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Why ‘Rocky Horror’ resonates 50 years later

Filmmaker Michael Varrati says ‘queer persistence is an act of resistance’

Published

4 months ago

September 25, 2025

As the Halloween season approaches, many queer horror fans will surely be revisiting “The Rocky Horror Picture Show.” And given its 50th anniversary, the timing couldn’t be better, with a new restored version in 4K courtesy of Disney, and events and screenings happening around the country.

To discuss the many merits of “Rocky Horror,” you’d be hard pressed to find somebody more passionate than screenwriter, producer and filmmaker Michael Varrati (credits include “Christmas with You,” “The Wrong Stepmother” and “The Boulet Brothers’ Dragula”). He’s also the co-host of the biweekly podcast Midnight Mass alongside Peaches Christ, where they dig into their favorite cult movies and bring on guest stars.

Varrati sat with the Blade and recalls the first time he watched “The Rocky Horror Picture Show” in his rural hometown, dishes on the film’s specific impact on the LGBTQ+ community, and explains why 50 years later, we’re still talking about Dr. Frank-N-Furter.

BLADE: Where did you first discover Rocky Horror, and how did that influence your career and overall taste in film?

MICHAEL VARRATI: When you think of cult fandom, especially in the film space, in the movie space, Rocky Horror is very singular. In so many ways, it led the charge. My first sort of interaction with Rocky was when MTV was doing coverage of one of the anniversaries — I imagine it was probably for the 20th or around that time. I was a teenager living in rural Pennsylvania and I would see this coverage around Halloween, and I was fascinated as much by the movie as I was by the fact that people were dressing up and going to the cinema to participate. And when you’re living in small town America where there are no theaters to be found doing that, there was some sort of sense of the forbidden, or it was just out of reach. But I obsessed about it, so I got a copy of the movie on VHS, and I used to gather friends — probably the theater kids, the drama club, any associated weirdos. And I say this lovingly, because I was one of those weirdos. And we would watch it in friend’s living rooms and in basements, and we would try and do our own version of celebrating the movie in a theater style at home. It wasn’t until I went to college at Kent State University that I started going to the midnight screenings in Cleveland at the Cedar Lee Theatre, and I immediately connected with the vibe of what was going on. I loved that this was more than just a movie to the people who gathered. In many ways, that fundamentally helped me understand that the art we connect to can be so much more than a passive experience.

I actually recently graduated from Ithaca College, and they always had midnight screenings around Halloween. I got to go to one of those and it was really fun. I’ve never quite had an experience like that.

They really are one of a kind. Obviously, midnight movies existed before Rocky, and now exist sort of in the wake of Rocky. I believe the original midnight movies were “Night of the Living Dead,” “El Topo,” “Pink Flamingos.” But Rocky was sort of the first time when that programming became a tangible experience. People were going to the movies, they were dressing up as the characters, they were shouting at the screen, and people weren’t getting mad about it. They were shouting too! And it created this interesting economy of celebration that we see a lot of other places and films try and mimic. … I think the reason Rocky is singular is that it was totally organic. You can’t manufacture the experience after the fact. People found the movie and the movie found them.

BLADE: Especially knowing the iconic place it has within the LGBTQ+ community, and the aspect of people dressing up and going to see these shows in full costume. Could you speak to that?

VARRATI: When I think about the significance of Rocky, I, of course, love the movie. But I think one of the most powerful things about it, especially for a particular moment in time, was that it provided a communal space a lot of people didn’t otherwise have. It’s really easy in the modern era, even in rural places, to use the internet to connect with your community if you know where to look. We know now about queer spaces and platforms and sites, but at a specific time when those were not readily available — and in many places, it was very scary to go looking for those things because you didn’t know how you were going to be met — there were few places that felt like safe harbors. And when “Rocky Horror” started becoming that space, I think that became really significant to its history because it became a gathering point for LGBTQ+ people. For punks, for goths, for anyone who felt marginalized or othered by society. When you walked through those theater doors, you belonged, and everybody accepted you, and the thing that made you feel like a freak was celebrated. You got to let your freak flag fly, and so I think for so many people of a certain generation, Rocky was the first place where they got to go find chosen family. They got to find and develop a sense of community. Because for so many, it was not a viable option. And to the outside world who maybe didn’t connect with that aspect of the movie, it was a good way to fly under the radar if you didn’t want people to fully know why you were going because you’re just going to a midnight movie. It’s not like you’re going to the gay bar that everyone in town knows or vilifies… you’re just going out with some friends to a movie. But secretly, you’re finding your community.

BLADE: I think that’s a great way of putting it. The movie is celebrating its 50th anniversary this year, and there are quite a few events happening, including an Academy Museum screening on the 26th with some of the cast. Could you speak to the legacy of this film over time and why people are still finding so much enjoyment in it?

VARRATI: In so many ways, it is as bold as ever. There are aspects of it, of course, to the modern audience that maybe haven’t aged as well or are problematic. But nonetheless, there are things about the movie that are so celebratory. This movie isn’t just a place where outsiders can celebrate — the movie itself, in the pantheon of film, is sort of an outsider. It is this subversive anomaly. It was a critical failure, and it was kind of a commercial failure, yet somehow it persisted. Its persistence is, in a lot of ways, akin to resistance. The idea that queer joy is an act of resistance. Queer persistence is an act of resistance. By being the strange movie, by thriving in spite of an industry that said it couldn’t, it’s something people really appreciate that history of and continue to gravitate to. But then for newer audiences who see it, the music’s fun, the characters are fun, and it still feels pretty audacious as ever. But also, the message of “Don’t dream it, be it,” is timeless.

