong commitment to creating art that inspires empathy, truth and equity
André De Shields
Branden Jacobs-Jenkins
Jinkx Monsoon
Andrew Scott
Paul Tazewell
George C. Wolfe
Productions With Multiple Nominations
Death Becomes Her - 7
John Proctor is the Villain - 6
Purpose - 6
Sunset Blvd. - 6
Cats: The Jellicle Ball - 5
Cult of Love - 4
Gypsy - 4
Maybe Happy Ending - 4
The Big Gay Jamboree - 3
Drag: The Musical - 3
English - 3
Dead Outlaw - 3
Grangeville - 3
Just in Time - 3
Liberation - 3
Real Women Have Curves - 3
We Had a World - 3
Yellow Face - 3
Eureka Day - 2
The Fires - 2
Floyd Collins - 2
The Hills of California - 2
Operation Mincemeat - 2
The Picture of Dorian Gray - 2
Pirates! The Penzance Musical - 2
A Streetcar Named Desire - 2
Vanya - 2
Wine in the Wilderness - 2
About GALECA
GALECA: The Society of LGBTQ Entertainment Critics and its Dorian Awards honor the best in film, television, and, under its theater wing, Broadway and Off-Broadway. More than 550 members strong, GALECA reminds society that the world values the informed Q+ eye on everything entertainment. A nonprofit organization, GALECA also advocates for better pay, access, and respect for entertainment journalists, especially the underrepresented. For more informations, visit galeca.org and find us at @DorianAwards on social media.
MUSIC FORWARD AND GIBSON GIVES PARTNER FOR: LGBTQ+ EMERGING ARTIST AWARDS GIBSON GIVES TO DONATE OVER $43,000 TO UNIQUE AND IMPACTFUL MUSIC MENTORSHIP PROGRAM SUPPORTING YOUNG TALENT IN THE MUSIC
NASHVILLE, TN (August 5, 2024) Gibson Gives, the non-profit division of the legendary music brand Gibson, is honored to partner with Music Forward to present the LGBTQ+ Emerging Artist Awards for 2024. A unique and impactful grant program, the goal of the LGBTQ+ Emerging Artist Awards is to help break down the barriers of access in the music industry, allowing artists to have thriving careers and promote a more inclusive music industry overall. With 45 of the LGBTQ+ Emerging Artist Awardsgranted, the new Music Forward and Gibson Gives partnership allows the program to continue to champion diverse voices from all backgrounds and communities, from Atlanta to Austin, and New York City to North Hollywood.
The screening process for the awards is extensive, with ten (10) LGBTQ+ Emerging Artist Awardees aged 18-24 years old to be selected based on many factors, including the strength of their body of music work, the breadth of their body of work, their artistic vision, and their articulation of their career goals. The ten US-based selected artists are dedicated to their songwriting craft, and their vision for themselves through music. The ten awardees will each receive:
· $3000 Grant
· $1000 Gibson retail for an instrument.
· Performance Opportunities that include the Gibson Garage Nashville and Gibson showrooms, as well as other venues.
· Quarterly Mentorship with established musicians, as well as the Gibson and Music Forward teams.
LGBTQ+ Emerging Artist Awards submissions for applicants are open now HERE.
The timeline for the LGBTQ+ Emerging Artist Awards program is as follows:
· Monday, August 5: Applications open.
· Sunday, August 18: Applications close.
· Monday, August 19 – Friday, September 27:Application review and selection.
· Monday, September 30: Awardees notified.
· October 2: Announcement of Awardees.
· Mid-late October: Virtual Award Show.
Music Forward and Gibson Gives believe in music as a catalyst for discovery, connection, and transformation, and the power of amplifying artists and providing a forum for their diverse voices to be heard. Gibson Gives will donate over $43,000 to the program for 2024, including $33,000 in cash grants ($30k grants/$3k admin fees), and $10,000 in Gibson retail for an instrument. Music Forwarddevelops and administers the grant awards from selection to distribution, and Music Forward and the Gibson team collectively develop and execute mentorship programs. The Quarterly Mentorship Opportunities range from songwriting sessions with Gibson artists to exploring a variety of trending topics and skills, including Gibson and Live Nation Leadership professionals sharing knowledge and insight on what it takes to find success in the business, learning from experts who have turned their passions into professions in the ever-changing entertainment industry, from bands to boardrooms and everything in between. The program is designed to help nurture artists’ growth and progress, expand their social capital, and to reduce barriers, both external and internal, that may come between them and achieving their greatest artistic potential.
Singer-songwriter and record producer Butch Walker, one of the LGBTQ+ Emerging Artist Award musician mentors for 2024, states “Hey all! I’m excited to be supporting the LGBTQ+ Emerging Artist Award, and to celebrate the amazing talent and diversity within the community. This award not only recognizes artistic excellence, but also empowers emerging voices to inspire and create needed change.”
“Gibson Gives is proud to partner with Music Forward to support the LGBTQ+ Emerging Artist Award,” says Erica Krusen, Global Executive Director of Gibson Gives. “We believe in the power of individual voices and strive to break down barriers, promoting a more inclusive music industry. These awards support often-marginalized artists, nurturing their growth and helping them achieve their greatest artistic potential.”
“At Music Forward, we work towards inspiring young artists and providing resources to drive their careers forward while making the industry more inclusive for all voices,” adds Nurit Siegel Smith, Executive Director of the Music Forward Foundation. “The LGBTQ+ Emerging Artist Award is a staple of our programs, and we are excited for our partnership with Gibson Gives to continue to empower the next generation of LGBTQ+ musicians.”
A national nonprofit in the Live Nation family, theMusic Forward Foundation creates opportunities for young talent in the music industry by mentoring entertainment careers for the next generation through live performances, workshops and panels. Acclaimed artists like Phoebe Bridgers, Maxwell Frost, Trombone Shorty, and Andrae Alexanderare past program participants and grant recipients. While performers such as Kahlid, Sophia Carson, Lauren Daigle, Martina McBride, Carlos Santana, and Julia Michaels have served as Ambassadors for Music Forward:https://musicforwardfoundation.org/.
Gibson Gives is the non-profit division of the legendary music brand Gibson, Gibson supports the music community via its philanthropic endeavor, Gibson Gives, assisting non-profit organizations in their efforts to advance musicians, youth-focused music education, health and wellness initiatives, and inclusive musical partnerships worldwide. The Gibson Gives Scholarship program has provided direct financial support to young students with music career aspirations and is on track to help even more players in 2024. Gibson Gives a 501(c)(3),is committed to cultivating and offering steadfast support for all communities. To date, Gibson Gives has raised over $4.5 million and enabled $46 million in funding for key organizationsthrough product donations and meaningful giving worldwide, with 100 percent of all donations to and from Gibson Gives going towards providing the gift of music.