The group has a long history of fighting against LGBTQIA+ rights.

Last month, it was reported that the Supreme Court will formally consider a petition for a case calling on them to overturn their 2015 ruling in Obergefell v. Hodges, the historic ruling that made gay marriage legal nationwide. The petition comes from former Kentucky county clerk Kim Davis, who has made headlines and been embroiled in legal battles since she refused to sign marriage licenses for gay couples.

While Davis has been fighting against gay marriage since it was made legal, her lawyers have been doing it for longer. Davis is being represented by Liberty Counsel, a far-right Christian legal group and Southern Poverty Law Center-designated anti-LGBTQIA+ hate group.

Since its inception in 1989, the group has opposed gay rights causes, including fighting against gay marriage, the legalisation of homosexuality and bans on conversion therapy. In one instance, the group’s Facebook cover photo referenced the Bible verse Leviticus 20:13, which reads, “If a man has sexual relations with a man as one does with a woman, both of them have done what is detestable. They are to be put to death; their blood will be on their own heads.”

When asked about the cover photo, the group responded in an email that “Liberty Counsel has never promoted or condoned the killing of anyone or asked anyone to ‘like’ any quote about killing gays.”

Experts say Liberty Counsel is arguably more powerful than ever in 2025, fueled by publicity from Davis’ case and the opportunity to capitalize on a moment when American politics are stacked toward the right-wing—something that could upend gay marriage.

“The alignments will never be as favorable as they are at this moment,” Anne Nelson, author of “Shadow Network: Media, Money, and the Secret Hub of the Radical Right,” told Uncloseted Media. “That’s why they’re going for broke.”

History

Liberty Counsel was founded by preacher turned lawyer Mat Staver and his wife Anita.

Mat Staver, who now serves as the chairman, senior pastor and primary spokesperson for the group, authored the 2004 book “Same-sex Marriage: Putting Every Household at Risk,” where he wrote that “homosexuality is rooted in fractured emotions” and “a common thread in virtually every case is some sort of sexual or emotional brokenness.”

While the organization started operations solely in Florida, Mat Staver told the Orlando Sentinel shortly after Liberty Counsel launched that the group “would be a Christian antithesis to the ACLU” and that he “always felt the Lord calling [him] to combine [ministry and law] together.”

Liberty Counsel was active throughout the 1990s, with a focus on First Amendment cases, but Staver and his group didn’t gain national attention until 1994, when he argued before the Supreme Court for a case that challenged the constitutionality of a Florida court ruling that barred anti-abortion protests outside of a clinic. Some parts of the ruling were successfully overturned while others remained in place.

After that, the group built up a reputation for taking up cases related to religion in schools and other public institutions, including one instance where they threatened a lawsuit against one school for changing the lyrics of a Christmas song in a school play.

Attacking Gay Rights

After the turn of the century, Liberty Counsel became more active on gay issues. In 2003, they filed an amicus brief in Lawrence v. Texas, the case that decriminalized gay sex nationwide, arguing in favor of state laws banning it by saying that “deregulating human sexual relations will erode the institution of marriage.”

When California was taken to court over Proposition 8, a 2008 state constitutional amendment that sought to ban gay marriage in the state, Liberty Counsel attempted to be among the lawyers defending it. The group publicly criticized fellow far-right Christian legal group Alliance Defending Freedom for, in their view, arguing the case poorly.

One lawyer for Liberty Counsel also disagreed with legal positions taken by one pro-Prop 8 lawyer, who reportedly refused to argue that homosexuality is an “illness or disorder.” In their amicus brief in support of the proposition, Liberty Counsel argued that homosexuality “presents serious physical, emotional, mental, and other health-related risks.”

And in 2015, just months before the Obergefell ruling, the group offered to represent Alabama judges who refused to perform gay marriages after a state ban was overturned.

Once gay marriage became legal nationwide, Liberty Counsel took up Kim Davis’ case, which brought them more media attention than ever before.

“Kim Davis was a boon to Liberty Counsel,” says Peter Montgomery, research director at People for the American Way, an advocacy group aimed at challenging the far right. “[She] got them a huge amount of publicity, and I think they’ve really grown since they first took up her case.”

Much of the earned media from the Davis case, however, was negative. Liberty Counsel received criticism for encouraging Davis to continue refusing gay marriage licenses in violation of a court order. And even a Fox News panel of legal experts called Davis a “hypocrite” and Mat Staver’s legal arguments “stunningly obtuse” and “ridiculously stupid.”

In an email to Uncloseted Media, Liberty Counsel took issue with criticism of the group’s past litigation, writing that “[they] have 40 wins [they] briefed or argued at the US Supreme Court, including a 9-0 win in Shurtleff v. City of Boston.”