BLADE: I’m curious to hear about this movie’s relationship to camp, because now I think that word gets overused a lot, and some films try to manufacture it. And as you said, this film was able to capture an experience so organically.

VARRATI: There is, to some folks, a prevailing idea that you can’t intentionally make camp. But I don’t know that that’s entirely true, because we see people like John Waters — he can intentionally make camp. There are folks who get the DNA of what camp is. But a lot of times, camp happens by accident. Because I think most camp, all camp, in a lot of ways, is born out of earnestness. And I think that’s what happens when people try to manufacture camp and it fails because they’re missing the fundamental element of earnestness. If you look at any of these movies that have become camp classics, they’re not winking at you. They’re not trying to say, “Hey, this is so bad, it’s good!” They’re not trying to make you know that they’re in on the joke. They’re presenting something with their whole chest and they believe in what they’re putting out there, and it just is what it is. And we find the ridiculousness through the heightened presentation. Rocky is really special in that it is truly camp, because it is, in so many ways, an homage to classic monster movies, classics and drive-in cinema. It is through the experience of these two small town people who are sheltered and are now experiencing something that they consider to be so other and overwhelming — but for everybody inside the castle, that’s every day. A really fun way to experience Rocky is understanding that the camp is not necessarily intentional, but also absolutely intentional. It’s sort of a lampooning of the normalcy of the world outside, because the truth is normalcy is the ultimate camp, because it’s a fallacy.

BLADE: Recently, there was a CBS Sunday Morning Special featuring Tim Curry, but of course not all of the actors are with us to promote the anniversary. What do you think of the cast’s relationship to this film over the years and what performers like Curry are able to do for new generations?

VARRATI: I love that Barry Bostwick, when he speaks about this movie, says there’s no happier place to be than a midnight screening of “Rocky Horror.” I think that there’s something significant about somebody who made this, who can see that it has gone beyond him, but has created so much love, community, and celebration for people. A couple years ago on Midnight Mass, we had Patricia Quinn, who plays Magenta. But of course, when you’re talking to Patricia Quinn, “Rocky Horror” invariably comes up. From my perspective, it seems that she is constantly amused and grateful for the fact that this movie rings perennial in her life. It is a constant. The cast’s overall embracing of this film has been crucial to its success as well. We often see folks who make these movies that are initially rejected by culture at large (Faye Dunaway and “Mommie Dearest” is a great example) not get to appreciate the celebration and reappraisal as it’s happening. And so I almost feel bad because they miss out on this thing that has become important and meant so much to so many people. It’s really great to know that so many cast members of “Rocky Horror,” from the beginning, saw the movie didn’t do super great, and then became a thing within five years, and they just said, “Hey, it’s going to be what it’s going to be, and we’re along for the ride.”

BLADE: Lastly, as someone who loves film, what are some other projects that you feel have been especially inspired by “Rocky Horror” and authentically embraced its spirit?

VARRATI: You know what’s funny? I think about the influence of “Rocky Horror” in the landscape of cinema, especially cult cinema, often because — I think directly or indirectly — we see the film’s impact through the work of people who were probably at one time audience members. For example, Darren Stein, the writer and director of “Jawbreaker” (which itself is a cult classic) is a huge fan of “Rocky Horror,” and has spoken openly about Rocky‘s influence on him and how it creeps its way into his work. And when you watch Jawbreaker, Courtney, the character played by Rose McGowan, has an energy akin to Frank-N-Furter, and some of the lines that she delivers are verbatim Frank-N-Furter lines. I’m sure that was intentional on Darren’s part, but there’s so much of that in pop culture.

I know that when Richard O’Brien was doing voices on “Phineas and Ferb,” of all things, something that’s so far from “Rocky Horror,” when they would do Halloween episodes, the creators — themselves “Rocky Horror” fans — would include commentary and Easter eggs into this Disney show that relate back. And so whether it’s through direct cast involvement or creators, I see the level of influence it’s had. And even in shorthand, I remember talking to someone recently about the movie Showgirls and the comment came up that Elizabeth Berkley’s commitment to performance was a Frank-N-Furter level commitment — that’s become a shorthand for how we describe certain performances. And that, to be clear, was a complimentary comparison. For people who are invested in these kinds of movies, to be compared to something like “Rocky Horror” with its longevity is maybe one of the greatest compliments of all, because no one’s ever going to make a cult film like “Rocky Horror,” right?

Related Topics:Disney Michael Varrati The Rocky Horror Picture Show

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

Published

1 day ago

January 30, 2026

Lou Chibbaro Jr.

Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

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 18^th 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.

a&e features

Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

Published

2 days ago

January 29, 2026

Susan Hornik

Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

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.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

Published

1 week ago

January 22, 2026

AJ Sloan

Tristan Schukraft (Photo courtesy of Schukraft)

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.