WHAT CAN THE “T” LEARN FROM THE “LGB” WHEN IT COMES TO FIGHTING THE GOOD FIGHT?
NOAM GONICK ON PRESENTING DECADES OF QUEER ACTIVISM IN 90 MINUTES
TATTIAWNA JONES LAUNCHES BACK INTO SPACE WITH MURDERBOT
DANAH ROSALES: BALLROOM LEGEND, MOTHER AND MULTI-HYPHENATED ARTIST
PUBLISHER
Patricia Nicolas
EDITOR
Christopher Turner
ART DIRECTOR
Georges Sarkis
COPY EDITOR
Ruth Hanley
SENIOR COLUMNISTS
Paul Gallant, Doug Wallace
CONTRIBUTORS
Adriana Ermter, Shane Gallagher, Victoria Hincapie Gomez, Megan Hunt, Elio Iannacci, Karen Kwan, Larry Olsen, Stephan Petar
DIRECTOR OF DEVELOPMENT
Charlie Smith
COMMUNITY RESOURCE NAVIGATOR
Tyra Blizzard
ADVERTISING & OTHER INQUIRIES (416) 800-4449 ext 100 benjamin@elevatemediagroup.co
EDITORIAL INQUIRIES (416) 800-4449 ext 201 editor@inmagazine.ca
IN Magazine is published six times per year by Elevate Media Group (https://elevatemediagroup.co). All rights reserved. Visit www.inmagazine.ca daily for 2SLGBTQI+ content.
180 John St, Suite #509, Toronto, Ontario, M5T 1X5
ON THE COVER: Mic. Carter
PHOTOGRAPHER: Jorian Charlton
MAKEUP: Alanna Chelmick
125
INFRONT
06 | SONGS OF SUMMER
Looking for new music? Here are five empowering anthems to rule the dance floor
09 | TRANS WELLNESS ONTARIO IS HOPING FOR YOUR HELP
This summer, why not donate to an organization that provides support to trans folks in need of life-saving support?
10 | SLEEP RIGHT FOR YOUR SKIN TYPE
Your skincare conundrums might be transformed with a little shut-eye
12 | WHAT TO DO IF YOU MISS A DOSE OF PrEP
A smart, shame-free guide
14 | WHAT IS DOXY PEP? THE PREVENTIVE PILL THAT’S CHANGING THE CONVERSATION AROUND STIs Doxy PEP has been proven to reduce the risk of getting certain bacterial sexually transmitted infections among those in higher-risk groups
15 | THE CREATINE CRAZE
Everyone seems to be taking creatine –here’s what you need to know about taking supplements of this compound
17 | INSIDE THE BC ORGANIZATION TRANSFORMING QUEER AND TRANS HEALTH
Health Initiative for Men (HIM) is a non-profit society that aims to strengthen health and wellbeing in communities of self-identified gay, bisexual and queer men and gender-diverse people in BC
FEATURES
18 | WHAT CAN THE “T” LEARN FROM THE “LGB” WHEN IT COMES TO FIGHTING THE GOOD FIGHT?
What is going on with trans rights and social acceptance, and what can activists learn from the LGB liberation fight to turn things around?
20 | NOAM GONICK ON PRESENTING DECADES OF QUEER ACTIVISM IN 90 MINUTES
In the documentary Parade, Gonick takes viewers on an emotional journey through time, exploring the moments that sparked Canada’s 2SLGBTQI+ movement
22 | AN E•MO•TIONAL ANNIVERSARY: CARLY RAE JEPSEN’S CULT CLASSIC ALBUM, 10 YEARS LATER
We’re still singing along to the third studio album by the Canadian singer and songwriter, which featured… beloved queer bops like “I Really Like You,” “Run Away with Me” and “Your Type”
24 | CANADA’S FASHION FIRESTARTER: MIC. CARTER’S QUEER COUTURE
For 13 years, Mic. Carter has been serving style with subversion through his queer-run fashion house, L’Uomo Strano. Now, on the cusp of his latest collection, he reflects on a radical past and a fearless tomorrow
30 | DANAH ROSALES: BALLROOM LEGEND, MOTHER AND MULTIHYPHENATED ARTIST
The legendary overall mother of the Kiki House of Siriano shares her experience navigating motherhood, freelancing and ballroom
34 | TATTIAWNA JONES LAUNCHES BACK INTO SPACE WITH MURDERBOT
The Ontario actress stars opposite Alexander Skarsgård in a new series based on Martha Wells’ award-winning novels
36 | YOUR MUST-SEE LIST: HERE’S EVERY RUPAUL’S DRAG RACE WINNER IN CHRONOLOGICAL ORDER
Have you missed any? Check this comprehensive breakdown of every international winner from the RuPaul’s Drag Race franchise around the world, organized by country
40 | 20 THINGS YOU DIDN’T KNOW ABOUT QUEER AS FOLK
From casting curveballs to political backlash, the untold stories behind the groundbreaking US series
42 | SALT IN THE WOUND
A new queer film confronts abuse, love and the complexities of memory
44 | SET SAIL FOR SASS, SEQUINS AND SEA BREEZES
Hosted by the legendary Mrs. Kasha Davis, the 2026 Drag Me to Sea cruise promises glamour, gags and unforgettable gaiety on the high seas
46 | WORLDPRIDE PROMISE
An energized global movement takes on Washington, D.C., with an urgent cause and a message of hope
50 | FLASHBACK: AUGUST 7, 2005 IN 2SLGBTQI+ HISTORY
Queer As Folk ends after a five-season run
Looking for new music? Here are five empowering anthems to rule the dance floor this summer
By Larry Olsen
Summer 2025 is sizzling with high-energy anthems that do more than move your body; they ignite your soul! This season’s top dancefloor hits are unapologetic celebrations of self-love, freedom and empowerment. Whether you’re embracing your truth, surviving the fire or just owning your fabulousness, these five tracks will keep your spirit high and your playlists blazing.
“On the Wire” – Sarah SASHA
Cinematic and emotionally charged, “On the Wire” is the ultimate anthem for anyone walking the line between strength and vulnerability. The debut single from Sarah Schroeder’s fearless alter ego, Sarah SASHA, fuses lush imagery and fierce choreography in a powerful declaration of rebirth. “SASHA is who I am when I stop playing by the rules and start playing by my truth,” Schroeder explains. The track’s explosive message? It’s your time to take the stage. No apologies, just authenticity.
“Dance in the Fire” – Kendra Erika
Long-time LGBTQ+ ally Kendra Erika delivers a primal, pulsing banger with “Dance in the Fire.” Inspired by literal flames but burning with metaphorical meaning, Erika’s track calls on all of us to embrace life’s challenges head-on. Produced by Grammynominated Luigie “LUGO” Gonzalez and featuring 2024 Grammy winner Will Gittens, this is a dance-pop masterpiece with tribal flair and cinematic visuals. Erika dares us to blaze our own trails and dance through every flame along the way.
“All Night Long” – Kory Burns Kory Burns is done hiding, and “All Night Long” is the electrifying coming-out party. Co-written with hitmakers behind Usher and DJ Khaled, the sexy, R&B-infused dance jam celebrates fluidity and freedom. “Bisexuality is real,” says Burns, who uses gender-neutral language to ensure everyone feels included. With this track, Burns reclaims the narrative and invites listeners to do the same.
“Pretty Boy” – On Mekahel Glossy, glittery and full of glam, “Pretty Boy” is On Mekahel’s love letter to self-worth and personal transformation. With club-ready production by Ran Ziv and lyrics co-written with his husband, Dave, Mekahel finally steps fully into the confident, beautiful persona he’s always dreamed of. “We’re all pretty boys,” he declares. This track is more than a bop. It’s a strut, a celebration and a statement of unapologetic self-love.
“Bear Soup” – Tom Goss featuring Chris Conde Body positivity has never sounded so fun. “Bear Soup” is a cheeky, twerk-ready celebration of the bear community, complete with belly-jiggling beats and bold queer energy. Out artist Tom Goss teams with rapper Chris Conde and producer Maya La Maya for a club thumper that’s equal parts erotic, empowering and joyously inclusive. The splashy music video, brimming with body diversity and camp, is pure summer pool-party fantasy.
July 14 20 2025
Check
This summer, why not donate to an organization that provides support to trans folks in need of life-saving support?
It has become clear in recent months that the 2SLGBTQIA+ community is under attack and that Canada must be an advocate and champion for queer and trans people around the world. One of the many organizations committed to affirming care for 2SLGBTQIA+ individuals and families in Ontario is Trans Wellness Ontario, a mental wellness organization based in Windsor-Essex.
As the only 2SLGBTQIA+-dedicated mental wellness organization in the Windsor-Essex area, their mission is to enhance and sustain the health and wellness of transgender, gender-queer, two-spirit, non-binary, queer and questioning people and their families.
For every act of aggression against this community, Trans Wellness Ontario sees an even greater act of trans resilience and joy. The organization endeavours to foster as much of that resilience and joy as they can through their individual services, peer groups, workshops and events.
“We offer a wide range of services including mental health counselling, case management, service navigation, peer support, groups, an ID clinic, a barrier-free clothing cupboard, and education and consultation services,” says Derrick Biso, Director of Education and Operations at Trans Wellness Ontario. “Our centre offers a supportive and affirming environment to receive services from members and dedicated allies of the 2SLGBTQIA+ communities we serve. Our clients can receive the support they need while feeling safe and comfortable enough to express themselves authentically without fear of judgment or discrimination.”
Of course, Trans Wellness Ontario can’t do it alone. According to Meagan Jubenville, Director of Administration and Finance at Trans Wellness, although the organization receives support from many organizations and individuals, every year they still find themselves struggling to secure enough funding to sustain muchneeded programs and cover enough of their operating costs to keep their doors open. That’s why, starting this summer, they are encouraging people to join their monthly donor campaign, as well as reinstating their corporate donation program to ensure that they can continue to provide services for those in need.
“Anti-2SLGBTQIA+ hate is currently on the rise,” says Jubenville. “From US executive orders targeting the transgender community to backlash against diversity efforts within schools and public institutions, misinformation and hate are fuelling harmful and destructive legislation and rhetoric both domestically and internationally. As a result, our demand for support has become so
overwhelming for our small team that we have had to temporarily pause our intake process to prevent our waitlists from growing to over one year.
“As an organization that does not receive core funding and relies almost solely on grants to fund our programs and services, donations are crucial in ensuring that we can maintain our operations and keep our doors open.”
A number of 2SLGBTQI+ centres across the country are being shuttered due to lack of funding, much of it a result of the current culture war that is brewing. Within the last year, a number of prominent national 2SLGBTQIA+ organizations, such as the Canadian Centre for Gender and Sexual Diversity, have closed their doors due to funding constraints.
“This is why donations, especially monthly donations, are so important,” says Jubenville. “They contribute to our organization’s sustainability, help us work towards our goal of expanding our capacity, and help ensure that we will not have to close our doors to the community. Even $5 a month makes a difference, and is greatly appreciated by everyone at our organization! We encourage anyone wanting to support our organization to consider pledging to be a Champion of TWO with a monthly donation, making a one-time donation through Canada Helps or by cheque (made out to Trans Wellness Ontario), and following our social media pages for updates on programs, initiatives and events.”
Whatever the future may bring, both Biso and Jubenville say Trans Wellness Ontario is committed to making sure that the organization continues providing quality, affirming care to 2SLGBTQIA+ individuals and families in Ontario.
For more information on Trans Wellness Ontario, visit www.transwellness.ca.
If you would like to start supporting Trans Wellness Ontario, you can visit their donation page and click the “donate monthly” button: www.canadahelps.org/en/dn/80029.
