Entertainment
Sissy Strolls bring queer people of color together in WeHo
On Sunday nights in West Hollywood, the stretch of gay bars lining Santa Monica Boulevard look mighty different when a Sissy Stroll is underway. The monthly bar crawl, which includes the hot spots Revolver, Mickey’s and Heart, was created by dynamic trio the Sissy Squad. The mission? Curate a social hangout that prioritizes genuine connection among queer Black people, queer people of color and those who support them, while joyfully taking up space in WeHo’s notoriously white nightlife scene.
The Sissy Squad consists of Matthew Brinkley, a.k.a. Dr. Brinkley, a psychotherapist who focuses on relationship and queer life coaching; Neville, a.k.a. Aunt Jackie, an event producer and founder of Obtaining Mental Wellness Inc.; and David Brandyn, a writer and sex educator. In an effort to satisfy their appetite for stepping out on the town while at the same time addressing the lack of comfortable social spaces for queer people of color in West Hollywood, the group channeled their creativity and community-building skills into creating the change they wanted to see with support from partners House of Love Cocktails, Impulse Los Angeles and Obtaining Mental Wellness.
“When I first moved to L.A., I asked a friend of mine who grew up in L.A., ‘Where are the Black spaces where I can see myself?’” Brandyn says. “He said, ‘There are none. … It’s been a long time since we’ve had a space. But what you do is, you gather all the Black people and you infiltrate the space that you want to be in’ and I never forgot that.”
Sissy Strolls satisfy the group’s appetite for stepping out on the town while at the same time addressing the lack of comfortable social spaces for queer people of color in West Hollywood.
(Annie Noelker / For The Times)
“What I’ve always loved about the Sissy Strolls was that it was a curated safe space for queer people of color and their allies. It’s not exclusive,” Neville says, noting that people of all different racial and ethnic backgrounds, sexualities and gender expressions have enjoyed themselves on a Sissy Stroll. “It shows that ‘sissy’ can come in any form. Come drink these free drinks and pop around with us and dress how you wanna dress and tonight, we all sissies. It’s just a fun word and I love that we have led this renaissance with the word sissy.”
“Now personally, I wasn’t really called a sissy as a kid, I was called the f-word,” laughs Brandyn. “Sissy, to me, spoke to the f-word in a lighter way. It spoke to the way that folks have treated us, the damage that folks have done to us because of who we are, and reclaiming it just feels really good.”
It’s a moment when people attending a Sissy Stroll show up at the meetup location — and it’s an absolute vibe when the group enters a bar as a unit. “Those clubs look so different when we’re there. And when we leave those places, you get to see this storm of people of color walking down Santa Monica,” Neville says. “It’s really impactful. It’s like, OK, the Sissy Stroll is here.”
For regular attendees like Roy Covington, a musician and Virginia native who relocated to Los Angeles a year ago, the feeling is exhilarating: “Once you make it into the bar, everyone is there and people are there to greet you and they’re so happy to see you and it just feels so good.” Covington credits the genuine warmth of the Sissy Squad, whether they’re hosting the Sissy Stroll, a game night or another local event, with helping him make organic friendships while building a foundation in a new city. “Any event that the three fellas host is a very warm, loving and just come-as-you-are kind of experience. It’s so great and they just want everyone to have a good time.”
Matthew Brinkley, a.k.a. Dr. Brinkley, a psychotherapist who focuses on relationship and queer life coaching.
(Annie Noelker / For The Times)
The ritual of dressing for a Sissy Stroll is special for the three co-creators: thoughtfully applying glam, adorning oneself with feel-good accessories and being seen while each Sissy sparkles in their authenticity.
For Brinkley, serving a look is a mixture of feeling fabulous, important and powerful. “I feel like Sailor Moon when she transforms into herself to fight crime, or do whatever, that’s how I feel.” Brinkley’s aesthetic in a nutshell? “Something furry but sexy, tight — and I know my ass looks great.”
For Neville, who brings the maternal, auntie energy to the group, his fashion taste leans more modest. A statement hat with a big brim and in a variety of colors is a must. Flourishes like a rhinestone fringe or a leopard pattern peeking out underneath is to be expected, alongside a chunky heel or raised moon boot and an array of vibrant glasses and earrings.