Liberty Counsel has created their own media, including a daily 11-minute radio broadcast, Faith and Freedom. Launched in 2010, the program is syndicated on 145 stations across the country and frequently contains anti-LGBTQIA+ rhetoric, including assertions that LGBTQIA+ inclusive policies in the Boy Scouts create “a playground for pedophiles”; that gay people “know intuitively that what they are doing is immoral, unnatural, and self-destructive”; and that gay people are “not controlled by reason,” but rather “controlled by … lust.”

And after being boosted in popularity by Kim Davis, a 2016 CBS News investigation found that the group had worked with lawmakers in at least 20 states to author anti-LBGTQ bills, including trans bathroom bans.

“They’re pretty much anti-LGBT in every way you can be,” Montgomery told Uncloseted Media. “Staver is pretty shameless in lying about gay people and the laws.”

Why Now?

Davis’ case has fallen in and out of public attention over the years, with the Supreme Court rejecting a previous petition in 2020. Despite this, Liberty Counsel has remained confident in the case’s potential to upend gay marriage. In 2023, the group told their supporters in an email that they planned to use Davis’ case to persuade the Supreme Court to overturn Obergefell. These comments came a year after Supreme Court Justice Clarence Thomas expressed interest in reconsidering Obergefell in his opinion on the case that overturned Roe v. Wade.

“[The far right have] been working for decades to get their pieces in place, so at this particular moment, looking at the chessboard, they’ve got a critical mass of conservative states with Republicans in the state house, they’ve got the White House, they’ve got both houses of Congress, and they’ve got a majority on the Supreme Court,” says Nelson. “In a year, that could change.”

Increasing Notoriety

Montgomery says that Liberty Counsel’s popularity and influence has been on the rise since the start of the pandemic, when the group gained traction by opposing restrictions on churches meeting during COVID lockdowns. During this period, Staver claimed that COVID-19 vaccines are designed to “prevent people from procreating.”

“One of the ways that [Staver] has boosted his visibility and influence was riding that parade, which a number of people on the religious right did, and took advantage of the resentment of public health restrictions,” says Montgomery.

Since then, the group has falsely claimed that the Respect for Marriage Act “would allow pedophiles to marry children,” and Staver wrote in a newsletter that “the LGBTQ agenda seeks nothing less than to eliminate all religious freedom rights that might make them feel bad about their choices.”

In the meantime, affiliates of the group have been cozying up to the Supreme Court. In 2022, a representative of the Liberty Counsel-owned D.C. ministry Faith & Liberty was caught bragging about praying with Supreme Court justices just weeks after the court overturned Roe v. Wade. Staver told Rolling Stone these allegations are “entirely untrue.”

In his majority opinion on the case, Justice Alito cited an amicus brief filed by Liberty Counsel where the group argues that “the birth control and abortion movements are racist and eugenic.”

Part of a Bigger Picture

Liberty Counsel’s website reports that it generated nearly $28 million in revenue between July 1, 2023 and June 30, 2024. While their internal team has roughly 40 employees listed on LinkedIn, they have claimed to have anywhere from 90 to 700 affiliate attorneys across the country. Some of the group’s larger and more consistent donors reportedly include fracking baron Farris Wilks; the Christian TV network Good Life Broadcasting; and Liberty University, where Staver previously worked as dean of the law school.

“The big Christian nationalist and plutocratic donors understand that the Supreme Court, and the judiciary in general, are central to their aims … so over the past few decades they spent enormous sums grooming and promoting candidates for the judiciary whose interpretation of the law is favorable to their interests,” Katherine Stewart, an author and expert on religious nationalism, told Uncloseted Media in an email. “Liberty Counsel has successfully positioned itself as one of the players in that space. It only picks up a slice from the total pie, but the pie is so well-funded that even a slice is rich indeed.”

Beyond this, Liberty Counsel is affiliated with a number of other right-wing groups, several of which operate directly under the group’s umbrella. Staver holds leadership positions in other conservative groups, including Salt & Light Council and National Hispanic Christian Leadership Conference—the former of which has been outspokenly anti-LGBTQIA+. Liberty Counsel is also a member of the Remnant Alliance, a coalition of groups known for coordinating to elect Christian nationalist candidates to local school boards. A leaked membership directory from 2020 also listed Staver as a member of the Council for National Policy, a secretive group that includes Republican politicians and major leaders of Christian right organizations, though Staver told Uncloseted Media that Liberty Counsel and the Council for National Policy are not affiliated.

