Category Archives: GLBT Film



Three Films

Amos Lassen

Kino-Lorber has restored these three classics of early queer cinema. All three were way ahead of their time.

Victor and Victoria (Reinhold Schünzel, 1933)
Produced in the final days of the Weimar Republic, this dazzling, gender-bending musical romance about a female singer posing as a man performing in drag received limited exposure in the United States, and is today best known by Blake Edwards’s 1982 remake and the 1995 Broadway production. Viewers will be delighted to discover that the original is every bit as charming and outrageous, reminiscent of the sly sex comedies of Ernst Lubitsch and Billy Wilder.

Mädchen in Uniform (Leontine Sagan and Carl Froelich, 1931)
As a new student at an all-girls boarding school, Manuela falls in love with the compassionate teacher Fräulein von Bernburg, and her feelings are requited. Experiencing her first love, lonely Manuela also discovers the complexities that come with an illicit romance. This artfully composed landmark of lesbian cinema – and an important anti-fascist film – was the first of just three films directed by Leontine Sagan.

Michael (Carl Theodor Dreyer, 1924)
Danish film master Carl Theodor Dreyer’s homoerotic classic is a mature and visually elegant period romance decades ahead of its time. Michael takes its place alongside Dreyer’s better known masterpieces as an unusually sensitive and decorous work of art and is one of the earliest and most compassionate overtly gay-themed films in movie history.

“DRY WIND”— Desire



Amos Lassen

Desire is the basic theme of  “Dry Wind” (“Vento Seco”) In a  rural mid-western Brazil setting Sandro (Leandro Faria Lelo) follows his monotonous daily routine. Working at a big fertilizer company nearby, his expeditions to the local supermarket, and dips in the pool give us looks at a life with little variety. Only desire seems to make Sandro’s existence bearable. 

Director Daniel Nolasco and his cinematographer Larry Machado let the camera become an observer as it reflects the protagonist’s gaze when not following closely behind The camera lingers on men’s bodies and their crotches, both covered and not. The queer male gaze, as demonstrated here, is a startling and fascinating, but Sandro’s desire is shown in great, elaborate detail that document his sexual encounters both real and imagined with pornographic explicitness.

Nolsaco’s artistic intention is always clear: erotic scenes are juxtaposed with sweeping landscape shots as well as the monotony of work among mountains of dusty grain. Nolasco uses bold colors and neon lights and a memorable soundtrack establish a direct line to giallo films but the narrative tension which runs through the Italian crime thriller genre is missing here. This is a powerful and unabashed representation of homosexuality seen against the backdrop of Brazil’s current political climate. While this film certainly won’t be to everyone’s liking, it has great power.

Between work, swimming and anonymous sex, Sandro lives a rather monotonous life. When Maicon (Rafael Theophilo) emerges from the small town, his life takes a turn.

While the protagonist Sandro s swimming, we see a close-up of the crotch area of ​​the male pool visitors. This is a subtle depiction of sexuality in the film, which otherwise shows sex in a highly explicit form. This scene anticipates one of the most important aspects in Sandro’s self-perception— that desire seems to be everywhere in and with him. He is constantly attracted to male bodies and gets lost in fetish fantasies, although he actually meets with his colleague Ricardo (Allan Jancito Santana) relative to sex in the forest. Nolasco succeeds in a character study in hot Brazil that is full of eroticism.

The numerous sex scenes are relentless and shown with uncompromising closeness and not leaving out any explication. But, these scenes are never an end in themselves; they fit very well into Sandro’s character. Something is always in the air and this becomes clear in pornographic, surreal dream sequences. Since Nolasco shows sexuality with the highest form of intensity and in some cases almost pornography, Sandros’ tension becomes believable. He knows only  tenderness through sex.

There is a tender moment when Maicon sits next to him on a roller coaster ride and holds his hand. The relationship with the mysterious Maicon is an important aspect of the film. Not only does his desire culminate in him, but also the perception of his own masculinity.

“Dry Wind” takes getting used to as it explores desire and identity. The gap, between everyday reality and fantasy certainly tortures Sandro. He is a middle-aged factory safety officer who life seems to be going nowhere. Maicon is a gay beefcake fantasy made flesh, and Sandro is instantly obsessed. So much so that he pursues his unhealthy fixation on the newcomer.

“Dry Wind” contains the single most explicit act of unsimulated fellatio (to “completion”)  and it  is interpreted with a strange gentleness. It makes the sex almost sweet, and rather hot, instead of gratuitous.

