a&e features
Why ‘Rocky Horror’ resonates 50 years later
Filmmaker Michael Varrati says ‘queer persistence is an act of resistance’
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?
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes
The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc
While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars
While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’
The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
a&e features
Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
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