Nelson says connections like these allow different groups on the far right to coordinate together on anti-LGBTQIA+ policies.
“They’ll have coordinated messaging about whatever campaign they’re launching at the moment. And it’s highly coordinated, as in the same story, the same language, the same spokespeople. It’s really quite impressive. And so all of a sudden there’ll be a story that will just erupt.”

The Council for National Policy did not respond to a request for comment.

When Liberty Counsel filed its most recent petition for Davis’ case to the Supreme Court, multiple right-wing media outlets whose leadership have been members of the Council for National Policy quickly covered the story with a favorable spin, including Salem Media Group, the Washington Times and WorldNetDaily. And earlier this year, Staver networked at the National Religious Broadcasters conference, where he discussed plans to overturn Obergefell.

Montgomery says that this coordination is especially powerful because different groups are able to influence different spheres. For example, while Liberty Counsel pressures the courts, a group like Salt & Light Council works to activate supporters in ministry.

“They have this broader vision of wanting to change the culture and change the country,” he says. “They are all different approaches to moving the country in the direction they want: courts, legislative advocacy, lobbying, organizing, and media outreach.”

Nelson says the far right’s recent legal success is thanks in part to the influx of right-wing judges since the start of Trump’s first term.

“It’s worked initially with trying to get local and political opposition to these laws, and it’s linked to getting the appointments of judges who’ve had to pass a litmus test,” she says. “And then [their strategy involves] mounting the lawsuits, starting usually at the state level and working their way up the court system, specializing in states where they believe they’ll have sympathetic judges. … It’s gaming [the system].”

In an email to Uncloseted Media, Liberty Counsel says this characterization does not describe their litigation strategy.

What Does This Mean for Marriage Equality?

Despite all of this, many legal experts believe that this latest challenge to marriage equality is a long shot. Liberty Counsel’s arguments were largely rejected by a federal appeals court panel earlier this year, and several of the justices have shown little to no interest in revisiting Obergefell. Just this month, conservative Justice Amy Coney Barrett wrote that the right to marriage is “fundamental” and called for people to “tune … out” concerns about gay marriage being overturned.

However, given the current political moment, Nelson says that the threat to Obergefell should not be underestimated.

“This long-range strategy is coming to fruition and a lot of the pieces are in place,” she says. “Under the current circumstances, with the current judiciary, they’ve got a reasonable chance of allowing states to ban same-sex marriages on a state level with an eye towards eventually banning it [on a nationwide level] in the future.”

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The post Inside Liberty Counsel’s years-long campaign to dismantle gay marriage appeared first on GAY TIMES.

Philip Baldwin speaks with actor David Ames about representation, community and what’s next for him.

WORDS BY PHILIP BALDWIN

David Ames has played a number of groundbreaking roles in his TV career, challenging stereotypes and raising awareness around issues facing LGBTQIA+ people. He is perhaps best known for playing Dominic Copeland in Holby City (2013 – 2022). In this role he shone a spotlight on domestic violence, which often impacts queer relationships but is rarely spoken about.

As Cater Shepherd in Hollyoaks (2023 – 2024), David explored the dangers of conversion practices, and was rewarded with Rainbow Honours and a British LGBT Awards nominations. He has also had notable stage roles, including Horse Play at Riverside Studios and Steve at Seven Dials Playhouse, both in 2022. Recently, David has been filming for Changing Ends, the semi-autobiographical series about Alan Carr growing up in Northampton. Season three is out in the autumn.

David has often been outspoken about LGBTQIA+ rights and it was great chatting to him. I began by asking him about his Pride highlight of 2025.

I love the vigil on the Monday at the end of Manchester Pride, to honour those people who we’ve lost due to HIV/AIDS, or through hate crimes. It’s been particularly poignant recently for our trans siblings who have been under constant attack, both physically and politically. By the end of the weekend everyone is exhausted and emotional. We gather together and there is such a feeling of community spirit. I was at Brighton Pride this year, which was wonderful. At Brighton Pride you see a lot of families and people celebrating in Preston Park. London Pride was also magnificent. I enjoyed them all. The community spirit is high at the moment. It feels that – particularly watching what is happening in the United States – we are pulling together and closing ranks. This is very heartening considering everything that is going on in the world.

What do you perceive as the greatest threat to LGBTQIA+ rights at the moment?

What is happening in the United States – particularly under Donald Trump, is the rolling back of rights – for women with the overturning of Roe v. Wade, also people like Kim Davis trying to get the Supreme Court to consider rolling back gay marriage. It’s a terrifying reminder of just how precarious our rights are and how our movement can be used as a political punchbag. With the rise in popularity of Reform and with Labour not polling particularly well, we’re potentially on the cusp of something terrifying.