Your skincare conundrums might be transformed with a little shut-eye
By Adriana Ermter
Whether you’re a proud member of the 5 a.m. club, a die-hard night owl or someone who hits the snooze button a few too many times, one thing’s for sure: sleeping your way towards radiant skin is having a moment. Thanks to TikTok, the internet is obsessed with sleepmaxxing – a trend that exploded in late 2024, driven largely by Gen Z as a counter to hustle culture and a response to chronic sleep deprivation. Think sleep masks, lavender oil on pillowcases and even mouth taping all in the name of optimizing
nightly rest. (Side note: mouth taping has not been clinically found to be helpful, and may even be a health risk in some situations.) With hashtags like #sleepmaxxing and #sleephack racking up millions of views, the goal is clear: sleep smarter, glow harder.
Among those leading the charge is influencer Kylie Nicole Day, who boasts more than 1.2 million likes on her video detailing an extensive bedtime ritual complete with blue light glasses, white
noise machines and blackout curtains. Meanwhile, Australian content creator Jakey Boehm has levelled up by live-streaming his sleep sessions, letting viewers interact with his environment in real time, a niche that’s landed him a spot among TikTok’s top 50 streamers. Still, beyond the hype and likes, these influencers have connected the dots between restorative sleep and better skin. And science backs them up.
While you’re off in dreamland, your body isn’t just recharging: it’s working overtime to repair and renew your skin. According to an April 2025 article published by the National Library of Medicine, blood flow to the skin increases, collagen production surges and cell turnover accelerates while you sleep, helping to undo the day’s damage from sun exposure, pollution and stress. It all ties into your circadian rhythm – your internal 24-hour clock – which regulates everything from sleep-wake cycles to hormone release and skin regeneration. Since this rhythm syncs with natural light and dark cues, maintaining a consistent sleep schedule can visibly improve your complexion. In other words, your body already has its own built-in skincare specialist and it works best when you’re resting. So before you hit the pillow tonight, here’s what you need to know about how sleep can benefit your specific skin type.
Dry skin: Replenish and hydrate
Parched, flaky skin doesn’t just crave a thick moisturizer, it’s begging for sleep. That’s because when you’re asleep, your skin becomes more permeable, making it the perfect time to soak up every last drop of your serums, lotions and creams. If you skip out on your zzzs, according to the Canadian Sleep and Circadian Network, you risk slower cell turnover and poor moisture retention, resulting in even drier skin. To lock in hydration while you snooze, clock your full eight hours and consider running a humidifier in your bedroom to keep the air (and your epidermis) comfortably dewy.
Dull skin: Brighten up
If your glow is gone and you’re waking up looking a little grey, your sleep habits might be to blame. Skimping on rest zaps your skin of blood flow, leaving your complexion looking tired and blah. The fix? Quality shut-eye. It boosts circulation, bringing colour and radiance back to your face naturally. Commit to a consistent sleep schedule and watch your skin shift from lifeless to luminous.
Aging skin: Preserve and protect
Want to hit pause on the aging process? Us too! And sleep is the secret weapon. It’s when your body cranks up collagen production to keep your skin firm and elastic. Chronic sleep loss, on the other hand, accelerates signs of aging and weakens your skin barrier, according to a 2024 article by the Sleep Foundation. Their advice: aim for seven to nine hours of shut-eye each night, and invest in a silk pillowcase to cut down on pillow-face creases and help your skin ease into the morning line-free.
Combination skin: Harmonize and heal
Dry patches here, oily zones there, combination skin needs balance – and sleep can help deliver it. Quality rest helps repair your skin barrier and regulate both sebum and hydration levels, creating harmony across your face. According to Snore MD Canada, the nightly ritual of counting innumerable sheep can
elevate cortisol, which breaks down collagen and contributes to a weakened barrier. Regular, restful slumber helps your T-zone chill out and your cheeks stay supple, creating a more unified and resilient complexion.
Oily skin: Balance and control
If you’re waking up greasy, don’t just blame your skin care: your sleep habits may be sabotaging your oil balance. Remember what Snore MD said about a lack of rest hiking up cortisol, the stress hormone that also stimulates your skin’s oil glands? Well, it applies here too…and with the added and unwanted extras of shine and breakouts. The good news is that enough dream time can help regulate hormones, taming that excess sebum and keeping your complexion calm and balanced.
Sensitive skin: Calm and soothe
Sleep is more than rest – it’s repair mode, especially for reactive skin. A 2022 article published by the National Library of Medicine explains how deep sleep dials down cortisol levels, helping reduce inflammation and flare-ups linked to conditions like eczema and rosacea. Miss out on your 40 winks and those skin sensitivities may spike. Prioritize a wind-down routine and enough rest to help keep your complexion chill and irritation-free.
The Sleep Foundations offers these five tips to help you maximize your rest so that you rise radiant.
Establish a consistent sleep schedule: Going to bed and waking up at the same time every day helps regulate your body’s internal clock, promoting better sleep quality.
Create a restful environment: Ensure your bedroom is cool, dark and quiet. Consider subscribing to TikTok influencers’ use of blackout curtains and white noise machines to minimize disturbances.
Limit screen time before bed: The blue light emitted by smartphones, iPads, Kindles and computers can interfere with melatonin production. Aim to disconnect at least an hour before bedtime.
Incorporate a nighttime skincare routine: Cleansing and moisturizing before bed can enhance your skin’s natural repair processes during sleep.
Stay hydrated: Drinking water throughout the day keeps your skin hydrated, but avoid excessive intake right before bed to prevent nighttime awakenings.
If you are late or miss a pill, just take it as soon as you remember and then continue as recommended
Whether you’re new to PrEP (pre-exposure prophylaxis) or a long-time user, missing a dose can feel like a panic moment. But don’t stress: this is more common than you think, and there are smart, science-backed ways to get back on track.
Here’s everything you need to know if you forget a pill, straight from the experts – no judgment, no fear, just facts.
First: Don’t panic
PrEP (most commonly Truvada or Descovy) is incredibly effective when taken consistently, but the occasional missed dose doesn’t mean you’ve lost all protection – especially if you’ve been taking it as prescribed up to that point. Studies show that daily PrEP still offers strong protection even if you miss a dose once in a while. That said, timing matters.
If you miss one dose
Take it as soon as you remember. If it’s been less than 24 hours, just take the missed dose right away – even if that means taking one pill just a few hours before your next scheduled dose. But if it’s already time for your next pill? Skip the missed one and resume your normal schedule. Do not take two pills at once unless your healthcare provider advises you to.
If you miss two or more doses
Now’s the time to get strategic, because your protection may start to dip, especially if you’re just starting PrEP or have recently resumed taking it. The US Centers for Disease Control (CDC) suggests it takes about seven days of daily use for maximum protection during anal sex (and about 21 days for vaginal sex). So if you’ve skipped more than two doses in a week, especially during a high-risk period, you might want to:
• Avoid sex or use condoms until you’re back on track
• Talk to your healthcare provider about whether post-exposure prophylaxis (PEP) is a better move if you had condom-less sex and believe you may have been exposed
Recommit to your schedule, using tools like reminders or a pill organizer to keep things consistent.
What if you’re on “On-Demand” PrEP?
Some people take PrEP using the 2-1-1 method (common in Europe): two pills taken between two and 24 hours before sex, one pill 24 hours after the first dose, and another 24 hours after that. If you forget one of the post-sex doses, take it as soon as you remember. Be aware that if it’s been more than 12 hours, the dose may not be effective – so be extra cautious moving forward, and consult your healthcare provider.
The real talk: Adherence is key
PrEP only works if you take it. And while missing one dose occasionally is okay, if your forgetfulness is a habit, that can reduce PrEP’s effectiveness – especially for people with vaginas, where drug levels build up differently.
Here are a few simple tips for better adherence:
• Set a daily alarm or calendar reminder.
• Keep your pills next to your toothbrush or connect it to some other daily habit.
• Use an app like Medisafe or My PrEP to track doses.
• Carry a backup dose in your bag or wallet for on-the-go emergencies.
When to call your doctor
If you’ve missed multiple doses or feel unsure about your protection status, it’s completely okay to check in with your provider, who can:
• Advise you on whether PEP is necessary
• Help you restart PrEP correctly
• Offer alternatives that fit your lifestyle (including long-acting injectable PrEP)
No shame, just prevention
Everyone forgets things: this isn’t about failure; it’s about finding a system that works for you. PrEP is one of the most empowering tools in modern sexual health, and learning how to navigate it confidently is just part of the journey.
Missed a dose? You’ve got options, support and science on your side. Keep going.
For tailored advice and up-to-date guidelines, always consult your healthcare provider.
Doxy PEP has been proven to reduce the risk of getting certain bacterial sexually transmitted infections among those in higher-risk groups, particularly individuals with frequent or multiple sexual partners
In the ongoing evolution of sexual health, a new acronym – Doxy PEP – is making headlines and sparking conversations in clinics, on college campuses and within queer communities across North America. Short for Doxycycline Post-Exposure Prophylaxis, Doxy PEP is redefining what the prevention of sexually transmitted infections (STIs) can look like in the 21st century.
But what exactly is Doxy PEP, and why are sexual health experts so excited about it?
A new era of STI prevention
Doxy PEP is a promising protocol that uses the antibiotic doxycycline as a post-exposure prophylaxis – taken after sex rather than before – to reduce the risk of contracting certain STIs. Think of it like Plan B, but for bacterial STIs like chlamydia, syphilis and, to a lesser extent, gonorrhea.
Here’s how it works: within 72 hours after condom-less sex, a person takes a 200 mg dose of doxycycline. The antibiotic circulates in the bloodstream, working to kill any potential bacteria before they have a chance to cause an infection.
Studies – particularly among gay, bisexual and other men who have sex with men (MSM), as well as transgender women – have shown striking results. In one of the most talked-about studies, conducted in San Francisco and Seattle, Doxy PEP reduced the incidence of chlamydia by more than 80 per cent and syphilis by nearly 90 per cent, and showed modest benefits for gonorrhea (although emerging resistance remains a concern).
Who is it for?
Right now, Doxy PEP is not prescribed for everyone. The US Centers for Disease Control and Prevention (CDC) released draft guidelines in 2023 recommending its use for:
• Gay and bisexual men and transgender women
• People who have had a bacterial STI in the past year
• People who are at ongoing risk of acquiring STIs
It is effective for those in higher-risk groups, particularly individuals with frequent or multiple sexual partners.
Importantly, Doxy PEP is not a substitute for HIV PrEP (preexposure prophylaxis): the two work together. Think of PrEP as preventing HIV, and Doxy PEP as the new tool in the toolkit for fighting other STIs.
What are the concerns?
As with any antibiotic, there are concerns about overuse and antibiotic resistance. Medical experts stress that Doxy PEP should be used judiciously and as part of a broader, individualized approach to sexual health.
Some critics also argue that Doxy PEP might encourage riskier sexual behaviour, a common critique of any preventive treatment that operates post-exposure. But public health experts emphasize that harm reduction – not abstinence – is the cornerstone of modern sexual wellness.
So…should you take it?
If you’re part of a community that’s at higher risk for STIs, Doxy PEP could be a game changer. But it’s not a one-size-fits-all solution. Speak with your healthcare provider – ideally someone with a strong understanding of 2SLGBTQI+ or sexual health medicine – to determine if it’s right for you.
Doxy PEP represents a new kind of thinking: empowering people with more options, tools and control over their sexual health. As STI rates continue to rise globally, Doxy PEP may be one of the most important developments in the sexual health space in years.
Bottom line: Doxy PEP isn’t about replacing condoms or other forms of protection; it’s about adding another layer of safety in an ever-evolving landscape of love, sex and health.