“PROUD”— Three Generations, Same Family


Three Generations, Same Family

Amos Lassen

“Proud” is directorPhilippe Faucon’s powerful three-part drama that details the struggles of being gay in France in the 1980s — a time when the laws were stacked against the LGBTQ community, and many relationships had to be secret. Then the narrative jumps years ahead to show the progress of the movement and some of the acceptance that has come.While “Proud”is technically a TV miniseries, it but plays like a movie in three parts.

The first chapter follows Victor (Benjamin Voisin), who is about to graduate high school and has decided to work on construction sites with his father, Charles (Frédéric Pierrot). One day, when taking a break, Charles sees Victor hooking up with Sélim (Sami Outalbali), and the father cannot believe his eyes. He thought his son was in a relationship with a girl, Aurélie (Lou Roy-Lecollinet), and he cannot accept that his son is gay.

Charles struggles with this. Victor is his only son, and he and his wife, Martine (Emmanuelle Bercot), spoil him and hope the best for him. Charles is also a left-leaning political activist who prides himself on being progressive and voting for the socialist candidates. He is politically liberal but refuses to allow those principles to play out in his family members’ actual lives.

Eventually Charles comes around a bit but he simply cannot accept Victor’s new love interest: a much older Serge (Stanislas Nordey). That is the breaking point, and father and son eventually confront each other.

“Proud” follows the many different elements of the gay-rights movement over the last 30-plus years in France. The narrative jumps decade by decade in the second and third installments and a more complete look at what it means to grow up in the LGBTQ community is the focus. The film leaves viewers with a real and effective snapshot of how progress has been made in the fight for LGBTQ rights and how much still has to be done. The characters are real and authentic and we meet family members and friends living, struggling and fighting for their rights.

This is one of the best treatments that places individual gay lives squarely in the context of politics and society of specific points in time and the film scored high with French critics. The relevance of the material and the authenticity of the emotion makes it an important film to see.

After Selim, Victor tries to repress his feelings for men but can’t. One desperate night, as he ventures into a gay meeting place, he meets Serge who is a gay activist and 20 older than he is. Their relationship becomes serious, and gradually forces Victor to fully acknowledge his homosexuality. Charles, who does not understand his son, forces him to make a choice between Serge and his family. With that, Victor understands that to live his love story, he will have to fight against prejudices and against society in general. At Serge’s urging, Victor comes out to his parents, but it goes very badly with his father. As soon as he’s 18, he is a free agent and goes to live with Serge.

In the second episode, it’s 12 years later. Victor (now played by Samuel Theis) is 36 and a successful architect (independently, working a lot at home) and still living with Serge who is now HIV-positive, unsure of his future. When Victor tries to explain to his father that what he wants is to be the same as everyone else. He does not want to hide and but to live the same life  as others. Charles and Victor become somewhat reconciled and Charles tolerates his son’s sexual orientation and the importance of Serge, though with difficulty.

Victor struggles with wanting to adopt a child but nobody really supports him including Serge who feels that he may not live long enough to be a good parent, though Victor points out to him doctors have said he may live decades. A social worker (Chiara Mastroianni) and Victor tries to convince that he is fit to be a single parent. He can’t show that he’s gay because, while it’s no longer illegal, gay parents get rejected for adoptions. When Chiara interviews Charles, without telling her his son is gay, he obeys Victor’s request that he lie for him but he n hints that Victor has a relationship he’s not telling about, and his adoption request is rejected. Episode two covers the frustrations of trying to lead a full life as a gay person even in a relatively tolerant climate.

In Episode three, there are many complications . The main focus is Diego (Julien Lopez), the adopted son, a lycée student. He dominates the screen with his warm and vibrant presence, passion, and big smile. He is strong, but he has a lot to deal with. He is teased for having gay parents. He takes refuge from the sometimes cold Victor with his own daddy issues, with “Papi,” Charles, gray-bearded and retired and mellow now and a warm support. It gets even more complicated in this episode when a new girlfriend, Noémie (Rebecca Marder) is hospitalized when she accidentally takes Ecstasy and her parents and bigot brother Paul (Hugo Sire) blame him – and his “fake” parents. Victor gets a serious beating from extremists when he’s late joining a pro-gay marriage rally, which draws in former lover Pio (Jérémie Elkaïm). Serge is worn down by decades of surviving with HIV and the side effects from meds. He just wants to die. He does not live to officially marry Victor under the new French law, but there is no sadness, and the episode ends with smiles and the feeling that the world has become more on our side.

