‘There was a lot of addiction and trauma in my family’: why Drag Race winner Jinkx Monsoon plays a perfect Judy Garland

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As she takes on the icon in musical drama End of the Rainbow, Monsoon recalls a childhood spent watching Wizard of Oz on repeat – and explains why audiences are ready for trans performers in non-trans roles If these are strange times in America, they are particularly strange for Jinkx Monsoon, the 38-year-old actor, singer and drag artist who, since winning RuPaul’s Drag Race in 2013 and Drag Race All Stars in 2022, has become a huge breakout star. Monsoon, who has the white-lead-and-vinegar glamour of a 1930s movie star, has appeared on Broadway, at Carnegie Hall and in countless viral clips from Drag Race – and in other words is widely well known. And yet, she says, when she walks down the street in certain American cities, it is in a state of “not knowing if someone’s going to recognise me and be excited to see me, or recognise something about me and be hostile. It’s a really interesting dichotomy.” She lets out a huge laugh. “But it also keeps me humble, I gotta say.” We are back...
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A Prince review – queer erotic drama of sexual enlightenment through … gardening

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Pierre Creton’s literary film is about the carnal blossoming of a gardener’s apprentice under the tutelage of a series of older men

This latest film from artist, film-maker, and farmer Pierre Creton evokes a tradition in French erotica in which a youthful protagonist has a series of encounters, providing carnal knowledge and sexual enlightenment as well as intellectual revelation. A Prince follows gardener’s apprentice Pierre-Joseph (Antoine Pirotte), whose love for nature leads him into the arms of two older lovers: Alberto (Vincent Barré), his botany school teacher, and Adrien (Pierre Barray), his employer.

Its literary feel is enhanced by the prioritisation of voiceover above dialogue. The characters’ inner monologues speak, often retrospectively, of transgressive erotic experiences and desires. Accounts of incestuous yearnings are laid over scenes of gardening or age-gap lovemaking, all shot in the same strikingly matter-of-fact fashion. The contrast between the provocative voiceover and the naturalistic cinematography is notable in itself, conveying a resistance to the politics of queer assimilation, which courts acceptance from the heterosexual majority.

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