Everyone seems to be taking creatine – here’s what you need to know about taking supplements of this compound
By Karen Kwan
On top of trying to get enough protein in their diets, lately it seems everyone is taking creatine. But what is it, and should you be adding it to your daily supplements routine?
Although often described as an amino acid, creatine is actually a compound that the body makes from three amino acids and is one of the body’s sources of energy. It’s found in the body in our muscle cells and the brain, mostly in a form called phosphocreatine, which helps the body produce more adenosine triphosphate (ATP), the primary molecule in our cells that carries energy.
Creatine has become popular thanks to its potential to boost athletic performance and strength. How? Creatine can help with energy production, as a source of instant energy, which can be beneficial when it comes to quick bursts of power such as lifting heavy weights or during high-intensity exercises. Also, some studies have found that taking creatine supplements combined with consuming enough protein and calories may help with promoting muscle recovery after intense exercise.
There are a few ways in which supplementing with creatine to increase the stores of phosphocreatine in your muscles could help with improving your athletic performance: you may become capable of completing more in work or volume in each individual workout, and in the long term, this would lead to greater muscle growth. Creatine has also been shown to boost muscle cell hydration (again, which can boost muscle growth) while also reducing muscle breakdown.
Creatine has also been found to increase the number of a certain type of cells in the muscles, known as satellite cells, which play a key role in muscle growth. Additionally, supplementation has been shown to increase a hormone known as IGF-1 (insulinlike growth factor 1), which has shown to result in greater lean muscle mass. And by improving your body’s ability to produce
ATP, rather than quickly depleting your ATP and getting fatigued, you can improve your performance and hold that heavy weight a few seconds longer, for example.
So how to up the creatine in your muscles? We get creatine from the food we eat (largely from red meat and seafood) and from the creatine produced by the body in our liver and kidneys. Supplements are a simple and cost-effective way to quickly increase your creatine levels and get more creatine in your muscle cells. If you’ve been cleared by your doctor to add this supplement to your routine, you’ll find that the most researched and common creatine supplement is creatine monohydrate. You may find that pairing your supplements with a meal high in carbs or protein may help with the absorption. Be sure to hydrate well, too, considering that creatine helps to pull water into your muscle cells. Often, people start with a loading period, to quickly increase the stores of creatine in the muscles, While a loading period isn’t required, taking creatine at the usual recommended dose of three to five grams a day from the start will take longer for your muscles to maximize its stores of the compound. Depending on whether you complete a loading phase or not, you may see results of creatine supplementation within two to four weeks.
As for risks, studies have not yet shown any negative side effects when standard doses are taken. While you may have heard some chatter about creatine supplementation being linked with cramps and dehydration, studies have not found these to be side effects. Also, thus far, creatine has been shown to be beneficial to both men and women.
Bottom line: as a natural supplement, creatine has been well researched, showing evidence of its benefits when it comes to muscles and athletic performance, with potential benefits when it comes to brain function as well. But, as always, consult your doctor before taking any new supplements.
Health Initiative for Men (HIM) is a non-profit society that aims to strengthen health and well-being in communities of self-identified gay, bisexual and queer men and gender-diverse people in BC
There is a community health movement that’s rewriting what inclusive, accessible care looks like for queer and trans folks in British Columbia. Meet Health Initiative for Men – better known as HIM – a non-profit society dedicated to uplifting the physical, mental, sexual and social well-being of gay, bisexual and queer (GBQ) men and gender-diverse (GD) individuals. Since its founding in 2008, HIM has quietly become one of the province’s most innovative and affirming health organizations, serving as both a health hub and a community lifeline for many.
A mission rooted in belonging
Born from a grassroots need for queer-centred health care, HIM launched with a simple but radical mission: to strengthen the health and wellness of GBQ men and GD people across British Columbia. Over the past decade, that mission has expanded, both geographically and philosophically. HIM now operates centres in Vancouver, Surrey, New Westminster and Abbotsford, bringing everything from HIV testing to mental health counselling directly into the communities that need them most.
What sets HIM apart? Its unapologetically sex-positive, non-judgmental approach to health. The organization doesn’t just provide services: it creates space for people to feel safe, seen and celebrated.
“GBQ men and GD people in BC need care that is designed for us, by us,” says Zaid Elbitar, HIM’s Associate Director, External Relations and Development. “This means having more queer healthcare providers being empowered to work within their own communities. We need people who are living with HIV informing the care for people living with HIV. We need queer doctors making decisions about how medications are released. For too long have queer people been subject to the whims of provincial/federal healthcare provision. We see a future where queer people can go to a clinic that is safe, free of violence, and knowledgeable in all the ways it can be.”
A 360° approach to health
Physical and social health programs at HIM provide GBQ men and GD people with opportunities to take a more holistic approach to health in an engaging setting that cultivates a sense of connection and builds community. According to Elbitar, programs touch on every part of life, from the bedroom to the yoga mat, including:
Sexual health: HIM’s sexual health services are among the most trusted by GBQ and GD people in the province. Visitors can access free HIV and STI testing, vaccinations for hepatitis A and B as well as the human papillomavirus (HPV), and tailored information on harm reduction – all provided in warm, welcoming environments designed with queer clients in mind.
Mental health: With affordable, low-barrier counselling services, HIM addresses some of the most pressing challenges facing queer communities: anxiety, depression, substance use and identity stressors. These services are often peer-led or informed by community experience, giving them a resonance that mainstream mental health care often lacks.
Physical and social wellness: HIM’s programs go beyond the clinic. From outdoor fitness sessions and guided meditation to social groups and creative workshops, the organization ensures that community members have opportunities to build friendships, boost self-esteem and simply exist in joy.
Harm reduction and sex work support: HIM is one of the few organizations in the province offering non-stigmatizing support to people who use substances during sex, particularly through its “PnP & Me” initiative. It also runs drop-in spaces for male and trans sex workers, providing critical resources such as access to health care, housing support and social services.
“Loneliness is another issue that gay, bi and queer men and genderdiverse people face in ways that are misunderstood by the general population,” says Elbitar. “Most, if not all, queer people have faced ostracization, violence and rejection. Unfortunately, these experiences carry through with us into adulthood, and it can be difficult to build social networks and break the isolation barrier caused by others who rejected us.”
Diversity isn’t just a buzzword
At its core, HIM is driven by values of equity, inclusion and justice. Its staff and volunteers reflect the diversity of the communities they serve – including people of colour, newcomers, people living with HIV, and Indigenous and two-spirit individuals.
Programs like the Queer English Conversation Club and Bridging Generations (a mentorship and connection initiative for younger and older queer folks) ensure that HIM’s services aren’t just about health – they’re about belonging.
Where to find HIM
HIM’s welcoming health centres are strategically located across British Columbia. Each centre offers a mix of walk-in and appointment-based services, with many also hosting events, workshops and support groups:
Vancouver: 1033 Davie Street (main office)
Vancouver: 1145 Commercial Drive
Surrey: 10362 King George Boulevard
• New Westminster: 610 6th Street
• Abbotsford: 32883 South Fraser Way
A model for the future
At a time when 2SLGBTQI+ health care is still patchy and underfunded across Canada, HIM stands out as a powerful model of what’s possible when care is community-driven, affirming, and built from the ground up. It’s not just a non-profit – it’s a movement. But they can’t do it alone. In an effort to find funding for their underfunded projects, the organization always invites people to consider supporting HIM by becoming a donor (monthly or otherwise).
“HIM has a variety of ways to get involved as a donor,” says Elbitar. “We are excited to share that our fundraising goes directly back into the community in the form of new programs, services and special projects that benefit us as a community.”
For more information on programs or to learn how to access services, you can visit HIM's official website, www.checkhimout.ca, for wide-ranging resources to help GBQ and GD people navigate around their sexual and mental health.
To learn more about ViiV Healthcare Canada, visit www.viivhealthcare.ca.
What is going on with trans rights and social acceptance, and what can activists learn from the LGB liberation fight to turn things around?
By Paul Gallant
Though the 2SLGBTQI+ community is bound together through many common interests – centred on broadening ideas and policies around sexual orientation, gender identity and gender expression –the progress of these varied interests has been frustratingly uneven.
The struggle for homosexual and bisexual rights and social acceptance – issues concerning sex, love and family for people who are attracted to those of the same gender – has been one of the most successful social movements in modern history, particularly in Europe and the Americas. Seen as immoral and/ or a mental disorder until the mid-20th century, homosexuality has increasingly been seen as “normal.” So far in the 21st century, 38 countries have legally recognized equal marriage – and many more countries have legally enshrined other rights, such as civilpartnership registration and protection from discrimination. There have been hiccups and backlashes, of course, and every culture moves at its own speed. In Russia and Uganda, for example, the response to queers being more self-actualizing has been the enactment of more oppressive laws. But on the whole, the move towards equality been a stunning global triumph.
The US has had a bumpier ride than other rich countries, but it also has some of the best stats to prove my point. A 1977 Gallop poll found that only 56 per cent of Americans thought gay and lesbian people should have equal rights in terms of job opportunities, and just 43 per cent thought homosexual relationships between consenting adults should be legal. By 2019, those numbers were 93 per cent and 83 per cent, respectively.
All that being said, what is going on with trans rights and social acceptance – how is the T in 2SLGBTQI+ doing?
Transgender people have made great progress in many rich
countries, notably Canada and northern Europe, where medical care, legal recognition and social acceptance have been rapidly expanding. In 1922, German trans pioneer Dora Richter became the first known person to undergo gender-affirming surgery and to be allowed to legally change her name. One hundred years later, trans people in 37 countries can legally change their names. And in more than 21 countries, people can determine their own gender identity without medical or judicial requirements, a shift in thinking that started being implemented as policy in Argentina in 2012, just 13 years ago. Three countries now recognize a nonbinary gender, though the term “non-binary” only started to be widely used in this century.
Yet compared to same-gender issues, trans issues are less of a priority in much of the world. More worryingly, there have been anti-trans legislative moves and court rulings in the United States and the United Kingdom, often reversing existing protrans policies. A Pew study conducted earlier this year suggests Americans are growing cooler to trans rights. About 66 per cent of those surveyed said trans athletes should be required to compete on teams that match their sex assigned at birth, and 56 per cent want to ban healthcare professionals from providing minors with care related to gender transitions.
Trans activism does not map exactly onto LGB activism, but there are certain strategies that can be replicated. There are also obstacles that LGB activists have not had to deal with.
1. Trans identity and gender non-conformity have probably been around for as long as homosexuality – that is to say, since early human history. But as a widespread movement, trans issues feel relatively new. That’s partly because aspects of it, such as gender-
affirming surgery, are tied to medical practices and technologies that are still evolving. Attitudes towards trans people today are probably equivalent to attitudes towards gay and lesbian people in, let’s say, the 1970s. You can argue that in today’s accelerated culture, trans people shouldn’t have to wait 30 or 40 years for broad acceptance. But much societal evolution comes not from people changing their mind, but from older, more conservative people dying out and being replaced by a more open-minded generation. It’s often a waiting game. Rightly or wrongly, equal marriage has been considered the “five-star” right, the culmination of our success. But marriage did not seem possible or even a priority until the late 1990s, 30 years after the 1969 Stonewall uprising.
2. As I mentioned, the term “non-binary” has only been used for about 25 years, and the term that preceded it, “genderqueer,” was only coined in the mid-1990s. It’s hard to imagine lawmakers using “genderqueer,” which has a counterculture vibe. I remember arguments in the early 2000s over whether it should be “transexual” or “transsexual,” and whether “transgender” was different. The language used to describe something matters. Trans advocates, their critics and those on the sidelines have not been speaking the same language. They often don’t agree on basic definitions. Even when there are rhetorical successes, our fragmented media world makes it harder for those successes to take hold and move the debate forward. LGB activism has worked best when things were boiled down to something almost banal, like “love is love.” It sounds simplistic, but the adoption of “trans” to mean transsexual and/or transgender has helped the cause. “Non-binary” has a nice bureaucrat-friendly ring to it, but to mainstream society it can feel like a twist that arrived just as society was settling on “trans.” Though activists and allies are conscientious of mentioning “bisexual” and “lesbian,” it’s “gay” that has become shorthand for people who don’t care so much. Thus, the impact of “Yep, I’m gay,” when Ellen DeGeneres, a lesbian, appeared on the cover of TIME magazine in 1997. There’s no such thing as too dumbed down.