“Proud” is a complex and challenging watch. It addresses important issues and dares to go where few others do not and it is an essential inclusion to the ever-growing canon of important LGBT films.

“TAHARA” —Best Friends


Best Friends

Amos Lassen

Tahara” begins as a narrative of two best friends Carrie Lowstein (Madeline Grey DeFreece) and Hannah Rosen (Rachel Sennott) as they are in the midst of adolescent self-discovery. Director Olivia Peace explores the coming together of female friendships, sexual identity and rejection through the polarity of these two characters. “Tahara” looks at each defining moment through the demise of the girl’s friendship. Set over the course of one day and during a classmate’s funeral, what Carrie wanted to believe was a bond is turns out to be Hannah’s manipulation as a tool for her own gain.It takes place in the synagogue  during a funeral and grief class held after, the characters’ grief for the loss of Samantha Goldstein to suicide, the film examines the “real” issues in their life. The funeral is simply a location for the teenagers to carry out their sexual agendas and use the tragedy as a platform for their moral campaign. 


Carrie is frustrated with Hannah’s insistent pursuit of one out of the two guys in their grief class (the second guy being completely high on pot brownies the whole time) during what is supposed to be a time of reflection. Carrie and Hannah end up on a couch in the Synagogue’s bathroom where Hannah brags about her sexual resume and Carrie shares her minor experiences. So that she can validate her own skills, Hannah pressures Carrie into kissing her as “practice.” Hannah’s intention is self-serving, but the moment engulfs Carrie, and we learn that who was once her childhood friend is and has always been her quest through her as a black, Jewish and queer teen.

Hannah is quite sneaky when it comes to catching any and all opportunity to seduce her male suitor. When identifying Carrie’s feelings and her crush’s coincidental interest in Carrie, Hannah sets a trap in the Synagogue’s library to bring about a three-way. Hannah wields Carrie’s affection and loyalty to finally hook up with the mildly attractive dunce she had been after this whole time. This ended in a love triangle of rejection with each of them leaving hurt and confused but most of all, Carrie feels the consequences.

“Tahara” looks at the potential of toxicity in friendships that take place early in life and favors the idea of disconnecting from these bonds no matter the time invested in Carrie’s childhood. The film sheds light on the imbalanced sense of self-identity both teenagers and adults face, and the role that those closest to them have in changing things.

Coming of age so often feels inauthentic, especially when it’s stylized. Here, the teenagers talk like teenagers — they don’t always agree, they tease one another lovingly, and they examine their own insecurities. They complain about how their school tries to make them confront grief, and they lash out about their feelings. They’re young and they’re still finding out more about themselves, and Hannah doesn’t even want to approach how she feels, even if Carrie has confronted her.

Here is the queer Jewish experience boldly expressed at a young age. The film’s title refers to a Jewish ritual act of purifying the body after death. Not only is this discussed in a classroom scene, but the death of a classmate is what purifies the relationship to the simplest shared feelings for the two girls. “Tahara” is completely about the girls and not the power structures surrounding them. They question their faith and how it tells them to grieve, but as a setting and not as a conflict.

“HONEY DO LIST”— Fixing Up the Place and the Owner


Fixing Up the Place and the Owner

Amos Lassen

Nicholas Downs in his directional debut gives us a follow-up to J.C. Calciano’s “The Handyman” Walter Middleton (Downs, who also wrote the screenplay) is a homeowner  who won over his handyman Frank (Derek Ocampo) in the earlier short film. Now he needs some help from a new handyman Dirk (Drew Canan). Walter realizes that Frank was not doing what he promised to do around the house and besides he was growing bored with him but instead of “getting into it” with him, Walter decides to call another handyman to do the work he needs.

Walter hardly expected Dirk (Dew Canan), the new handyman to be handsome nor did he expect the very obvious flirting with his new hire. This simple and innocent flirtation, at first, evolves into a very intentioned attempt to get Walter to engage on some intimate activities with Dirk. It is all quite humorous especially with Walter missing all of the clues.  Walter just seems not to see Dirk’s attempts at seduction. Walter just did not seem to notice Dirk’s physical beauty and very hot body even as he sheds more and more of his clothing.