Do you think it’s becoming easier to come out?

Yes – I think it’s easier to come out to friends and to family. I was surprised by the drop in sponsorship from big companies for Pride – or even just putting rainbows on their logos. These huge brands clearly feel under pressure not to display diversity, a trend from Donald Trump’s politics. I think that has probably hindered a lot of people from being open in the workplace. The number of movies, music and art which are queer-heavy, that has definitely helped people in knowing they are not alone, especially with social media. I remember at university – I didn’t really use the internet. I went to university between 2001 and 2004, which was before MySpace. I feel like I would have had more of a community at university and found it easier to come out, had I known there were likeminded people who have had similar experiences. The internet does make it easier to come out and to find your tribe, but with that comes the backlash of trolls. It’s about being savvy in doing so.

Can you tell us about any projects you have coming up?

There are a few irons in fires. The biggest projects I have coming up – I am blessed to be in series three and series four of Changing Ends on ITV. I am absolutely thrilled to be involved, as it’s always been a dream of mine to do a sitcom. I love a good sitcom. I have always craved the chance to put my comedy chops to the test. It’s such an amazing crew and cast. It was such a joy to get to work on this over the summer. I’m really looking forward to the third series coming out this year, in the autumn, and the fourth series next year – we filmed them back-to-back.

You can follow David Ames here on Instagram. 

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It’s been quite a busy few years for actor Joe Locke – of course LGBTQ+ Netflix series Heartstopper has been a runaway success, and Joe has subsequently landed a role in hit Disney/MCU series Agatha All Along. Last year he made his Broadway debut in Sweeney Todd, and 2025 sees Joe’s professional West End stage debut in Clarkston, a new play by Samuel D Hunter, who is perhaps best known for writing the play The Whale – from which the Oscar-winning film was adapted.

Joe plays the role of Jake, a CostCo employee in a small American town out west. We also meet Chris, played by Ruaridh Mollica, who is one of Jake’s colleagues, as well as Chris’ mom Trisha played by Sophie Melville. We discover early on that each character is battling their own demons: Jake has Huntington’s disease which means he’ll never reach old age, and is wrestling with how he should spend his remaining ‘good’ years: Chris doesn’t have a great relationship with his family and is also clearly struggling with some internalised homophobia: while Trisha has been battling addiction for many years.

The overall tone of the play is pretty much relentlessly bleak – if you were after some lighthearted easy viewing, you’ve come to the wrong place. Our trio of characters all have numerous flaws; we see bad decisions happening in realtime, creating unpleasant tensions that are difficult to watch; and we see some quite cruel and manipulative power plays being deployed. Clarkston certainly isn’t a play that shies away from life’s difficulties.

It’s a play that touches on some interesting issues, ones that will no doubt resonate with LGBTQ+ audiences. In particular we see our characters grappling with the idea of being openly gay in a small conservative town; we also witness difficulties with opening up to vulnerability in the knowledge that it could result in being hurt. All three characters seem to be searching for some sort of meaning and purpose for their lives.

Yet something about Clarkston doesn’t quite land as it should. There seems to be a bit of a disconnect between what’s happening and how the audience is responding – we didn’t particularly buy into these characters and their stories. What was happening on stage was incredibly sad, yet we rarely felt moved by it. Everything just seems a bit too overly explained – the dialogue all feels a bit obvious. There’s also not a lot else happening besides the dialogue – it’s a very static production. The set doesn’t really change, with different spaces created through lighting and sound.

We didn’t dislike Clarkston – it’s a perfectly watchable 90 minutes of theatre – but we didn’t particularly feel moved by it either. It does shine a spotlight on some interesting LGBTQ+ conversations, which we’re always keen to see at major theatres, but beyond that there’s not a huge amount to recommend.

GAY TIMES gives Clarkston – 3/5

More information can be found here.

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Lady Gaga’s MAYHEM Ball has finally hit London, giving the gays everything they want and need – and it couldn’t arrive at a bigger moment in her career.

Her acclaimed album MAYHEM has dominated the charts and earned widespread praise. Her Grammy-winning collaboration with Bruno Mars, ‘Die With A Smile,’ continues to break all-time records, while ‘Abracadabra’ still ranks as the most-streamed solo song by a female artist this year.

Gaga also headlined Coachella and drew an estimated 2.5 million attendees at Rio de Janeiro’s Copacabana Beach, making history as the largest free concert by a female artist. So, naturally, news of an accompanying tour was met with rapturous applause from fans.

The MAYHEM Ball, spanning 87 shows, stormed across the United States and Canada throughout July, August and September before landing in London on 29 September.