3. Not only do the terms have to be simple, so do the ideas. And the ideas should be rolled out in stages. The LGB movement, though spread across the globe, was, by the 1970s, relatively focused on a couple of key arguments. “Our personal lives are none of your business” was easy to understand: one’s sex and love life should not reflect on one’s work and public life, and what consenting adults do in their bed or away from prying eyes should not be a concern of the law. Even straight people could relate to that. Once this “privacy matters” argument was largely accepted, it was easier to ask for our relationships to be accepted as “normal” and then “equal.” There was a decades-long shift that flowed from “Leave us alone” to “Don’t hate us” to “We’re as good as you” to “We’re equal.”
4. LGB rights have been, relatively speaking, a light lift for the average straight person. Sure, governments, bureaucrats and HR departments had to make changes; forms and contracts had to drop words like “wife” and “husband”; wedding cake makers were asked to put same-gender couples on the top of their works of art; and church leaders had to decide what to sanction or forbid. Fortunately, once those decisions are made, they usually stay made. The average straight person doesn’t have to do much to meet our expectations except avoid physically attacking us and
being openly rude. As the saying goes, “If you don’t approve of gay marriage, don’t get gay married.” LGB people set a relatively low bar when it comes to everyday behaviour. The LGB issues that are still most “live” are the ones that affect everyday life, such as what’s taught in schools.
5. In the 1980s and ’90s, it was thought that three to five per cent of the population was gay or lesbian, though those stats are higher and fuzzier now, with 7.1 per cent of Americans identifying more broadly as LGBT. More specifically, an estimated 0.6 per cent of Americans identify as trans. Regardless, there are many more LGB people than T people. Part of the success of LGB activism was as simple as people coming out to friends, family and colleagues. Straight people’s ability to put a name and face to “homosexuality” helped the cause. Media representation also helps, and certainly there is trans and non-binary representation these days in the entertainment industry. But the personal touch is most effective. That’s why politicians still campaign door-todoor. The small number of trans people in society makes it much more difficult to change attitudes.
You could argue that gay, lesbian and bi activists have always failed to present a simplified, unified front, and that there’s a lack of resolution that lasts until this day. Also, activists have too often failed to always be likeable. Though there was Will & Grace , Elton John and Lily Tomlin, there have also been street protests, riots and extreme tactics by HIV/AIDS activists. There’s been the “We’re just like you” faction versus the “We’re rebels who don’t need your permission to do our own thing (a.k.a. Mind your own business)” faction. But I’d argue that the tension between these two strategies – nice and nasty – has actually been helpful. In liberal Western society, most straight people see same-gender marriage as the equivalent of straight marriage, but will also cut queers some slack for having open relationships and our racy humour. We are the same, but also different.
Trans activism should, I think, embrace this tension. “Mind your own business,” for example, can work for young trans people and their parents when it comes to accessing gender-affirming health care; it has certainly worked for adults seeking genderaffirming health care. There’s also a “We’re just like you” way to sell ungendered washrooms as a greater public good, one that’s as beneficial for parents, caregivers and anyone who wants more toilet privacy as it is for trans and non-binary people.
In the case of elite athletic competition, though, there are potential losers who think it’s very much their business – elite sports are the “my religious beliefs oblige me to condemn homosexuality” of trans activism. This marginal yet high-profile issue has unfortunately become a defining one in the court of public opinion. Not unlike how the smear of pedophilia hurt LGB activism up until, I’d say, the late 1990s, the issue of “taking advantage” will be a major hurdle for trans activists. Perhaps only more science and more research can overcome it.
Yet when you’re on the right side of history, you’ve got to believe that time is also on your side, setbacks be damned. Though the debates are often annoying and painful, they are what will drive change.
In the documentary Parade, Gonick takes viewers on an emotional journey through time, exploring the moments that sparked Canada’s 2SLGBTQI+ movement
By Stephan Petar
After making its world premiere at the 2025 Hot Docs Festival, Parade: Queer Acts of Love & Resistance is now available to screen across Canada on all National Film Board (NFB) platforms. The documentary spans decades of queer activism, examining the moments that sparked Canada’s 2SLGBTQI+ movement and honouring the activists and elders whose resistance led to the rights we have today.
For the film’s writer and director, Noam Gonick, the documentary is a resource for activists of all ages. “I look at the film as a guidebook: easily accessible history of how these battles were fought and won,” he tells IN Magazine. “We may need to fight them again. So, it is a refresher on what was done in the past and what strategies worked.”
The film is a mix of rarely seen archival footage and images, as well as first-person accounts by individuals like Jearld Moldenhauer (founder of Glad Day Bookshop), Jeanine Maes (the last woman in a psychiatric hospital for lesbianism) and Dr. Myra Laramee (an Indigenous Elder whose vision revealed the term ‘two-spirit’). It covers activism across the 2SLGBTQI+ spectrum and those of queer Black, Indigenous and People of Colour (BIPOC) communities in Canada.
While it may seem impossible to express such a wide perspective of stories in 90 minutes, Gonick and his team crafted a film that takes viewers on an emotional journey that illustrates what happens when people take a stand.
We spoke to the writer and director about searching the archives, crafting the narrative and what he hopes people will take away from it.
Digging into the past
When Gonick was asked by producer Justine Pimlott if showcasing the history of queer Canada was too big for one film, he took some time to think about it. “The next day I said, ‘I think we should try,’” he says. From there, they embarked on a journey into archives, personal collections and the works of artists and filmmakers in various media in search of the stories to tell.
To locate these materials, his team turned to Rebecka Sheffield, executive director of The ArQuives at the time, who has spent decades cataloguing queer history. “Rebecka knows where every queer film clip, photo brochure, graphic, text piece, button and T-shirt is,” Gonick explains. “Rebecka knows every archive of every university, of every city, of every township in Canada.… Rebecka knows where everything is.”
Sheffield, along with other researchers and people on the project, helped identify key visuals and searched for the individuals at the centre of those defining moments. “We had to go overseas to find the last lesbian to be in a psychiatric ward [Jeanine Maes] – using a long-distance ex-lovers’ network,” Gonick says.
The array of visuals used will make viewers emotional. They’re beautiful and heartbreaking, evoking feelings of love, hope and power mixed with fear. They feature handmade signs reading “Gays Demand Equal Rights” and “Out of the Closet. Into the Streets.” They showcase landmarks that are still present and central to protests today, reminding us that most of those demonstrations were not that long ago.
One story that stuck with Gonick from this research was related to the Sex Garage Raid in Montreal, where police instigated an attack that injured dozens and led to several arrests. While he was not there during the raids and subsequent protests, he visited the city often in that period and had friends there. He recalls watching the footage in the editing room and not realizing what a huge moment it was. “Our lead visual archivist found all-new raw camera tapes of the police attack on this demonstration in broad daylight,” he shares. “It was such a vicious assault, and I remember leaving the edit suite quite shaken.”
Crafting a full-bodied narrative
Taking over the walls at the NFB offices, Gonick and the crew posted dozens of colour-coded flash cards examining the content they had. The decisions on what milestones would make Parade wasn’t easy. He got input from Sheffield and other researchers but, in most cases, it came down to what they had. “Sometimes there was a great story, fabulous storytellers, but no footage,” he
says. “We weren’t doing re-creations. We were only relying on archival. So, if it didn’t exist, then we couldn’t tell that story.”
Gonick also wanted to highlight stories not often told and introduce Canadians to new queer activists. “Chris Bearchell, who is dead, didn’t have a film about her, and we felt that she was really important and that people needed to learn about her,” he explains about the activist and only woman on the editorial collective of The Body Politic, Canada’s leading gay liberation periodical in the 1970s and ’80s. “Those are the kinds of editorial decisions you make: trying to tell the history in a new way with some new people.”
Viewers will likely know many of the stories, such as the Toronto Bathhouse Raids, the rise of The Body Politic and the HIV crisis. But while they are stories often heard, Gonick weaves new voices into those pivotal moments, making them fresh.
While the film can be heavy at times, especially with visuals of police brutality, Gonick is able to balance it with humour and love. “Everywhere I could, I tried to get that gay humour, camp sensibility put into the story,” he says.
This light-heartedness allowed the director to create a full-bodied story, taking viewers on an emotional journey. “When people read about a gay history documentary, they might immediately go to the sad stories,” he says. “There are a lot of them in this film, but I think it’s important to take people to heights of giggles and laughs as well as tears.”
The film concludes with footage from the recent 1 Million March 4 Children, described as a parental rights movement protesting the inclusion of sexual orientation and gender identity in curricula. While this warns of the next threat for 2SLGBTQI+ people, specifically trans youth, it is also a moment of hope, showcasing the counter protests and the next generation of queer activists. “I felt we needed to put our focus there right now,” Gonick says about the decision.
Parade is not just a retrospective of the battles queer people have fought – it gives the community inspiration to encourage voices to speak out and suggests strategies that can be adapted to the current context to fight misinformation. These are powerful tools, and also remind us of why history is important to document, share and make accessible to the masses. As filmmaker John Greyson says near the film’s conclusion, “History matters because of what it can do for us today.”
You can stream Parade: Queer Acts of Love & Resistance on all National Film Board (NFB) platforms.
An
Cult Classic Album, 10 Years Later
We’re still singing along to the third studio album by the Canadian singer and songwriter, which featured beloved queer bops like “I Really Like You,” “Run Away with Me” and “Your Type”
By Megan Hunt
In a perfect world, Carly Rae Jepsen’s E•mo•tion would have been a smash hit. But while it didn’t in fact gain widespread commercial success, it achieved something more impactful and interesting.
From the very beginning, E•mo•tion was fated to be a cult classic. Released in Japan in June 2015, nearly two months before the album’s North American rollout, the record immediately became something of an “if you know, you know” pop culture moment. In the decade that followed, E•mo•tion has secured its place not only as one of Canada’s most influential pop albums, but also as a fan favourite within the queer community.
How exactly did a presumably straight woman create an album that resonates so deeply with her 2SLGBTQI+ fanbase? The answer doesn’t come from speculative conspiracy theories about her sexual orientation à la Gaylorism: it’s simply that no pop artist understands desire quite like Carly Rae Jepsen.
“ The record immediately became something of an ‘if you know, you know’ pop culture moment.”
Although the album’s infectious and flawless sound is typically central to the praise E•mo•tion has received in the years since its release, its lyricism deserves flowers, too. By returning time and time again to familiar, nostalgic motifs – think car headlights outside a bedroom window, sweaty dance-floor trysts, unspoken yearning for a friend – E•mo•tion weaves a narrative that captures desire from every angle: the vulnerability and melancholy, the confusion and embarrassment and, ultimately, the unbridled joy.
“Accepting and exploring my identity is something that took me years, and having a record like E•mo•tion by my side genuinely helped.”
On a surface level, E•mo•tion feels confident, lusty, self-assured – all the things I associated with the queer community before realizing that I myself was part of it. In young adulthood, I watched friends come out and come into themselves, and felt a pang of envy. It felt as though they had found a kind of liberation that I would never be brave enough to allow myself. Accepting and exploring my identity is something that took me years, and having a record like E•mo•tion by my side genuinely helped. Jepsen’s storytelling helped me understand my own desire as something that could be fun and adventurous, but also inherently vulnerable and introspective.