Both of the performances are excellent and I really loved thinking that maybe Walter might catch the hint but doesn’t. Dirk knows that he has been hired for a specific purpose but his own agenda adds a little extra activity.

By the way, for those of you who enjoyed “The Handyman”, Frank (Derek Ocampo) is back here with a short role but we loved about him in the earlier film is still there. I have watched Nicholas Downs mature as an actor and it is good to see him here as actor, writer and successful director. He has a third film (making this film part of a trilogy) on tap and from what I see of his work here, I am anxiously looking forward to it. His use of nuance and facial expression can only be described as wonderful so we have a new director to watch for. He already has a fine start.

“STAGE MOTHER”— Meet Maybelline


Meet Maybelline

Amos Lassen

Two-time Academy Award nominee Australian actress Jacki Weaver is  Maybelline, a  small town Texan Choir Mistress. When she gets a phone call from San Francisco telling her that her estranged gay son, Rickey has died of an overdose, her world comes apart. She had not heard from Rickey for years—- her conservative husband Jeb (Hugh Thompson) threw him out of  the house when he learned that he was gay. Now for the first time, Maybelline refuses to listen to or obey Jeb’s demands not to go to the funeral. She gets on a plane and flies to the funeral by herself.

 She faces hostility in San Francisco when she meets Nathan (Adrian Grenier), Rickey’s boyfriend. All of Rickey’s friends are wary of Maybelline as well.   Sienna (Lucy Liu), a single mother who hung around with Rickey all the time, however, shows her some compassion.

Rickey never got around to writing a will so the shabby drag bar he owned and ran with Nathan now belongs to Maybelline. This hardly pleases her and especially upsets Nathan who has to leave the apartment that he and Rickey had shared because, by himself, he could not afford the rent.

 Maybelline persuades  Jeb to send her $5000 for “funeral expenses” and she uses the money to pay Nathan’s rent and the club’s debts.  She then uses her best  church choir skills to  improve the acts. She becomes a mother figure as she looks at the problems that her son was dealing with including drugs, sexual abuse, lack of self-esteem, parental issues and non-acceptance. Through flashbacks we see that she and Rickey where extremely close until Jeb forced him away .  Maybelline feels that she needs to give Rickey’s friends the support she had always wanted to give him herself.

As Maybelline, Weaver is wonderful especially as the bereaved mother who regrets the way things became but she knows that she can become a substitute mother for everyone else in the way that Rickey would have wanted. Sure, there are clichés throughout but there are also one-liners that are great and a last act that will leave you weeping.

This is a very relatable story of parents who reject their gay son and the lengths his mother goes to after he dies to make amends and understand him better. It is laugh out loud funny, touching and heartfelt.


“BEAU TRAVAIL”— The Price of Masculinity


The Price of Masculinity

Amos Lassen

Loosely inspired by Herman Melville’s novella “Billy Budd” and a pair of the author’s poems (“The Night March” and “Gold In The Mountain”), Claire Denis’ beautiful “Beau Travail” (“good work”) is an elusive film of suggestion. The central conflict between a handsome young sailor and his sinister superior is set at an outpost of French Legionnaires on the small East African nation of Djibouti. Sergeant Galoup (Denis Lavant) is a brooding taskmaster who has no cause for antagonizing new recruit Grégoire Colin (Gilles Sentain) but is determined to destroy him anyway. Though all evidence points to the contrary, Lavant seems to believe that Colin’s “thin and distant” presence will upset the honed muscular mechanics that keep his unit intact. Denis spends a lot of time on military drills and is fascinated by the masculine rituals of the soldiers’ daily lives. The training sequences in “Beau Travail” and have a sensual impact and though the vague, inscrutable tension between Lavant and Colin is fascinating, Denis mostly relies on moods and impressions to keep the film moving, an enormous risk that pays off strictly based due to her mastery of sight and sound.

The oppressive neocolonialist Sergeant Galoup becomes jealous when Sentain saves the life of a fellow soldier after a horrifying helicopter accident. Galoup’s jealousy challenges the man’s notions of brotherhood. Denis and cinematographer Agnes Godard raise Sentain and Galoup’s relationship to sweaty and existential levels. When the half-naked men begin to circle each other on a desolate beach, they resemble animals locked in a battle for survival and the film becomes experimental dance art. Denis contemplates a sweltering struggle between man’s instinctual and conditioned self. The film’s men are constantly in training, struggling to maintain a mechanism of stability by working (and working out) together.