As 20,000 Little Monsters descended on the iconic O2 Arena for the first date of her four-night residency, Gaga took fans on a journey through some of her biggest hits – as well as deep cuts and fan-favourites from across her glittering 17-year career.

Audiences can expect everything from 2008’s ‘Just Dance’ to 2025’s ‘Abracadabra’ in an action-packed, 2.5-hour, 30-song, five-act spectacular that will keep you on your feet from start to finish. Bending genre and defying convention, Lady Gaga has continued to prove she is a master of her craft as a live performer.

As theatrical and visually sumptuous as ever, the show opened with Act I: Of Velvet and Vice. A short film saw both Mother Monster and the Mistress of Mayhem, each played with relish by Gaga herself, reading out their manifesto, the dark, swirling prologue declaring: “The chaos in your heart will never cease.” From that moment, we were plunged into a gothic fairytale rock opera.

Samir Hussein/Getty Images for Live Nation

Gaga emerged for ‘Bloody Mary’, clad in an Elizabethan-inspired gown that split open to reveal a cage of dancers within, before ‘Abracadabra’ drove the crowd wild. Hearing the future Grammy winning anthem transition into ‘Judas’ live is an experience few will forget. As if her soaring vocals weren’t enough, the superstar reminded us she can also play guitar with an electrifying rendition of ‘Garden of Eden’.

After that heart-pounding introduction, Act II: And She Fell into a Gothic Dream plunged the audience into a sandbox-turned-grave as Gaga belted out ‘Perfect Celebrity’, surrounded by dancing skeletons, before tearing through a rightfully extended version of ‘Disease’. At that point, I realised this might be the closest I’ll ever get to a rock concert (until Beyoncé drops Act III, of course…).

The show, as Lady Gaga has proven throughout her time in the spotlight, was truly a sanctuary for the LGBTQIA+ community. During her performance of ‘Paparazzi’, the singer donned a cape lit up in the colours of the Pride flag before diving into arguably her campest hits, ‘LoveGame’ and ‘Alejandro’.

@gaytimes We love you, Mother Monster! Lady Gaga celebrates the LGBTQ+ community at the opening night of The MAYHEM Ball Tour at London’s O2 Arena 🌈 #ladygaga #mayhem #ladygagaedit #mothermonster #ladygagafan ♬ original sound – GAY TIMES

Act III: The Beautiful Nightmare That Knows Her Name saw Gaga return to the darker aesthetic and deliciously maximalist tint that has come to define the MAYHEM era. ‘Killah’ was a standout here, Gaga’s bold delivery rattling the walls of the O2.

Then came the earlier-than-usual performance of ‘The Dead Dance’, one of the night’s many surprises, with Gaga’s Wednesday co-stars Emma Myers and Evie Templeton joining her onstage for a gloriously camp recreation of their Nevermore Venetian Gala dance. It was camp, spooky and utterly joyous.

The concert’s penultimate Act IV: Every Chessboard Has Two Queens delivered a tender change of pace, pivoting towards themes of community and identity, with the set melting into twinkling lights as Gaga took to the piano.

Samir Hussein/Getty Images for Live Nation

Before launching into ‘Shadow of a Man’, the visibly emotional songstress told the crowd: “My first big arena show was in the UK… thank you for believing in me then.” Reflecting on her almost 20-year career, she asked: “If I come back 20 years from now, will you come to the show?” before assuring teary-eyed fans that she’s here to stay: “I’m just gonna roll up with a keyboard and I’ll be playing on the street… I’ll be here no matter what!”

That reflective energy carried into a stunning performance of ‘Born This Way’. “You are so special, and so beautiful, in every way. And I bet you didn’t need me to tell you that, did you? You already knew!” Gaga told the crowd. Though the song has become synonymous with Pride parades and can sometimes feel overplayed, witnessing it live – surrounded by thousands of queer fans – was transcendent. I couldn’t help but think of my closeted 13-year-old self, who once found so much comfort and hope in it.

By now, you’ve likely seen it across your feed: Lady Gaga then gifted fans a moving piano performance of ‘Speechless’, her first live rendition since 2017 (and we don’t know why, the song was deservedly included on Billboard’s list of the 100 Best Deep Cuts by 21st Century Pop Stars), and its return did not disappoint.

@gaytimes We’re not crying, you are! Lady Gaga performed ‘Speechless’ for the first time since 2017 at the first London show of The MAYHEM Ball ❤️ #ladygaga #speechless #mayhem #gaga #concert ♬ original sound – GAY TIMES

By the time Finale: The Eternal Aria of the Monster Heart arrived, the O2 had screamed, danced, and wept – but the show wasn’t over yet. ‘Bad Romance’ ripped the roof off the arena, soaring into a jaw-dropping crescendo. If it didn’t look so ugly on the page, I’d write the rest of this review in all caps – it really was that incredible.