To be queer is, on some level, to accept being misunderstood or flattened in some way. Just as straight narratives about our lives will never capture the full picture of queer existence, E•mo•tion is special in that it allows itself to be underestimated. Carly Rae Jepsen’s songwriting is often covertly smart: this is, after all, the same woman who managed to slide before you came into my life/I missed you so bad, one of the sharpest lines of the 21st century, into the bridge of a bubblegum pop tune. Take, for example, the track “Boy Problems,” which serves as one of pop’s best sleightof-hand tricks: by setting up a narrative about friends gabbing about “boy problems,” Jepsen manages to tell a slyly heartbreaking story about a friendship painfully running its course.
Needless to say, the gay community will always prop up pop perfection, and that’s exactly what’s delivered in E•mo•tion Imagine driving with all the windows down on a breezy summer night, or seeing a disco ball somehow strung up with Christmas lights, and you’ve captured the overall sonic landscape of the album. Every track offers something fascinating, from houseinspired bangers like “I Didn’t Just Come Here To Dance” to understated ballads like “All That” to the standout opener “Run Away With Me,” which includes a gorgeous saxophone riff that has yet to be bested by any other song released this decade.
The album’s lack of mainstream popularity also allows it to be an underdog, something that the queer community is always eager to champion. By failing to produce another single on the same level of ubiquity as her 2011 breakthrough “Call Me Maybe,” Jepsen instead earned her stature as a beloved, underrated kind of pop star adored by both the musical cool kids and Top 40 poptimists.
In “Your Type,” perhaps my favourite on the album, Jepsen admits her longing and then immediately backtracks: But I still love you/I’m sorry/I’m sorry, I love you/I didn’t mean to say what I said. On the sensual “Warm Blood,” she croons about an affair where secrets are woven into the fabric of the relationship: I’ve got a cavern of secrets/none of them are for you/even if you wanted to keep them/where would you find the room?
These stories don’t have to be based on actual queer experiences to resonate with the queer community. Who among us hasn’t encountered guilt when we find ourselves falling for a friend or imagining a late-night escape with our love interest, driving out somewhere far away from prying eyes? On E•mo•tion , Carly Rae Jepsen allows her relationship to desire to get messy and complicated, and it’s exactly that magic that has captured the hearts of the 2SLGBTQI+ community for a decade.
For 13 years, Mic. Carter has been serving style with subversion through his queer-run fashion house, L’Uomo Strano. Now, on the cusp of his latest collection, he reflects on a radical past and a fearless tomorrow
By Elio Iannacci
In an industry that often sidelines the radical, Mic. Carter’s presence in fashion is crucial. As the creative force behind L’Uomo Strano, the Toronto-based designer constructs looks that are gender agnostic and radically inclusive – tailor-made for non-conforming style leaders. Now, since the brand’s launch 13 years ago – a number Carter finds apropos (since, unlike elsewhere, 13 is considered lucky in Italy) – the fashion world is finally recognizing L’Uomo Strano’s leader as the visionary he is. Carter’s mood boards reflect his boundary-pushing momentum. L’Uomo Strano’s references flow seamlessly between URL and IRL, drawing from deep library archives and layering in next-gen digital hues. The result is a design language that blends nostalgia with Afrofuturism, pop culture with fop culture, and protest with play.
Social justice is woven into every thread – most notably in Carter’s should-be-studied Strange Fruit collection of 2020, a direct response to the murders of Ahmaud Arbery, Breonna Taylor and George Floyd. That collection turned grief into galvanizing garments, weaving defiance and tribute into Carter’s careful stitches. Just as comfortable in clubland as in critical discourse, Carter’s output carries the spirit of high and low camp, the chic pulse of the ballroom, and the ever-shifting power of Black femme expression. With L’Uomo Strano, fashion becomes a space to redefine, to reclaim – and to resist with fierce resolve.
While he was putting the finishing touches on DEAD NAME – a new, forward-leaning collection for L’Uomo Strano – Carter talked with IN Magazine, breaking down the past and the forces fuelling the brand’s next act.
Let’s start with the name. Where does the name ‘L’Uomo Strano’ come from, and how has it evolved?
The name came while I was studying at Central Saint Martins [in London, England]. There was an Italian fashion student who’d see me in millinery class and just start laughing and calling me L’uomo Strano [the strange man]. I was designing a hat inspired by a Kris Kross–style Afro, and every time she saw me, she’d repeat it. I found it challenging at the time. But when I got back to Toronto, reclaiming Strano felt like an act of resistance. Much like how the N-word or the word ‘fag’ has been reclaimed, I wanted to take that word – strange – and reframe it. Now, I think of the name of the brand as being the intersection of two parts of my identity – which is always evolving, just like the clothes are. I see how both the name and the collections I am creating continuously develop into acts of resistance and redefinition.
Why did you name your latest collection DEAD NAME? I was designing right around the time [US President Donald] Trump was re-elected. I thought about how dandies used clothing as armour – as self-definition and a way to build community. That’s very punk. That energy feels familiar in queer and trans communities, especially among gender-non-conforming and non-binary folks. Clothing is our first tool, our first weapon. I wanted to centre that.
Tell me about the early days of this collection. What was the jump start?
This collection is really split into two. It is inspired by the book Slaves to Fashion: Black Dandyism and the Styling of Black
Diasporic Identity – which also inspired the Met exhibit this year [‘Superfine: Tailoring Black Style’ is on display at the Met in New York City through October 26]. I was specifically drawn to 18th-century fops dressing extravagantly…just to be seen. I re-imagined the looks happening in Vauxhall Gardens, where a mix of people dressed up and down. We have the gworls – AFAB [Assigned Female At Birth] included – in fabulous clothes topped with Sebastian’s hats [Sebastian Blagdon of Imago Millinery]. But time isn’t linear for me. It’s Afro-circuitous: a spiral where past, present and future collide.
You’re working with two opposing colour palettes in this collection. What’s behind that choice?
Yes, the tones that grabbed me first come from a late-night read of slave rebellions and how enslaved bodies were consumed in history. The clothes explore that brutal history literally and metaphorically. I pulled hues of deep reds, bruised plums, purples – colours of flesh – to showcase wounds. Then there’s the opposite: bursts of hyperpigmented colour explosions. Bright, theatrical fantasy, futuristic shades.
Who are some of the top muses and inspirations on your mood board?
Think Power Rangers meets [DC Comics supervillain] Mother Mayhem from Titans. The latter has supernatural powers and is known for eating people. Then there are the Jabba the Hutt girls – alien slaves from Star Wars who were chained to him. The Jabba Hoes gave me a new perspective and, because they are slaves, I also traced a line from Ira Aldridge, the Black Shakespearean actor forced into minstrel shows, through to characters in Slave Play. I also looked at stripper aesthetics and mixed it with elements of my favorite rapper at the moment, JT. This is all because I didn’t want to reference Thierry Mugler – it’s been so done.
You vacillate between futuristic and historical references. Who from the past stood out most?
I got obsessed with Julius Soubise, a formerly enslaved man from St. Kitts who became Britain’s first Black sex symbol in the 18th century. He was a dandy – like a performance artist. Catherine Douglas, Duchess of Queensberry, enslaved him, or so the book says. She took him everywhere. He became witty and charming, and was given access to elite parties. He clocked the culture and said, ‘I got this.’ That audacity inspired me more than any image.
Would you say your models act as collaborators?
Absolutely. About 10 I trust deeply. They give feedback during fittings – how clothes make them feel, how they want to wear them. That co-creation builds authenticity.
Your brand has always felt rooted in community. Was that the goal from the beginning?
110 per cent. It is embodied by The Strano Squad. Especially Sebastian Blagdon, a milliner from the East Coast, who is now in Toronto. I met them in 2014 – they modelled for me, then started making hats. I wear their work constantly. That collaboration took things to another level – physically, emotionally, ethically. My twin brother, Matthew – a.k.a. Raleal Dreams – does the sound. For my first collection, he rapped while playing chess against himself on the runway. So gaggy. He’s performed that same
by Ryan
piece again for FAT (Fashion Art Toronto)’s 20th anniversary this year and put together a new performance for my show. Garçon, a stylist from northern Ontario – now in Parkdale – is also key. They’ve been part of Strano for a while. Younger than me, super organized, they bring a fresh relevance that fuses beautifully with my sensibility. Cat from [avant-garde, Toronto-based garment manufacturer] Pigeons & Thread is helping to build the bigger looks. They just sent me a piece in faux ostrich leather and I gagged. It’s the future. I can’t wait to try it on.
Let’s move to this year’s Met Gala, ‘Superfine: Tailoring Black Style.’ What was your initial reaction watching the blue carpet, and how did you feel after seeing the media coverage? I was prepping my own collection that night – literally sewing and watching the Met on my iPad. I thought, ‘This is a moment for the sartorial Black diaspora.’ So I watched while making a yellow pair of bloomers. What I loved? Seeing Black dandies really claim space – specifically Janelle Monáe and Teyana Taylor. Teyana wasn’t someone I previously saw as a dandy – more androgynous – but she stepped into the role beautifully. What disappointed me? Some starlets clearly hadn’t read the brief. Their answers to basic questions were wild. I felt a bit of second-hand embarrassment – disappointment, really – especially from those who profit off Black aestheticism. That was their moment to give back.
Who do you think will be remembered for showing up and showing out at the Met?
Christopher John Rogers dressing Cole Escola was one. That joy, the explosion of colour, the knitwear, the heels – it felt bold. He’s always encouraged me. And then Jordan Roth wore LaQuan Smith. They had this incredible hat and presence. I’ve always admired LaQuan’s business sense, but I hadn’t seen them engage with non-binary design like that before. It was a moment.
Did your impression shift after the coverage came out?
Not really. The queer foundation of dandyism and how that has informed disruptions within society was never discussed. Queering what opulence can look like and where opulence can come from makes dandyism a movement, not a trend. But queerness was stripped from the conversation. Lewis Hamilton hinted at it. He wore Grace Wales Bonner, and the cowrie shells on the outfit were intentional. And the silhouette? Stunning. He ate that up… and he’s a straight man, a race car driver! Last year he bought a whole table for Black designers. He gets it.
For each person I’m going to mention, I’d love your take: would you classify them as a Fop or a Dandy? Let’s start with singer/songwriter Sylvester. I’d say Fop. There’s often a tragic arc with Black Fops. Take someone like Julius Soubise: his story ended in a dark place. Sylvester’s life, especially during the early HIV/AIDS era, carries that kind of tragic glamour. Dandies are dapper. Fops are glamorous. There’s a difference.
Langston Hughes?
He’s a Dandy. That kind of refined, literary elegance. Respectability through fashion – suits, tuxedoes. There’s this film, Looking for Langston , that really captures his vibe. The tux becomes his symbol of refined masculinity.
Andre Leon Talley?
Deeply Fop. Completely bored with Dandies. If he was at the Met Gala, he’d be like ‘Another suit? Girl, take it off.’
How about Sam Smith?
Fop. They started as more Dandy, then really leaned into queerness – Harris Reed heels, corsets, no pants. There was a transition.
When you’re creating, do you pull from what doesn’t exist, or mainly remix what does exist through a queer lens?
Both. I’m a Libra: it’s never just one or the other. It’s always both. I see it in the air in some instances but I am actively looking for it. That’s what queers do. We are constantly looking back, looking forward or making it up. I do love an epic remix though.