The oppressed African women who live outside the outpost stare into the camp, are amused by the way the men learn and struggle to play house. Denis is sympathetic of Galoup’s insecurities even when the man’s jealousy of Sentain leads to chaos. She understands that Galoup was once like Sentain: a young man taught to react like a machine to anything and anyone who threatens his sense of complacency. Galoup is merely a rotten byproduct of a dehumanizing military apparatus, but by film’s end he finally learns to let go a bit. The originality of Claire Denis’ cinematic approach is definitive. There is so much going on beneath the surface, what you see on screen is camouflage.

Galoup looks like a man who sleeps with suffering. He wanders the rain-washed streets of Marseilles, like a visitor from an alien planet. He was a sergeant in the French Foreign Legion and “Beau Travail” is the story of why he left. It is also a study in masculinity, self-control and the ritualistic nature of army discipline.

Repressed emotion thrives in this bleak, inhospitable outpost and yet remains unspoken, unresolved. The commander (Michel Subor) barely oversees the pointless exercises of these fit young men, as if to question why they do would be treason.

Galoup’s admiration for his superior officer connects with the loyalty he feels towards the Legionnaires’ code. Only the arrival of Sentain as a new recruit, unsettles the balance. Perhaps Sentain’s essential decency subverts a numbed acceptance of institutional bullying, causing disquiet amongst the ranks.

Denis allows the camera to fondle  the landscape and the drama lies deep below the surface of words. Galoup says later in Marseilles, “I stayed away from France too long. I am unfit for civil life.” What he means, and what the film demonstrates with its bare imagery, is that the Legion’s colonial history has no place in the modern world. It exists in isolation, still harsh and unforgiving, but no longer relevant. We see this in the commander’s face. Galoup’s obsession with Sentain destroys and frees him but that freedom stains the memory of what was.

“COMISERY”— **Multi-TV Series Announcement from Queer 2020 Roddenberry Impact Awardee**


**Multi-TV Series Announcement from Queer 2020 Roddenberry Impact Awardee**

Queer Creator, Quentin Lee Wins Award and Announces 3 New TV Series

Roddenberry Impact Awardee Quentin Lee (White Frog, The People I’ve Slept With, Comedy InvAsian) is co-creating with Author Adi Tantimedh (The Ravi PI series from Simon & Schuster) a sci-fi comedy web series titled Comisery (#comiserytv) currently being shot and released on Facebook via, an SVOD platform that Quentin has founded to showcase Asian American features, shorts and shows to a global audience.

Comisery is an apocalyptic science fiction comedy series told entirely through web chat sessions about a group of Asian-American friends currently living through an invasion by an alien virus.

The web series stars actors Amy Hill (Magnum PI), Bee Vang (Gran Torino), Sheetal Sheth (Hummingbird), Singaporean pop star Nat Ho, Jennifer Field (9-1-1) and Harrison Xu (Shameless) whose 5th episode will air on Monday June 22nd on Facebook via

In addition, Quentin is co-creating an American television situational comedy titled with choreographer and filmmaker Jenifer Yeuroukis.   Shannon Elizabeth (American Pie, Jay and Silent Bob Strike Back), Mindy Cohn (The Facts of Life) and upcoming gay black standup comedian Sampson McCormick are attached as the recurring leads.

Up north, Quentin is co-creating a Canadian television situational comedy titled Son of Smiley with standup comedian Ed Hill, based on his acclaimed podcast of the same name. Asian mega pop star Edison Chen (Infernal AffairsThe Dark Knight), Steph Song (Roger OMNI’s Blood and Water), Nadia Hatta (Netflix’s Away), and Ed Hill are attached as the recurring leads. Michael Parker and Shan Tam’s Holiday Pictures is the production company.




A member of Producer’s Guild of America, Quentin Lee has produced and directed over ten features. His first feature Shopping for Fangs (co-directed with Justin Lin) premiered at the Tronto International Film Festival and became a cult classic as part of Asian American New Wave 1997. His subsequent features DriftEthan MaoThe People I’ve Slept WithWhite Frog, and The Unbidden have been sold and played festivals worldwide such as AFI Fest, Vancouver International, Hawaii International, Sao Paulo, Buenos Aires Independent, Turin and Cardiff. Most currently, Brash Girls Club, the limited TV series that he created, produced and directed is streaming on Tubi. The TV series Comedy Invasian that he co-created, directed and produced was streamed as a Hulu Exclusive in 2018. This year, Quentin is producing three stand up comedy specials Kim McVicar: Please Notice MeEd Hill: Candy and Smiley and Brash Boys Club for Comedy Dynamics.

