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John Waters teases ‘Polyester’ reissue
Baltimore native claims no children were hurt making his films
John Waters, Divine and Tab Hunter on the set of ‘Polyester’ in 1981. The camp classic will be reissued in a deluxe DVD and Blu-ray edition by The Criterion Collection in 2019. (Blade archives photo courtesy New Line Cinema)
“Polyester” is the next John Waters movie that will be released on DVD and Blu-ray and the Baltimore-based filmmaker is hoping an updated version of his Odorama card will go along with it.
“I want to add the 11th Odorama odor: Wig odor,” Waters told an audience in New York City at a Q&A last month. “glue and sweat.”
Appearing at the IFC Center for sold-out screenings of “Hairspray” and “Female Trouble,” Waters confirmed that “Polyester” will be restored and distributed in 2019 as part of The Criterion Collection, following re-releases of “Multiple Maniacs” and “Female Trouble.”
“They are going to do ‘Polyester’ next year, so I am excited about that,” Waters said. “They are a Class A company. I think they do an absolutely beautiful job.”
“Polyester,” starring Divine and Tab Hunter (sadly, both now dead), tells the story of suburban house frau Francine Fishpaw (Divine), stuck in a dreary marriage, and how her life changes after she meets dashing Todd Tomorrow (Hunter). Filmed in Greater Lutherville for $300,000 and released in 1981, it was part of Waters’ suburbia-based “Trash Trilogy,” along with “Hairspray” and “Cry Baby.”
“Polyester” became known for its Odorama card, which contained 10 scents that movie goers could scratch and sniff as they watched. They ranged from air freshener and roses to smelly sneakers and flatulence. Inspired by the Smell-O-Vision device from the 1960 movie “Scent of Mystery,” the Odorama card was touted with the lines: “It’ll blow your nose!” and “Smelling is Believing.”
Other original smells were: model airplane glue, pizza, gasoline, skunk, natural gas and new car smell. Glue was taken off the card when a LaserDisc version was released.
“Polyester” received positive reviews from critics such as The New York Times’ Janet Maslin.
“Ordinarily, Mr. Waters is not everyone’s cup of tea, but ‘Polyester’ … is not Mr. Waters’ ordinary movie,” Maslin wrote. “This time, the comic vision is so controlled and steady that Mr. Waters need not rely so heavily on the grotesque touches that make his other films such perennial favorites on the weekend Midnight Movie circuit. Here’s one that can just as well be shown in the daytime.”
Known as the “Pope of Trash” and “Sultan of Sleaze,” the openly gay filmmaker came to New York to celebrate the 30th anniversary of “Hairspray” and the 2018 re-release of “Female Trouble.” He had appeared the week before at a “Hairspray” screening and cast reunion in Los Angeles.
At the New York event, moderated by the entertainment writer Michael Musto, Waters was joined by Leslie Ann Powers, the actress who played Penny Pingleton; Joann Havrilla, who played Prudence Pingleton; and Holter Graham, who played I. Q. Jones. Waters said he hadn’t seen Powers in decades and thought she was hiding in the “‘Hairspray’ witness protection program.”
The filmmaker said “Hairspray,” which follows teenager Tracy Turnblad’s efforts to integrate a TV dance show in the 1960s, is “the gift that keeps on giving,” because there have been so many versions of it.
“I say it’s radical because it snuck up on Middle America,” Waters said. “Even racists like it. I’ve been paid to write the sequel two times. There’s been talk of ‘Hairspray on Ice,’ ‘Hairspray in Space.’ What’s left?”
The running joke in the movie is that the 300-pound drag actor Divine, who died in 1988 and played Tracy’s mother Edna, is actually a man but no one knows it except the audience.
In real life, Divine “had no desire to be a woman,” Waters said. “He wanted to be Godzilla. …We created Divine to scare hippies.”
Born Harris Glenn Milstead, Divine off-screen was nothing like Divine onscreen, Waters noted. “He was a kind, gentle man who was a pothead and liked to eat.”