Speaking of remixes, do you think attending circuit parties like Prism in Toronto gives you an upper hand when designing? Oh, yes. I spent a lot of time dancing at Prism through the years and I just went to Northbound Leather to start building my Pride wardrobe. Listen, it’s not perfect but it’s a complex, dynamic space, and one that’s run by a Black queen – Gairy Brown. What I love about Prism is it exists as a Black utopia because the history of dance music was built by and for Black people. As a party, Prism also survived COVID and the shuttering of venues like The Government, so it has adapted and evolved. That resilience inspires me. On the dance floor at Pride, it gives me a chance to think about what ‘sexy’ looks and feels like. How does it move? How does it claim space? And how does that differ at Prism versus, say, Fashion Art Toronto? Because I live in both those worlds – and care about both – I want my clothes to speak across them. I want to offer a range of looks that give people choices, so they can express different versions of themselves. I’ve seen how the energy mutates at Prism: Gairy Brown walking around with his designer sunglasses, the community interacting with their bodies. The pulse is always shifting but it is a complicated space.
In the documentary Supreme Models, which chronicles top Black fashion figures, author Marcellas Reynolds talks about the importance of non-Black allyship. For someone writing about your work who isn’t from your background, what should they consider before putting pen to paper?
That’s an important question. You have to do the research – you have to show up and pay attention. Beyond that, you have to immerse yourself in Black creativity and realities. The reality is, Black lives are not lived in a silo. We are of the world, so all of us need that exchange.
What have been the consequences when your work was misunderstood or met with opposition?
A smaller moment was after I did a radio interview – someone emailed me saying I should change the name L’Uomo Strano, claiming it was demonizing. I didn’t respond – it was gaggy, honestly. The bigger issue was with Toronto Men’s Fashion Week in 2014. They’d seen my non-binary collection, but at the fitting, they said they were going to style it with baseball hats and combat boots. I told them right away that this didn’t align with my vision, and shortly after, they removed me from the lineup. They even tried to discredit me, saying I showed up with loose threads – which was a lie. That kind of institutional violence
– attacking my livelihood and character – was real. It was shocking and embarrassing. But then people rallied and I was then invited back. That moment really crystallized why I do what I do. The same people I create for made sure the story was shared.
On the flip side, Vanja Vasic at Fashion Art Toronto championed L’Uomo Strano from the beginning. When I was kicked out of Toronto Men’s Fashion Week, she was the first to reach out and say, ‘We stand beside Mic. We stand beside the vision.’ That support meant everything, especially since the experience also brought on a lot of harm.
Where would you say is a place that fosters that kind of exchange?
What I admire about the fashion program at TMU [Toronto Metropolitan University], and the work that Ben Barry [dean of fashion at the New School] started and what Joseph Medaglia [associate professor in the School of Fashion at TMU] has continued to push, is how deeply it is committed to decolonization, sustainability and inclusion. These aren’t empty words; the faculty live it, and it shows in how they teach. Students are expected to graduate with that in their DNA. If they don’t, it gets challenged in class. It’s real, not lip service.
By Victoria Hincapie Gomez
The Legendary Danah Rosales is much honoured for her work in dancing, teaching, coaching, mentoring, consulting, producing, and collaborative and interdisciplinary choreography and performance. Her inclusiveness, and love of dancing, started early. She grew up in the ’90s in the neighbourhood of Rexdale, which exposed her to a lot of different cultural influences. Her public school had a lot of diversity, with families of Caribbean, West Indian and Asian descent.
Rosales’ passion for dancing traces back to those earliest memories, a legacy ignited by her grandmother.
“Our dining table transformed into a stage under her direction. My brother and I would recite poems to movement and gestures for her and my family. My Lola also enrolled me in kinder-ballet classes. Growing up within a religious household presented a unique environment where secular music held a less prominent role. So I discovered a meaningful creative avenue within the church’s dance ministry, where this experience intertwined my inherent passion for movement and dance with spiritual expression,” she says.
Her introduction to voguing came later, when she was a music and dance major at the Etobicoke School of the Arts and met Mother Symba Mulan.
“Symba introduced voguing to me in 2006 when we became close friends as dance majors in our high school. During lunch and afterschool times when the hallways were empty or when the dance studios were not in use, we’d pump vogue beats, play around, and he’d also choreograph voguing into his pieces,” she says.
" THREE YEARS AFTER WALKING HER FIRST BALL, ROSALES WOULD BECOME TORONTO MOTHER OF THE KIKI HOUSE OF SIRIANO, TO THEN BECOME OVERALL MOTHER IN 2023."
Voguing originated in the ’70s in the New York City ballroom scene, as a form of rebellion towards traditional gender norms and discrimination against LGBTQ+ Black and Latinx folks. Ballroom emulates the structure of a family for those shunned due to their identity and/or artistic inclinations. There’s a mainstream and kiki ballroom scene in all iterations of ballroom around the world, but there’s only one Canada-based mainstream ballroom house – the House of Monroe – which became the country’s first ballroom house back in 2006. What differentiates a mainstream house and a kiki house is that the latter is tailored towards youth compared to the mainstream scene, where there’s more at stake and predominant ballroom figures who have been walking for more than five years appear to be more prominent.
The Toronto kiki ballroom scene goes back to 2010, when Icon Twysted Siriano (founding father of the house of Siriano) and Legendary Mother Vixen 007 co-founded the Toronto Kiki
Ballroom Alliance (TKBA) to create a safe and supportive space for racialized LGBTQIA+ youth. The Kiki House of Siriano and the Kiki House of Juicy Couture are among the 13 ballroom houses in the TKBA.
In 2014, Rosales graduated from the School of Toronto Dance Theatre (TDT) along with Symba and another staple dancer in the performance (voguing) category in the kiki scene, Legendary Snoopy 007.
“Snoopy was the person who invited me to the first kiki ball I attended. Symba, Snoopy and I graduated post-secondary together at the School of TDT, and after one of our performances, Snoopy invited our class to the House of Nuance’s Ball, where I was introduced to the ballroom community here in Toronto,” she says.
Months later after spectating her first ball, Rosales adopted the name of ‘Maldita’ as her ballroom name, and debuted in the women’s performance (voguing) category in Snoopy’s first-ever ball, called ‘Let’s Have a Snoopy’ on March 14, 2015, at The 519.
“I honestly just wanted to wake it up for Snoopy, since he really was the one showing and teaching me how to vogue and sharing with me what the ballroom culture is, inviting me in, so as a little birthday gift, I walked his ball. I was so nervous,” she says.
Rosales says women’s performance walkers need to acknowledge that voguing came from the femme queens (trans women) and butch queens (gay men) in the scene.
“Walkers need to put a lot of time into research to really pay homage and give credit where it’s due. When walking women’s performance, I always feel like we are being included – however, to do the category justice, it really is to be putting in the work, in the process, in the rehearsing, in the practising and the involvement with the community,” she explains.
Three years after walking her first ball, Rosales would become Toronto Mother of the Kiki House of Siriano, to then become Overall Mother in 2023.
Other leaders of the Kiki House of Siriano include Founding Father Twysted, Father Bam Bam, Overall Godmother Kitana, Father Jaws, Mother Luxe, Overseer Songbird, Princess Poppers, Princess Meija and Prince Kamel.
In 2022, Rosales was given Legendary status at the TKBA Presents: The Red Carpet Movie Awards Ball for the impact of her contributions in the kiki ballroom scene in Canada.
Outside of ballroom, navigating the dance industry as a freelance dancer while balancing motherhood has posed some challenges to Rosales’ life.
“As a single mother navigating the dance/arts industry, the challenges I face extend far beyond the studio and stage. The inherent instability of this profession and the constant financial strain significantly impact both my well-being and my ability to provide for my children,” she explains.
“The pay is low and, unlike other professions, we don’t have reliable HR departments or unions that truly stand up for us and our rights. We need real change. We need increased support from educational institutions and companies, improved policies, stronger protections and, fundamentally, a societal recognition of dance and arts not as a luxury, hobby or pastime, but as a legitimate profession deserving of respect, equity and genuine care.”
Despite these challenges, Rosales has found success in her career trajectory, and opportunities in which her ballroom and dance background have intersected.
In 2023, she choreographed a show entitled ‘Convergent Divergency‘ for TDT as a love letter to the ballroom scene. Other notable mentions include overseeing the Ballroom Tri-City Project last December.
“My main career highlights would be these ‘crossover episodes’ of my ballroom world and family. Another meaningful highlight is being able to connect, build relationships, collaborate and foster community with more queer Filipinxs throughout this artistic journey,” she says. “My upbringing offered a relatively narrow window into the diasporic Filipino experience, largely shaped by the confines of religion and church. This early exposure, while formative and while still honouring my upbringing, presented a limiting singular perspective on identity and experience on what it is to be Filipino.”
Rosales is also a three-time Dora Award–nominated artist for her work encompassing dancing, teaching, coaching, mentoring, consulting, producing, and collaborative and interdisciplinary choreography and performance.
As a Legend in the ballroom kiki scene, Rosales has seen, and been an active force in, the evolution of the performance category in the past 11 years. The evolution of the most celebrated category within ballroom has also been largely due to key figures like Icon Twysted Siriano and Legendary Snoopy working in partnership and collaboration with organizations and initiatives.
“Twysted’s tireless and consistent efforts are central to this growth, Rosales says. “Their long-running work with the TKBA as the co-founder and all that it encompassed – TKBA Drop-in Tuesdays, the AGO Kiki Lounge and many various pop-up workshops with organizations, along with school outreaches – has made performance skill development and introductions to ballroom culture accessible for queer youth, nurturing a generation of ballroom artists and members and [increasing] integration into the community.
“Snoopy’s many contributions through what he does as a professional dance artist, teacher and choreographer, teaching at The Underground Dance Centre and Studio North, spanning studio and commercial dance, have offered vital training and exposure, bridging different dance worlds and enriching performers’ skills.”
The collective impact of TKBA’s board, council and teams, alongside other organizers, and their commitment to diverse and inclusive spaces that directly support individuals’ ability to
participate and showcase their talents, has also been crucial to the growth of the performance category and everything encompassing the scene.
Over the years, being the mother of the House of Siriano has shaped Rosales’ way of thinking about motherhood.
“In my personal life, I’m a single mother raising my two children without the presence or support of their fathers. While that comes with its own challenges, I’m incredibly grateful to have the support of my immediate family to help me and my children navigate life,” she shares.
“The Sirianos are not just my ballroom family – they’re an extension of my biological family. Motherhood in the ballroom has redefined what motherhood means to me: it’s about more than just biology, it’s a spirit as well. Ballroom has made my understanding of motherhood more expansive and inclusive. It has rooted me in the power of community care and reminded me that a chosen family can be just as sacred and life-giving as the family we’re born into.”
Despite the ongoing financial and legal struggles people within the 2SLGBTQI+ community face, Rosales believes the community will still find a way to be there for each other.
“I believe that the next generation of young people carries a significant source of hope and promise. Today there is more access to information, a greater understanding of diverse perspectives and acceptance, a heightened awareness of generational cycles of toxicity and mental health, so young people today possess a unique vantage point. I suspect this will translate and be embodied in the next leaders coming up in the ballroom communities but also how they express it in their craft, their performance,” she says.
By Stephane Petar
Growing up in the small rural town of Manitouwadge, Ont., left a lasting impression on actress Tattiawna Jones. “It’s a world away from the city experience,” she tells IN Magazine. Her backdrop growing up consisted of striking landscapes, forests, wildlife and the occasional performance by the Northern Lights. It was a place of inspiration for the star. “I think when one lives in a rural space, certainly from my experience, imagination becomes a very close and necessary friend,” she says.
With these elements constantly opening her mind to possibilities, it’s no wonder the actress became attracted to the out-of-this-world and magical genre of sci-fi.