As the credits rolled and Gaga left the stage, fans had a brief moment to breathe before the screen lit up once more and a much more casual artist appeared. Backstage, with her makeup and wig off, wearing a beanie and sweatshirt, Gaga strutted back into the arena and closed the show with ‘How Bad Do U Want Me’. While social media may undersell this low-key finale, believe me: as tempting as it was to leave early to avoid the tube crush, this moment made staying worth it.

Samir Hussein/Getty Images for Live Nation

Did I cry? YES. Did I scream? YES. Was I on my feet the whole time? ABSOLUTELY. Who else is doing it like Gaga? Nobody. This wasn’t just another pop show – this was the pop show.

Seventeen years into her career, this feels both like a celebration of everything fans have come to love about Gaga and the beginning of a new peak in the Grammy winner’s already historic career. It’s also clear that she’s loving every second. Part concert, part performance art, The MAYHEM Ball is a resurrection, a reinvention, and a reminder that Lady Gaga is still at the very top of her game.

GAY TIMES rating: ★★★★★

Lady Gaga continues The MAYHEM Ball in London until 4 October, before heading to Manchester from 7-8 October. Find out more and grab your tickets here.

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From making history as the NFL’s first openly trans performer to why she’s no longer with the TopCats, Justine Lindsay opens up about her cheer journey.

In 2022, the 33-year-old made headlines when she joined the Carolina Panthers’ TopCats, becoming the NFL’s first trans cheerleader.

Over the next three seasons, she showcased her skills across multiple NFL stadiums, including an international stint in Germany when the Panthers faced the New York Giants.

In the new issue of Gay Times, Lindsay reflects on becoming an LGBTQIA+ trailblazer in a largely heteronormative and cis-centric industry.

“It had its ups and downs! It’s a very humbling experience because when I came into that space, it wasn’t about me trying to make a headline or looking for clout,” she explains.

“This was me just saying, ‘This is who I am, dance is my life, it’s my love.’ I didn’t care if it was a male-dominated field. I just wanted to dance. But being the first trans woman in that environment… a lot of people didn’t really care for me.”

Earlier this year, Lindsay revealed to OutSports that she would not be returning to the TopCats for a fourth season. As she tells GT, it “wasn’t my choice.”

“I felt good about my audition [for the 2025-2026 season], but I did think, ‘Hmm, this is probably going to be my last year.’

 

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“People around me were like, ‘You were the best one out there.’ But, I didn’t make it to the final round. I didn’t always feel like I belonged and that’s why I thank you and everyone else who’s trying to reach out, because I’m going to tell my story.

“So yeah, I was hurt. Everybody knew that I wanted to come back. I didn’t always feel like I got the backing I was supposed to.”

While her journey with the team has ended, Lindsay is showing no signs of slowing down – the North Carolina native is setting her sights on the film and TV industry, pageantry and even community service.

“You’re going to be seeing a lot from me. Everybody will find out very soon what’s going on and what I’ve been up to,” she teases. “I will say that it’s on a stage that’s going to change the world.”

You can read Justine Lindsay’s full interview with Gay Times here.

The new issue of Gay Times, featuring King Princess, A Night Like This stars Alexander Lincoln and Jack Brett Anderson, NFL’s first trans cheerleader Justine Lindsay, and more, is out now – available exclusively to subscribers.

The post Justine Lindsay reflects on making NFL history and exiting the TopCats appeared first on GAY TIMES.

We will heavily caveat this feature by advising we don’t think it would be fair to give OSCAR at The Crown a full review: we weren’t able to attend the show’s recent press night, so we attended a performance a few days later. Unfortunately, for our show, due to company illness the cast performed a reduced version of OSCAR at The Crown – more akin to a staged concert. We were still able to enjoy most of the songs and some of the choreography, but we know we weren’t getting the full experience – hopefully we’ll have an opportunity to return later in the run.

We can of course share our impressions of what we saw – which we thoroughly enjoyed. A purpose-built underground club on Tottenham Court Road, The Crown is full of London references and nods to various queer creatives – it’s a super cool venue, with a positive vibe as soon as you walk in. In the full version of the show the action will unfurl all around the audience within the venue, but for the most part our performance took place on the main stage (although a few scenes unfolded on the dance floor).