“I’m more of the cool, rich auntie vibe. Like, you can go over to Auntie’s house and drink. You get to go to Auntie’s house and you might get to hit that blunt for the first time or if you’re not allowed to eat bacon at home, Auntie Jackie gon’ make sure to slip you a little piece of bacon,” Neville says. “During the Sissy Strolls, it’s like when Aunt Jackie puts on her good outfit to go find an uncle. Rich Auntie is stepping out and putting on her Sunday best, but in the gay way.”
Scenes from the black, queer bar crawl Sissy Stroll in WeHo – includes hotspots Revolver, Mickey’s and Heart. Created by the dynamic trio The Sissy Squad.
(Annie Noelker / For The Times)
Brandyn, on the other hand, enjoys rocking his signature combo of a masculine chain paired with a short mini skirt. Plus “an unconventional hat like a beret or cowboy hat,” an abundance of sparkles and rhinestones and a boot with a 5- or 6-inch heel. Something “tight on the top and loose on the bottom” is the motto.
Getting dressed for a Sissy Stroll can be an opportunity for playful experimentation when it comes to fashion, but it’s also a sacred form of inner child healing, explains Brandyn. “I dress for the little boy in me that really wanted to wear these clothes so badly but felt like he could not do it. That’s why my style is very late ’90s, early 2000s, ’cause that’s the age I grew up in,” he says. “When I’m with the Sissy Squad I know I can wear anything I want, I can behave any way I want, ethically of course. It gives us permission to truly just be whatever we want and that feels really good for us — and I’m assuming it feels that good for the folks who come on the stroll.”
For Ty White, 28, the Sissy Strolls have been an affirming space to make both personal and professional connections. “They cultivated a really nice space for people to network. I’ve met people who are hairstylists, some people do makeup, some people are producers for shows,” White says. A queer get-together with people who possess an understanding and a certain degree of cultural fluency from navigating the world as a fellow openly queer Black person has been a major plus for White.
“Even though places have the reputation of being occupied by a certain demographic and catering to a certain demographic even, it doesn’t have to be so lonely,” White says, referring to the prioritization of men who are “white, muscular, and under 130 pounds” in numerous gay spaces. “I encourage others to put themselves out there in any capacity for community-building because you never know how many people are having the same experience that you’re having,” he says. “I think the Sissy Stroll has done a great job of putting themselves out there … and pulling people in to create a community within a larger community and making people feel like they belong.”
“What I’ve always loved about the Sissy Strolls was that it was a curated safe space for queer people of color and their allies. It’s not exclusive,” Neville says.
(Annie Noelker / For The Times)
Beyond the Sissy Squad’s impact in Los Angeles, the group continues to leave its mark around the globe thanks to its show “Sissy That Psyche,” which streams worldwide on WOW Presents Plus. In the eight-episode series, the three hosts revisit and analyze “RuPaul’s Drag Race” meltdowns through a mental health lens — in fabulous outfits — and provide self-care tools viewers can apply in their day-to-day.
It’s not lost on the three Sissy Squad members that they are, as Neville puts it, navigating the world as “three chocolate men.” Colorism and the many other branches of racism and white supremacist culture are real and omnipresent. “It’s always kinda like, the extra stigma. We have a really cool way of representing three different points of view but looking like we’re together,” Neville says. “We are three chocolate men who play with androgyny, wear feminine clothes but still have this masculine edge to it and it’s really inspiring. People have literally come up to us and said thank you all for showing up this way.”
When you Google the word “sissy,” you’re sure to find a handful of definitions that list the word as a derogatory term for boys and men who are perceived as feminine, gay and existing outside patriarchal imaginings of acceptable masculinity. But as the Sissy Squad regularly affirms, a wealth of nuance and subversive power exists within the word.
“Basically, what they’re really saying is a person who has feminine qualities or who is femme-presenting [isn’t positive],” Brinkley says. “Actually that can be really great. That can be so amazing to have those qualities. Being soft can be very powerful and so I do think reclaiming it to make sense for us and the people who use it is really, really powerful. I hate the definition that’s in the dictionary [for the word sissy], but I’m so glad that we can look beyond that and create our own definition.”
Keep up with upcoming events hosted by the Sissy Squad on their Instagram @sissysquadla
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Entertainment
Review: Monica Lewinsky, a saint? This devastatingly smart romance goes there
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
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First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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