Jones has appeared in countless sci-fi series including The 100, Lost in Space and Orphan Black: Echoes . Now she stars in the Apple TV+ sci-fi comedy series Murderbot. Even with her extensive experience in the genre, she found this project very different from the others. “I have been privileged to be a part of a lot of sci-fi, and this one was truly something that I had never encountered before,” she says.
Murderbot is based on the bestselling Nebula Award–winning book series The Murderbot Diaries by Martha Wells. It follows a self-
hacking security construct robot played by Alexander Skarsgård (True Blood, Succession) who is horrified by human emotion, yet drawn to his vulnerable clients. Throughout the series, he must hide his free will and complete a dangerous mission, even though all he wants to do is watch his futuristic soap operas.
The synopsis alone makes it clear this isn’t your typical sci-fi series, which is what attracted Jones to it. “What I love about Murderbot is that it’s very odd, awkward and uncomfortable,” she explains. “I was laughing and falling in love with these characters.”
She also appreciates how its world feels similar to the one we’re living in. “It was refreshing to be part of a story that, although it takes place on a fictitious planet, deals with very real and potent themes,” she shares. “Sci-fi walks this beautiful line of talking about things happening in our society under the guise of a land far, far away and on a planet that is different from ours. It poetically addresses things that may be difficult for some to digest.”
Jones’ character, Arada, is a biologist married to legal expert Pin-Lee (Sabrina Wu), who are in an awkward throuple with the team’s wormhole specialist Ratthi (Akshay Khanna). Arada is a character who appears in the novel, but Jones created her own interpretation. Having read the original source material, she found Arada shared similar characteristics to other characters who do not appear in the series and fused them together to create her on-screen version.
As she developed and played the character, Jones became attached to Arada, and she gets emotional talking about her. “I love her bravery,” she shares. “I think she found a bravery that she didn’t know existed in her. It was exciting to go on that journey with her as it was happening.” She even found similarities with herself that she channelled. “Arada is a biologist, and I do have a deep love for nature.… I felt close to her drawing from some of those experiences.”
Now, Jones is reconnecting with Arada and her intergalactic friends as a viewer, getting so lost in the plot that she has to remind herself that she’s on screen. “I should probably watch my acting,” she jokes. “But I keep forgetting that I’m in the show and I’m just falling in love with it and on the ride with everyone else. I hope they [audiences] love it as much as I do.”
Have you missed any? Check this comprehensive breakdown of every international winner from the RuPaul’s Drag Race franchise around the world, organized by country
Since sashaying onto our screens in 2009 with a Vaseline-lens glow and a dream, RuPaul’s Drag Race has grown from a niche reality competition into a full-blown global phenomenon. What began in a modest studio in Los Angeles has exploded into a dazzling constellation of international franchises, with each one crowning queens who embody the charisma, uniqueness, nerve and talent that Mama Ru demands.
From the pioneering elegance of BeBe Zahara Benet to the avantgarde artistry of Nymphia Wind, and across oceans to icons like
Carmen Farala in Spain, Keiona in France and Organzza in Brazil, Drag Race has become a cultural passport – celebrating local drag traditions while building a shared international language of performance, self-expression and resilience.
This definitive guide is your front-row seat to herstory: a visual journey through every crowned queen in the Drag Race multiverse. Whether you’re a Day 1 superfan or are newly initiated into the Haus of Ru, consider this your ultimate cheat sheet to who won, when and where.
From casting curveballs to political backlash, the untold stories behind the groundbreaking US series
When Russell T Davies’ Queer As Folk debuted in the UK on February 23, 1999 – and even more so when its North American adaptation hit Showtime on December 3, 2000 – it didn’t just push the envelope. It ripped it open and rewrote what LGBTQ+ storytelling could look like on television. Whether you grew up watching Queer As Folk as it originally aired, clutched onto the DVDs or just discovered it on streaming, one thing is certain: the show changed television. It wasn’t perfect – but it was fearless. And sometimes, that’s exactly what queer storytelling needs to be.
Gritty, raw and unapologetically sexual, Queer As Folk wasn’t about assimilation: it was about liberation. But for all its visibility and shock value, there’s still so much about the show that fans may not know. From behind-the-scenes secrets to cultural ripple effects, here are 20 surprising facts that you might not know about Queer As Folk
1. It was almost called something else entirely
Before settling on Queer As Folk – a title derived from the Northern English expression “there’s nowt so queer as folk” – the creators tossed around other names. One early contender for the American version? Liberty Street, named after the Pittsburgh nightlife strip where the gang hangs out. Ultimately, the producers stuck with the original, a cheeky nod to its British roots.
2. The word “queer” sparked internal debate
Even among cast and crew, the word “queer” was polarizing. Some feared it was still too loaded. But others insisted that reclaiming it was the point – and the title stayed.
3. The UK version only had 10 episodes
Though the British original is often hailed as iconic, it was surprisingly short-lived – initially running for only eight episodes, with a two-part follow-up in 2000. In contrast, the US version ran for five seasons (from December 3, 2000, to August 7, 2005) and 83 episodes, building a broader narrative arc and deeper character development. This longevity allowed the show to tackle everything from HIV stigma to marriage equality.
4. Pittsburgh wasn’t really Pittsburgh
Despite the Steel City backdrop, the US version of Queer As Folk wasn’t filmed in Pittsburgh at all – it was shot in Toronto. Local bars, lofts and warehouse spaces stood in for Liberty Avenue haunts. This was mostly due to tax incentives and budget constraints, but it also allowed for more creative freedom.
5. The pilot was nearly too hot for TV
Showtime reportedly had cold feet after seeing the pilot episode, which featured explicit gay sex scenes – which was unprecedented at the time. Producers Ron Cowen and Daniel Lipman were adamant about keeping the show real, and after some heated negotiations, they eventually got their way. The result? A pilot that shattered taboos and set a new bar for queer visibility across North America.
6. The show was eventually banned in several countries
Due to its graphic content and LGBTQ+ themes, Queer As Folk was banned from airing in parts of Asia and the Middle East. Fans reportedly often smuggled in DVDs so that they could get their Queer as Folk fix.
7. Gale Harold wasn’t gay – and that caused a stir When Gale Harold was cast as Brian Kinney, the sexually aggressive ad executive who became the show’s lightning rod, he faced scrutiny for being a straight actor in a gay role. But Harold leaned into the part with full conviction, often stating that acting is about transformation. Over time, even critics praised his portrayal as one of the most nuanced creations in queer TV history.
8. Hal Sparks was also straight – and had never seen the UK version
Hal Sparks (who played Michael Novotny) had never watched the original Queer As Folk before auditioning. He said he wanted to play Michael as “everyman gay” – sweet, loyal and relatable.
9. Randy Harrison was still in college when he was cast Harrison, who played Justin Taylor, landed the role right out of the University of Cincinnati’s theatre program. It was his first major TV gig.
10. Brian and Justin’s love story wasn’t in the original plan Writers didn’t plan to make Brian and Justin the emotional core of the show. But the chemistry between Gale Harold and Randy Harrison was too undeniable to ignore.
11. Michelle Clunie originally auditioned for Lindsay Clunie, who played Melanie Marcus, originally read for the role of Lindsay. Producers saw a fiery energy better suited to Melanie’s character and switched her over.
12. The crew included tons of LGBTQ+ writers and directors
To ensure authenticity, many writers, producers and directors were LGBTQ+. Their lived experience shaped the show’s realism and complexity.
13. A political firestorm was inevitable
Queer As Folk premiered during a turbulent time in North American politics. In Canada, a Liberal government was in office under Prime Minister Jean Chrétien, while George W Bush had just taken office in the United States, and the country was inching towards conservative cultural retrenchment. Advocacy groups from both the right and left had strong opinions: conservatives decried its explicit content, while some LGBTQ+ advocates debated whether it reinforced stereotypes. The producers stood by their vision, insisting that the show wasn’t about perfection – it was about truth.
14. The sex scenes had a secret weapon: a “sex choreographer” Yes, that’s a real title. The actors worked with intimacy coordinator and choreographer John Scott to block out sex scenes down to the smallest detail. The goal? To make them realistic, safe and narratively driven – not gratuitous. The show’s signature realism wouldn’t have been possible without this behind-the-scenes orchestration.
15. Debbie Novotny’s shirts were actually vintage activist tees
Veteran actor Sharon Gless (of Cagney & Lacey fame) brought warmth and fire to her role as Debbie Novotny, Michael’s rainbow-flag-wearing mother. Many of the shirts she wore –bearing slogans like “PFLAG Mom” or “Hate Is Not a Family
Value” – were borrowed from real LGBTQ+ activists. Costume designer Darren Brydges said they wanted her wardrobe to be “a love letter to queer resistance.”
16. Speaking of Sharon Gless…she joined the show without reading the script
Gless said yes to the role of Debbie Novotny without reading a single line. She trusted the producers and wanted to support the queer community.
17. The show spawned a queer fashion revival
The show’s clubwear, leather, androgynous tailoring and vintage tees became cult favourites. Retailers in the early 2000s reported upticks in mesh tops, tight jeans and Doc Martens, especially in gay nightlife districts. Brian’s power suits and Justin’s Y2K rave looks became early aughts fashion icons in their own right.
18. The 2022 reboot almost didn’t happen
Years after the original wrapped, fans were divided on the idea of a reboot. But creators of the 2022 Queer As Folk reimagining (set in New Orleans with a new cast and story) were adamant: this wasn’t nostalgia – it was evolution. The new series centred on queer characters of colour, people with disabilities and trans voices, echoing today’s more intersectional movement. Though it was cancelled after one season, the reboot was praised for updating the legacy for a new generation.
19. The 2022 reboot was inspired by the Pulse Nightclub tragedy
The creators of the 2022 Queer As Folk reboot drew heavily from the 2016 Pulse shooting in Orlando. The show opened with a similar fictional tragedy, reframing queer trauma through an intergenerational, diverse lens.
20. Queer as Folk helped make Showtime a player in prestige TV Before Queer As Folk, Showtime wasn’t seen as a major player. The series’ success paved the way for later bold, niche hits like The L Word (2004–2009), Dexter (2006–2013) and Weeds (2005–2012).
A new queer film confronts abuse, love and the complexities of memory
By Shane Gallagher
In Salt Water, a haunting new queer drama by Colombian filmmaker Steven Morales Pineda, a man confronts the ghosts of his past and the priest who left him emotionally scarred.
Set against the arresting backdrop of Colombia’s Caribbean coast, the film follows Jacobo (Luis Mario Jiménez), a 33-year-old man who reconnects with José Luis (Oscar Salazar), a former Catholic priest now accused of child abuse. José Luis is not only Jacobo’s alleged abuser; he was also his first love. Their reunion is charged with conflicting emotions of resentment, longing, guilt and even desire. As the tides of the ocean ebb and swell, so too do the emotions between the two men, raising questions that defy easy answers.
“Salt Water is about an uncomfortable love, but one that is still, undeniably, a love story,” says Pineda, who wrote, directed and co-produced the film. Drawing from personal experience, he began writing the story as an act of catharsis after turning 30 and confronting long-buried childhood trauma. “There was a story trapped deep inside me that I had always refused to tell,” he recalls. “I decided it was time for catharsis.”
Far from a black-and-white portrayal of victimhood and guilt, Salt Water invites viewers to sit with ambiguity. “I’m not here to point fingers,” says Pineda. “I want to foster empathy for those
navigating trauma, for those silenced by shame, and for those whose actions we may not fully understand.” That nuance has made the film a standout at festivals, with audiences praising its emotional honesty and bravery. Pineda recalls: “At the Miami premiere, a man in his 70s whispered to me, ‘I’m a priest. And I thank you for the delicate way you’ve addressed this subject.’”
The film’s production was a labour of love and survival. Shot in April 2021 amid a sudden COVID-19 surge, the crew had to navigate lockdowns, curfews and police checkpoints. “It was an odyssey,” says Pineda, who financed the film with his life savings and the support of artist friends. “But in the end, everything came together beautifully.”