So what exactly is OSCAR at The Crown? It’s a new musical – it made its debut in New York a few years ago and had a short stint at the Edinburgh Fringe festival before opening in London earlier this summer. The subject matter is rather unusual – it’s (sort of) about the life and times of Oscar Wilde, but there’s a lot of crossover with the Real Housewives series and various references to Julie from The OC. It doesn’t make a huge amount of sense – and given that Wilde’s life story is actually quite interesting, we’re not convinced that these additions were necessary – but it’s an enjoyable enough narrative nonetheless.

The music is the real highlight here – there are some great songs (by Andrew Barret Cox, who is also responsible for the choreography and costume design) and the performers in this show are absolute powerhouse vocalists. Jan Sport (of Drag Race US fame) currently leads the cast – and Jan is a superb singer and wonderful host – but it’s very much an ensemble piece. Everyone can really hold their own and the harmonies absolutely sparkle. We’re aware we only saw a glimpse of the choreography, but what we saw was truly impressive.

We had a great night with OSCAR at The Crown: it’s a fun new queer musical in a cool venue. At time of writing there’s a ticket offer (all tickets £25) – we’d have gladly paid that for the reduced version of the show we saw, so we expect the full show for that price is an absolute steal.

More information can be found here.

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An important note about Entertaining Mr Sloane: it was first staged back in 1964 and gathered quite a reputation for itself, quickly building a cult following. It’s easy to see why – it portrayed a story involving homosexuality at a time that it was still criminalised; and the various subject matter touched upon throughout the play (rape, murder, violence) would all have been rather more taboo on stage than they are in 2025. So how does this revival at London’s Young Vic Theatre hold up today?

Truth be told it does feel a little tame. At the centre of the story is the titular Mr Sloane, played by Jordan Stephens (of Rizzle Kicks fame) making his professional stage debut. He takes advantage of both the lonely Kate (Tamzin Outhwaite) who has a spare room in her house and is looking for a new lodger, and also Kate’s businessman brother Ed (Daniel Cerqueira). We’re sure the idea of Sloane getting the much older Kate pregnant, while simultaneously designing to run away and start a relationship with her brother, would have been rather scandalous in the 1960s, but it doesn’t seem so provocative today.

So it has lost some of its shock value – Jordan Stephens is better at bringing out the comedy in the role rather than the sinister side, which probably doesn’t help proceedings – but we should also note that Entertaining Mr Sloane remains an amusing show nonetheless. It’s a dark comedy, and many of the jokes still stand up – there are a handful of laugh-out-loud funny one-liners over the course of the evening. Tamzin Outhwaite’s character is a little one-dimensional, but she’s good at bringing the humour out.

We would also note that we found the show a little imbalanced: originally written as a three act play, it’s been condensed into two, which means that the second act now feels as though it’s overstaying its welcome (we did find ourselves checking our watches a couple of times) – it does seem to drag somewhat in comparison to the brief and punchy first act. It’s a bit of a shame really, as there are some promising moments here: a little tightening up of act two, and a bit more work to unearth Mr Sloane’s more sinister undertones, could have turned an enjoyable show into an excellent one.

GAY TIMES gives Entertaining Mr Sloane – 3/5

More information can be found here.

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Alexander Lincoln and Jack Brett Anderson open up about their instant chemistry in A Night Like This and the gay drama’s profound themes of love, loneliness and queer connection.

In cinemas now, the film tells the story of Lukas (Anderson), a struggling actor, and Oliver (Lincoln), a privileged club owner, whose chance encounter sparks a single, transformative night in London.

The directorial debut of Liam Calvert, A Night Like This was written and produced by Diego Scerrati and co-produced by Reece Cargan and James Heath of Randon.

Additional cast includes David Bradley (Game of Thrones), Beth Rylance (The B@it) and Jimmy Ericson.

In the latest issue of Gay Times Magazine, Lincoln shares that he was drawn to the film because “it doesn’t lean so much into the sex aspect that so many LGBTQIA+ films do.”

While he admits he “loves a gay romp” – calling them the “lifeblood of existence” (correct) – he says the real appeal lies in the “complex” characterisation of both Lukas and Oliver.

“There’s so much nuance to Oliver’s character, so much insecurity, so much he’s trying to deflect almost the whole time. Then he seemingly meets Lucas, and he sees someone he feels akin to,” he says.

“There’s a draw for me in characters where – and again, it doesn’t necessarily matter the genre or whether there’s a sexual component – it’s about the complexity of the character. That’s what I’ve looked for in almost every project I’ve done so far.”

For Anderson, his chemistry with Lincoln was “quite instant”.