“PUTTING ON”— Queer Reality Series Serves the Drama Internationally for Second Season


Queer Reality Series Serves the Drama Internationally for Second Season

Underwear Mogul Unravels His Life and Love in Season 2 of Revry Original, PUTTING ON


LOS ANGELES: JULY 2, 2020 – Queer virtual cable TV network, Revry, is taking the drama around the world in Season 2 of its juicy reality series, PUTTING ON, starring Israeli-born underwear model, Instagram star, and entrepreneur, On Mekahel.  


“It’s very gay, and we’re very grateful.” –


The first season explored the trials and tribulations that On experienced in starting his own underwear brand…with his ex-boyfriend. Premiering this July 3rd, the full-length Season 2 dives deeper inside the private and professional life of On Mekahel–and the new love of his life, Dave Cederberg. High-stakes (and high reality TV drama) abound this season with episodes featuring: business ventures in the “Big Apple”, Israel and the West Coast, as well as a wedding in Paris. As On deals with his own trials, Dave has his own challenges: while On travels to LA to do press for his new underwear line, Dave is busy navigating the justice system and wrapping up his parole duties in order to make On’s dream wedding in Paris a reality. And that’s just the first episode! What else can you expect from a 26 year old who wants to rule the world?


            “A natural roller coaster ride that is filled with highs and lows – the glitz and glam of the fashion industry meets the raw emotions that are destined to be revealed.” 

 -Subvrt Magazine


On Mekahel’s Comments


“As with many reality shows, the storyline has evolved because my life is forever changing. For season 2, I chose to offer more private moments from my life. I think we kicked up the excitement level a bit with the lead up to my wedding ceremony in Paris all while moving across the country to Los Angeles and running my company! Life is drama and that is something that just comes effortlessly to me.


It’s obvious that I’m a ‘fame monster,’ so I definitely enjoying having cameras around me all the time but what truly keeps me going with this show is being able to set an example as a successful, openly queer man. It’s so important to me to be able to reach LGBTQ people across the globe on Revry who might not see themselves portrayed on TV–let alone as the star of their own reality show–and show them that our LGBTQ lives are just as real, relatable, and important as our straight counterparts.” 


Subscribers of Revry Premium (Revry’s subscription on-demand offering) can watch the second season premiere of PUTTING ON starting July 3rd on the Revry network (available on iOS, tvOS, Android, Android TV, Fire TV, Roku, Samsung and the web at



On Mekahel Biography


On Mekahel is an Israeli born model/actor, social media influencer and entrepreneur, boasting an impressive 630,000 followers on Instagram alone. With a resume that spans the course of a decade, he began modeling at the age of 14. 


In 2014, On became an international citizen, moving to New York City to further his career and to attend acting school at Lee Strasburg Theatre and Film Institute. Upon graduating from acting school in 2017, On appeared in television shows on networks such as HBO, Starz and NBC. Not only can he be seen portraying characters in film and TV, the first season of “Putting On” a reality show following On and the creation of his underwear empire premiered on REVRY and was the first IGTV reality tv series to be released on Instagram. 


Staying true to his modeling roots while in New York City, On was featured in ad campaigns by some of the largest global companies, from Gap to H&M, Nike, Adidas and Puma. Additionally, he can be spotted around the world at some of the most sought after industry events such as NY Fashion Week, Amfar, Fashion For Relief and Cannes Film Festival. 


Since relocating to the US, On Mekahel has further diversified his brand and business ventures, beginning with the creation of his underwear company, MO Underwear, in 2016. This particular project has consumed a great deal of his efforts, with the launch and assembly of the underwear line itself, as well as the marketing and publicity that surround it. On spared little expense and left no details untouched, investing half a million dollars into this endeavor. MO Underwear appeared in publications including, but not limited to Vogue, Nylon Magazine, and New York Times. In 2019, MO Underwear joined the global market, landing in stores across Israel, Europe, and the Middle East. Finding little time for rest, On launched in 2019 his signature fragrance, ON N.25 – This is quite a personal experience, as he is the sole creator and proprietor of this original scent. 