Though he and Divine were good friends, Waters said, Divine eventually wanted to do more than John Waters movies, especially after the scene in “Pink Flamingos” where he ate dog poop.
“He got weary of being with me … because people couldn’t get over the whole eating-shit thing,” Waters said. “He got so sick of talking about that. … He wanted to get away from me and do things without me.”
During a separate Q&A session following the “Female Trouble” screening, Waters reported that none of the child actors in his movies was traumatized by the experience.
“All the kids in my movies turned out fine,” he said. “The little girl that I locked in a refrigerator (in Desperate Living)? She’s fine. … There was nothing weird or anything. They memorized their lines. They’re fine.”
“Female Trouble” focuses on Dawn Davenport (Divine), who turns to a life of crime after she didn’t get cha cha heels for Christmas, kills her daughter Taffy and ends up frying in the electric chair.
Waters said he originally wanted Divine to play both the mother and daughter but concluded it wouldn’t work because of Divine’s age. Instead, he had Divine play both the mother and the father, which means Divine rapes himself.
The famous line delivered by the late Edith Massey: “the world of the heterosexual is a sick and boring life,” had a double purpose aside from its comedic punch, Waters said.
“That was market testing. I wanted to see how many gay people were in the audience.”
Ever the name dropper, Waters said he loves the director Ingmar Bergman because “he had the first puke scene.” He said he met Elizabeth Taylor toward the end of her life and “she looked like Divine.” He said he considered casting Roseanne Barr as the lead in “Serial Mom,” back when she was “a complete liberal,” but eventually chose Kathleen Turner.
Waters said he used to visit courtrooms during criminal trials but can’t anymore “because people recognize me.” He disclosed that Dawn Davenport’s character was inspired in part by Alice Crimmins, a New York woman and Casey Anthony forerunner who was convicted of killing her two children in 1965.
Musto said he had a treat for Waters. “Big surprise,” he said. “Alice is here with us tonight!”
The conversation eventually came down, as it often does, to cha cha heels and Christmas.
Musto asked Waters if the dialogue about them — “Those aren’t the right kind. I told you cha cha heels, black ones!” and “Good girls don’t wear cha cha heels” — aren’t the most quoted lines from a John Waters movie.
Waters said the scene in which the Christmas tree falls over on Dawn’s mother was inspired by a time when a Christmas tree fell on his grandmother.
“I remember the handyman screaming, the maid crying and me being, ‘Is my present hurt?’ She wasn’t injured, but I was obsessed by it.”
He said a lot of his fans seem to have stories about falling Christmas trees.
“It’s usually dogs or liquor.”
Waters said his family always had real trees when he was growing up, never artificial, and his mother frowned on those who decorated with multi-colored lights.
“She was all white lights,” he said. “She would go around the neighborhood and look in windows” and make disparaging remarks about families with multi-colored lights.
Waters marvels that his movies are so embraced today since mainstream studios shunned them initially.
The Criterion Collection, which will distribute “Polyester,” is affiliated with Warner Brothers, one of the largest entertainment companies in America.
“Warner Brothers distributes all of mine now,” Waters said. “Who would have imagined?”
More John Waters fun!
Michael Musto, left, with John Waters in New York on July 27. (Photo by Ed Gunts)
He’s no longer making new movies but there are still ways to enjoy the John Waters sensibility.
“John Waters: Indecent Exposure,” billed as the “first major retrospective of Baltimore native John Waters’ visual art,’ opens Oct. 7 at the Baltimore Museum of Art (10 Art Museum Drive, Baltimore) and runs through Jan. 6. The show will “examine the unapologetic cultural force’s influential career through more than 160 pieces of his work dating back to the early 1990s.” Details at artbma.org.
Waters makes his annual trek to the Birchmere (3701 Mount Vernon Ave., Alexandria) on Thursday, Dec. 20 for “A John Waters Christmas,” his comedy stand-up show. Tickets are $55. Details at birchmere.com.
a&e features
D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
a&e features
MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
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