“We both look at the world in a similar way — we’re hopeful,” he says. “So it wasn’t a difficult thing. It felt like everyone else played their part in making it what it was by bringing us together.

“I always say Alex is so easy to work with, so it was very easy for me. It felt very authentic, very organic.”

Lincoln is best known for his performance as Mark Newton in the beloved gay romantic drama In From The Side (2022). Anderson first rose to fame with his debut theatre role as Prince Edward in Christopher Marlowe’s Edward II, which earned him critical acclaim.

You can read their full interview with Gay Times here.

The new issue of Gay Times, featuring King Princess, A Night Like This stars Alexander Lincoln and Jack Brett Anderson, NFL’s first trans cheerleader Justine Lindsay, and more, is out now – available exclusively to subscribers.

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From Girl Violence to her “miserable bottom” brand, not to mention the Christine Baranski romance rumours, King Princess spills all in her Gay Times cover debut.

The singer-songwriter, born Mikaela Mullaney Straus, has just released her third studio album, aforementioned Girl Violence, months after making her acting debut in Prime Video’s Nine Perfect Strangers alongside Baranski, Nicole Kidman, Maisie Richardson-Sellers and Murray Bartlett.

Led by singles such as ‘Cry Cry Cry’ and ‘RIP KP’, the raw and emotionally-charged album dives into destruction, uncertainty and the layered complexities of lesbian relationships. As she tells Gay Times: “All we’ve seen [in media] is the tragedy of lesbianism.

“There is very seldom a happy ending for us. Because of that, society has given us the blueprint on how we should love. I feel like we have replicated it because it’s become our truth. I felt that love was only love if it was extremely painful.

“So, the record shows that I’m sometimes the perpetrator, sometimes it’s about friendships, sex and love. If I can go through all the channels of it, then I can make an effective record about the experience of being a hectic lesbian.”

In recent weeks, the close bond between King Princess and her Nine Perfect Strangers co-star Christine Baranski has gone viral, with the duo serving major lesbian power couple energy as they held hands at the Mamma Mia! Broadway re-opening in NYC.

King Princess confirms that the Emmy-winning icon is her “bestie”, calling her “an incredible light in my life.”

“We had this bond on Nine Perfect Strangers, and we’ve just stayed friends,” she says. “What a fun vibe. We go to Broadway shows. We go to dinner. We talk shit. We hang out. She’s the best.”

In her interview, King Princess dives deeper into Girl Violence – her “summation of queer love up to this point” – explains why she weighed in on the recent Betty Who controversy, and teases her future as a Hollywood actor.

Read the interview in full here.

The new issue of Gay Times, featuring King Princess, A Night Like This stars Alexander Lincoln and Jack Brett Anderson, NFL’s first trans cheerleader Justine Lindsay, and more, is out now – available exclusively to subscribers.

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The Land of the Living tells an absolutely fascinating story: the play opens in 1990, when Ruth (Juliet Stevenson), a former UN relief worker, is visited by Thomas (Tom Wlaschiha), who had been a displaced child in the immediate aftermath of the Second World War. We don’t stay in 1990 for long, however: most of the play is set in 1945, with Ruth recounting her memories of what happened after the war was over. We establish quickly that Thomas had been in Ruth’s care as a young boy during that period, and he is now in search of answers.

It feels like a timely and urgent story to be told, and brings to mind the treatment of children who are being displaced by war (in Ukraine and Gaza) in the present day.

It also shines a spotlight on the Nazi regime’s ‘Lebensborn’ programme – an attempt to steal children with seemingly perfect features from neighbouring countries and have them adopted by German families, in order to create a ‘perfect’ Aryan super race. Ruth’s UN team uncovers evidence of the scheme and they suddenly find themselves in a moral dilemma – should these children remain with the families that raised them, or return to their parents who they may not have known for many years? Not to mention the Herculean task of reuniting families across borders, at a time when record keeping wasn’t what it is today.

Juliet Stevenson is, of course, absolutely fantastic and utterly compelling to watch – in a typically nuanced performance, we see her genuinely grappling with the dilemmas the play presents. It’s an ensemble piece and most of the supporting performances are strong, although we felt on occasion the play did revert to stereotypes – in particular the American and Soviet soldiers that are encountered along the way seemed a bit one-dimensional. It all looks and sounds great – the set and sound design both impress throughout.

We enjoyed our time with The Land of the Living, although we would likely have enjoyed it more if it were a little shorter. It runs to nearly three hours, with the second act starting to feel like it drags towards the end. It’s still well worth a visit, though – the story it tells is genuinely captivating and there’s some wonderful acting in here, too.

GAY TIMES gives The Land of the Living – 4/5

More information can be found here.

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