More recently, On relocated to the Los Angeles area with his husband to further pursue his career within the entertainment industry. Presently, the second season of his reality show will premiere July 3rd on Revry. He is currently hosting the after show for Project Runway and Making The Cut on Afterbuzz TV. 


About Revry

Watch Queer TV 24/7 with the first LGBTQ+ virtual cable network. Revry offers free live TV channels and On-Demand viewing of its global library featuring LGBTQ+ movies, shows, music, podcasts, news, and exclusive originals all in one place! Revry is currently available in over 225+ million households and devices, and available globally on over nine OTT, Mobile, Connected TV and Desktop platforms. Revry can also be found on Comcast Xfinity X1, XUMO TV, Zapping TV, STIRR (Sinclair Broadcast Group) and TiVo+. The company–an inaugural member of the Goldman Sachs Black and LatinX Cohort–is headquartered in Los Angeles and led by a diverse founding team who bring decades of experience in the fields of tech, digital media, and LGBTQ+ advocacy. Follow on Facebook, Twitter, and Instagram @revrytv.

First LGBTQ+ Virtual Reality Channel Launched for Pride

First LGBTQ+ Virtual Reality Channel Launched for Pride
Revry Partners with Virtual Reality Platform, Littlstar, for First Queer VR Channel
Los Angeles, CA – June 18th. As the premier livestreaming platform on the PlayStation®4 , PlayStation® VR, and Android TV, Littlstar has teamed up with Revry, the first LGBTQ+ virtual cable network, to launch the first VR streaming channel for the queer community during this season of Pride.
The announcement comes as Revry continues a major distribution expansion across virtual cable and OTT both domestically and internationally. The Revry channel on the Littlstar platform will provide viewers an exclusive and unparalleled virtual experience.
“Littlstar is excited to partner with Revry to redefine how LGBTQ+ audiences view content,” said Tony Mugavero, CEO & Co-Founder of Littlstar. “Viewers can now interact with each other remotely in virtual reality, or if there is no VR headset available they can live stream it directly to their TV via PlayStation®4 which currently reaches over 100M homes. We are combining immersive and traditional streaming in ways that have never been done before, and we’re thrilled to be doing that with Revry–a network that is innovative, forward thinking, and the perfect mix of loud, fun, and genuine. The world has never needed more of all of those things than right now”.
Littlstar is the largest global platform dedicated to immersive virtual and augmented reality content and is one of the most used non-gaming applications on the PlayStation®4 with plans to roll out the content to other major devices later this year. The platform itself is one of the few to offer traditional 2D videos, virtual reality, 360° videos, holograms, and augmented reality.
Littlstar offers a custom virtual reality environment on the Revry channel that they created for viewers to experience. “Littlstar believes in championing marginalized voices,” said Brooklyn Earick, Littlstar’s Chief Marketing Officer. “Working with a global brand like Revry, that authentically represents the internationally diverse LGBTQIA community, gives us the opportunity to support the intersection of great entertainment and extraordinary impact.”
You can watch Revry via Littlstar on Playstation 4, iOS, Android TV and the company’s dedicated live streaming page.
See the following link for additional assets including a downloadable promo. Executives available for Interviews.
About Revry
Watch Queer TV 24/7 with the first LGBTQ+ virtual cable network. Revry offers free live TV channels and On-Demand viewing of its global library featuring LGBTQ+ movies, shows, music, podcasts, news, and exclusive originals all in one place! Revry is currently available in over 225+ million households and devices, and available globally on over nine OTT, Mobile, Connected TV and Desktop platforms. Revry can also be found on Comcast Xfinity X1, XUMO TV, Zapping TV, STIRR (Sinclair Broadcast Group), TiVo+, Samsung TV Plus, and The Roku Channel. The company–an inaugural member of the Goldman Sachs Black and LatinX Cohort–is headquartered in Los Angeles and led by a diverse founding team who bring decades of experience in the fields of tech, digital media, and LGBTQ+ advocacy. Follow on Facebook, Twitter, and Instagram @revrytv.
About Little Star Media, Inc.
Littlstar is a cutting edge streaming platform working with only the best premium content partners and next generation stars in live and on-demand Music, Comedy, Lifestyle, and Sports/ESports. Littlstar’s innovative platform puts viewers at the center of the content, where you can simply watch and enjoy your favorite shows and live streams, or engage in immersive mixed reality experiences. You can subscribe to the premium offering or watch ad supported free content, and you can also earn Ara rewards which can be used for purchases and unlocking other premium perks. For more info, visit