a&e features
Red, White & Royal Blue’ director on new film, royal weddings, and more
Matthew López moves from theater to movies with gay rom com
These days, it seems that gay rom coms are as prevalent as right-wing religious fanatics protesting said movies. There is even a preponderance of gay Christmas movies. On the Hallmark channel, no less. So, does “Red, White & Royal Blue” have what it takes to stand apart from the pack? Based on the popular novel by queer writer Casey McQuiston, “Red, White & Royal Blue” isn’t just notable for its storyline involving the budding romance between Alex, the bisexual First Son of the first female POTUS, and gay British Prince Henry. “Red, White & Royal Blue” marks the directorial debut by Tony and GLAAD Media Award-winning gay playwright Matthew López (“The Inheritance” and “Some Like It Hot”). Matthew generously made time in his busy schedule for an interview in advance of the movie’s release, which premiered last week on Prime Video.
BLADE: Matthew, considering your long and lauded history in the theater, was the prospect of directing your first feature film daunting, thrilling, or both?
MATTHEW LOPEZ: Generally thrilling, occasionally daunting. But it was only daunting in that there was just a steep learning curve. I was acutely aware of the things I didn’t know, and on occasion, there were things I didn’t know I didn’t know until I had to know it [laughs], at the risk of sounding like Donald Rumsfeld. But it was mostly thrilling, and it was great fun, really. I’d do it again if they let me.
BLADE: With actors such as Taylor Zakhar Perez and Nicholas Galitzine in the lead roles of First Son Alex and Prince Henry, “Red, White & Royal Blue” will have no trouble drawing gay men. Do you think the actors could have the same draw on straight audiences?
LOPEZ: I hope so. I’ve spent a lifetime as an avid consumer of straight love stories, and not just because I had no other options, but because I genuinely wanted to see any of those particular films. I don’t see any reason why the stream doesn’t flow in both directions. This is as unapologetically a queer rom com as “Moonstruck” was as unapologetically an Italian rom com. It is part of what makes this movie unique. It is inescapable, but it also is, we hope, if we’re successful and if we’re lucky, it becomes part of the larger canon of rom coms, rather than simply kept in a corner. We want as many people to see this movie as possible, but we also knew that we wanted to make a movie that was as specific as possible. We never tried to hide who we were in order to find an audience. I think that kind of specificity is what people are really desiring these days.
BLADE: There are some powerful and emotional scenes in “Red, White & Royal Blue,” but the one that hit me the hardest is when Alex, son of the first female POTUS, came out to his mother Ellen, played by Uma Thurman. What was it like to work with Uma?
LOPEZ: I adore her. She was so very happy to be in this movie, which was so wonderful. She really understood Ellen. She and I had so many wonderful conversations about her before production. I involved her in a lot of costume design decisions. She was really wanting to understand this woman holistically. That scene was just so beautiful. By the time we shot it, she and Taylor had really bonded, and they had shot a lot of scenes together at that point. It was the loveliest, warmest environment on set. I mean, it was a very lovely, warm environment on set every day, but that day you can just see in that scene the genuine affection that these two actors have for one another. It was real.
BLADE: Ellen is a staunch Democrat. As a Florida native, and considering what has occurred here during the reign of the current governor, was that in any way what appealed to you about directing and co-adapting the screenplay for “Red, White & Royal Blue”?
LOPEZ: No, I loved the story, and I didn’t give a shit what the governor of Florida thinks about it. I couldn’t care less what that man thinks, only as it relates to the health of the union. I didn’t have this story growing up. I didn’t have access to characters such as these when I was younger. It took until I was in my 40s to read it, to get a novel that had a character like Alex. That I knew implicitly was really special. To me, it was really powerful to read a novel that had a queer, Latino, young man at the center who was a very positive characterization of a queer Latino man. Someone who was filled with hope and possibility. I wanted to bring that into the world. The politics in the novel and in the movie are a hopeful one. It’s not something that is, I hope, too much of a fairy tale.
BLADE: I loved seeing out actor and writer Stephen Fry’s name in the credits at the beginning, and without giving anything away, was surprised to see him, very close to the end, in the role he plays. What did it mean to you to work with Stephen?
LOPEZ: I’ve always been such a fan of his and really admired him greatly. We had had some sort of communication through other people over the years because he had seen “The Inheritance” in London. He got word to me, through our producers, how much he loved it. I had been working at one point on another film that I thought I was going to make, and when he found out that I was working on it, he was like. “I’d really love to be a small part in it if you have anything.” But I never talked to him and never met him. When this role came around [laughs], we thought, “Let’s see if he really means what he says!” He jumped at it! It didn’t take long at all for him to say, “Yes.” That was fun. Just to watch him and work with him is just a great thrill and a pleasure. It was for everybody. Everybody was really excited the day that he came on set.
BLADE: “Red, White & Royal Blue” is being released at a time when, following the passing of Queen Elizabeth and the situation surrounding Harry and Meghan, questions about the necessity of a monarchy have gotten more attention. Do you think “Red, White & Royal Blue” is a help or a hindrance in that regard?
LOPEZ: I don’t really have an opinion one way or the other about that because I think that the movie isn’t actually about the royal family. It uses the royal family as a vehicle to tell the story of a person trapped in a circumstance. I think the thing that is so amazing about Casey McQuiston’s novel is that Casey actually gives us a character that, historically, we haven’t had too much sympathy for. And yet, because Casey draws this character in a way that a lot of us can relate to, which is a person trapped against their own will and circumstances that they are powerless over, you really care for Henry and you really feel deeply for Henry. I also knew that, as we were making this film, I didn’t want the audience to think about the actual royal family when they were watching the film. Because I think if they did, they would be taken out of the story. I think we use the trappings of royalty as a way to tell our story, but it doesn’t take an opinion one way or another, because that’s not what the movie is about.
BLADE: The movie begins with a storybook royal wedding, but the real love story is the one between Alex and Henry. In recent years, the UK has begun taking actions such as the posthumous pardoning of thousands of gay men for gross indecency, and such, as well as Prime Minister Sunak’s recent apology to LGBT members of the military. With that in mind, do you think that the characters of Alex and Henry could also have a storybook wedding?
LOPEZ: Absolutely! I think the British people would support it. The British people are no different than the American people in many ways. There are, of course, great pockets of resistance to change. There is an adherence to traditionalism. I live in London, I’m a resident of the UK. The people that I know there are good and accepting people by and large. I think that Alex and Henry absolutely could have the wedding that they wanted if they wanted it.
BLADE: Have you started thinking about your next film, theater, or writing project?
LOPEZ: I’ll honestly tell you that the thing I’ve been thinking about lately is getting a fair deal from the studios for writers and for actors. As a striking writer who also happens to be a non-striking director, beyond releasing this film, my primary concern is making sure that we can go back to work with a fair contract.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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