Salt Water also reflects the urgency and necessity of queer storytelling in today’s world. “Queer art is not just important, it’s essential,” Pineda affirms. “It’s how I challenge the systems that try to erase us. It’s a lifeline.”
Up next, Pineda is in post-production on his second feature, Our Name is Mary, a coming-of-age story about three teenagers exploring identity in a machista Colombian town. “I want to keep telling stories that give voice to misunderstood characters from the LGBTQ+ community,” he says. “There are more stories in the oven that will continue doing us justice.”
Salt Water is available on Amazon, Apple and all major TVOD platforms. Learn more at www.bgpics.com/movies/salt-water.
Hosted by the legendary Mrs. Kasha Davis, the 2026 Drag Me to Sea cruise promises glamour, gags and unforgettable gaiety on the high seas
By Larry Olsen
Get ready to trade your sea legs for stilettos as Drag Me to Sea cruises into queer pop culture history! Departing from Los Angeles on March 8, 2026, this over-the-top oceanic extravaganza aboard the luxurious Norwegian Bliss will be hosted by none other than drag icon and comedy queen Mrs. Kasha Davis. With 15 world-famous drag artists on board, this floating festival of fabulosity promises more than just a vacation: it will be a full-throttle, wigs-to-the-wall celebration of community, camp and charisma.
“I love a cruise! A buffet, the open seas, incredible entertainment, cocktails (or strong coffee in my case), sun, fun and sass! What more could anyone ask for in March of 2026?!” beams Davis, who describes herself as “your overenthusiastic Auntie” bringing old-school camp, dad jokes in a dress, and always a dash of kindness.
With stops in Puerto Vallarta, Cabo San Lucas and Mazatlán, guests can look forward to tropical adventures mixed with high-octane glamour, both onboard and ashore.
And while drinks are included – “Drink up!” quips Davis with a wink – the real buzz is the star-studded lineup. Alongside RuPaul’s Drag Race favourites like Detox, Darienne Lake and Thorgy Thor (who promises to be “on volume 10 for 24 hours a day!”), the cruise will feature legendary drag icons including Varla Jean Merman, Dixie Longate, Sister Roma, Aggy Dune, Ambrosia Salad, Ethylina Canne, Jewels Long Beach and Carmen Adore.
Expect it all: bingo, brunches, intimate cabarets, theme nights and spectacular stage shows – plus plenty of unfiltered, unforgettable interactions both in and out of drag. “You might end up having a cocktail, a poolside chat or even some private sauna time with one of these divas,” Davis teases. “I don’t judge.”
But this isn’t just about glitz and gags. Drag Me to Sea proudly celebrates the diversity and legacy of drag beyond the mainstream. “All too often drag companies only hire the youngest of queens,” Davis notes. “We’re showcasing performers who’ve been around the block – sometimes twice! – and who know exactly how to captivate a crowd and make you think and feel through their art.”
From photo ops and Q&As to late-night dance parties and spontaneous moments in the buffet line, Drag Me to Sea ensures no guest is just a spectator. “You’ll be vacationing with the queens,” Davis promises. “Memories will be made.”
At its core, Drag Me to Sea is about joy and connection. “We need each other now more than ever,” says Davis. “And we’re bringing all the joy we’ve got. Honestly, every queen on the roster holds a special place in my old dying heart. I’m thrilled we’re doing this together.”
So, pack your sunblock, Advil, fibre supplements and a fistful of dollar bills – and get ready to sashay, slay and possibly cry-laugh your way across the Pacific. Because on this cruise, they’re not just sailing… they’re serving.
For more information on the 2026 Drag Me to Sea cruise, visit dragmetosea.com.
An energized global movement takes on Washington, D.C., with an urgent cause and a message of hope
By Doug Wallace
The tour guide from DC Pride Walks is disclosing one of the more risqué chapters in the 2SLGBTQI+ history of Washington, D.C., when US President Donald Trump’s helicopter lands on the White House South Lawn – right before our eyes. This may explain the snipers on the roof. All in a day’s work, I guess.
I’m in town for WorldPride 2025, coinciding this year with the 50th anniversary of Washington’s Capital Pride. And while I’m not the biggest activist in the world, being part of this event to connect with and help empower the global community was beyond cool. When our place in society is being attacked as it is – with the far right weaponizing gay rights, escalating anti-2SLGBTQI+ sentiment and rising hate crimes all over the world – showing up just seems like the right thing to do. Throw in the WorldPride Human Rights Conference, a two-day music festival, a couple of massive street festivals, dozens of events and parties, and Jennifer Lopez, and I have no excuse to stay home, despite the warnings of a few worried friends. “Be safe,” I’m told a hundred times.
“To see people showing up, seeing their joy, acknowledging how important it is for us to remain visible and to be a part of the community – it has been exhilarating,” says Ryan Bos, executive director of Capital Pride Alliance. “The energy that I’m able to get from people here is why I do this.”
The theme this year – Fabric of Freedom – underscored the strength of the community and the unshakable unity I witnessed first-hand, each voice a thread in the fabric.
“There were many weeks post-inauguration [of Trump as president] when all the executive orders were coming out, where many were wondering, ‘What is happening?’” Bos says. “Pride was born out of a movement, sparked at a time when we were in spaces in which we weren’t welcomed. So here in the United States of all places, to not feel welcomed now, it’s a feeling of incredulity. I’m surprised how many people in this country don’t even realize the harm that’s being done. People are living their lives in fear and uncertainty every day, so it’s time to stand up and tell the story of what that feels like.”
“ One of our goals has been to let people know that D.C. is more than the White House and the monuments.”
As for my tour, turns out Washington has considerable gay-history heft – our tour guide, historian and author Katherine Fisher, has numerous stories up her sleeve. Civil rights trailblazer Frank Kameny co-founded the first gay rights organization in the city and was instrumental in having homosexuality declassified as a mental illness, thanks to the work of pioneering psychologist Dr. Evelyn Hooker. Activist Barbara Gittings helped organize some of the first pickets for gay rights in front of the White House in the 1960s. Herman Lynn Womack published some of the early beefcake magazines in the city, getting arrested several times in the process, yet paving the way for the gay-publishing rights we enjoy today. And the list goes on: so many people navigated the hostile environment of mid-20th century America working the political machine in the US capital.
Washington beyond the neoclassical columns and big fences
On an artistic level, the city also houses some of the most incredible art in the world. The Hirshhorn Museum, part of the Smithsonian Institution, brings this into focus over an engaging couple of hours. A stop into The Phillips Collection, noted as the first museum of modern art in the US, brings to light the work of Essex Hemphill, a celebrated poet and activist from the Washington arts scene at the peak of the HIV/AIDS crisis whose work centred on themes of race, gender and community. The tribute exhibit here presents works by artists who knew or had collaborated with the writer in his lifetime. It’s an interesting way to showcase a writer in an
art gallery, one who influenced so many visual artists – and vice versa – including British installation artist Isaac Julien, artist and printmaker Joyce Wellman, and artist and photographer Lyle Ashton Harris.
Time to let loose
When it comes time to kick up our heels a bit, and since we haven’t been to Washington before, we make sure to scope out the sights and lights aside from Pride events. “One of our goals has also been to let people know that D.C. is more than the federal city, more than the White House and the monuments,” Bos says. “We have these culturally rich neighbourhoods and communities, with great food and entertainment.”
We commit wholeheartedly to this research, beginning at lesbianowned Hank’s Oyster Bar near Dupont Circle. We dive into fresh oysters and martinis, so much so that we almost forget about the crab cakes and tuna tartare to come. After dinner, host Erin Lucas is kind enough to steer us in the direction of the 17th Street gay brouhaha, the core of queer nightlife, encouraging us to try more pail-sized drinks at the iconic Annie’s Paramount Steak House. We happily oblige.
We also manage to wander into the extremely tidy, British-inspired Little Gay Pub near Logan Circle, consistently voted one of the best gay bars in the city, to try its Unicorn Tears – a mix of gin, elderflower liqueur, Aperol and lemon, just as “glittery and delicious” as the menu says. The next day, a hangover brunch at Sixty Vines cures all, particularly thanks to something called Morning Bread,
which is laced with citrus icing and coffee crumble. Americans really know how to pile on the indulgence food-wise, whether you have room for it or not. To-go box, please.
A trip out to the edge of town to spend the evening with both Paris Hilton and Jennifer Lopez – and several thousand other people enjoying the amusement-park vibe – is a pinch-me moment. These gay icons are swirling around a massive stage, sweeping their hair so wildly I think they might slip a disc. Hilton in particular looks as though she is posing for one big Instagram video in a shiny spacesuit. I spend quite a bit of the set straining to hear whether she is actually singing or not. Maybe a little bit. Lopez knocks it out of the park, her hyper-revealing costumes defying her 55+ years. This is a box-ticking superstar moment.
When Saturday comes, the Pride parade opens with a press conference in front of Destination D.C.’s big red bus, with various leaders sharing thoughts on the weight of the work ahead for the 2SLGBTQI+ community. Laverne Cox, one of the grand marshals, also takes the microphone for a moving few words, looking calm and cool under a hot sun. We then climb aboard the bus and take to the top deck for the length of the route, music blaring, flags waving – my tears flowing at one point, and I’m not really a crier. The response of the crowd is loud and proud.
Later, I see an outdoor poster that says: “Parades! Brought to you by the First Amendment.” A wry truth I will savour until my next visit.
Queer As Folk Ends After A Five-Season Run (August 7, 2005)
The series finale of the US version of Queer as Folk aired on August 7, 2005, wrapping up its groundbreaking fiveseason run on Showtime. The final episode, titled “We Will Survive!” (Season 5, Episode 13), brought emotional closure to many of the characters’ journeys while acknowledging that life, love and the fight for LGBTQ+ rights continue beyond the final credits.
In the series finale, the characters faced a mix of heartbreak and hope in the aftermath of a bombing at Babylon nightclub. Brian (Gale Harold) and Justin (Randy Harrison) decided against marriage, choosing personal growth over compromise as Justin moved to New York. Michael (Hal Sparks) and Ben (Robert Gant) reaffirmed their commitment and adopted Hunter (Harris Allan), while Ted (Scott Lowell) embraced self-worth and new beginnings, Emmet (Peter Paige) seemed to have found his man, and Melanie (Peter Paige) and Lindsay (Thea Gill) relocated to Canada for a safer future with their children. The series closed with Brian dancing alone at the reopened Babylon – a powerful image of resilience, survival and the ongoing fight for queer joy.
Queer as Folk’s finale didn’t tie everything up with a bow… and that was the point. It honoured the complexity of queer lives and relationships, showcasing survival, resilience and hope in the face of adversity. Even today, that final dance at Babylon stands as one of TV’s most enduring LGBTQ+ images, and while the series finale marked the end of an era, the show has for the most part withstood the test of time.
The original, groundbreaking Queer as Folk , created by Russell T Davies, had launched in 1999 in Britain. The North American adaptation of the series, an American-Canadian co-production, was created by Ron Cowen and Daniel Lipman’s Cowlip Productions, and ran from December 3, 2000, to August 7, 2005, helping put Showtime on the map. Although it was set in Pittsburgh, Pennsylvania, much of the series was actually shot in Toronto.
Beloved by many, Queer as Folk sparked a fierce revolution for queer representation on the small screen in North America and remains a worthwhile revisit in 2025 – since, apparently, some things never change.
IN Magazine is grateful to our corporate and community partners who together, through their generous financial and in-kind support, contribute to our mission of celebrating and elevating Canada’s 2SLGBTQI+ communities 365 days a year.
PRESENTING SPONSOR
