Alan Ritchson Tears Into Trump And Demands Accountability Over The Epstein Files

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Alan Ritchson has built a career playing men who solve problems through direct action, and his latest political comments carried much of the same energy.

During an appearance on Josh Horowitz’s Happy Sad Confused podcast, the Reacher star delivered an unusually furious response to the handling of documents connected to convicted sex offender Jeffrey Epstein.

Ritchson questioned why more material had not been made public and demanded that powerful people connected to abuse be held accountable.

He also urged ordinary people and fellow celebrities to speak more forcefully rather than submitting to those with political or institutional power.

“Get loud” and remember the “power in numbers” was the central message beneath language too explicit to reproduce in full here.

Ritchson said some people regard him as a loose cannon because he is willing to express opinions that other actors might keep private.

He rejected that description and argued that outrage over abuse, injustice and political protection should be a normal human response.

The conversation then turned specifically toward President Donald Trump and allegations connected to material within the Epstein investigation.

Ritchson appeared to refer to Trump without initially naming him and invoked an allegation that the president sexually assaulted a girl when she was 13 years old.

The woman behind that allegation was interviewed by the FBI in 2019, but Trump was never criminally charged in connection with her claims and has repeatedly denied them.

Ritchson nevertheless used exceptionally blunt language as he argued that politicians and other influential figures should face investigation rather than protection.

The White House responded to the actor’s comments through spokeswoman Abigail Jackson.

Jackson claimed Trump had been “totally exonerated” in matters involving Epstein and defended the administration’s release of documents and cooperation with congressional investigators.

She also redirected attention toward Democratic politicians whom the White House says had contact with Epstein after his conviction.

The response did not address every allegation or criticism raised by Ritchson during the podcast.

Ritchson framed his anger as part of a broader concern for people who are forgotten, marginalized, unwanted or denied protection by powerful institutions.

He said his political outlook is shaped by seeing unfairness and injustice and by a desire to make society more equitable for those living outside positions of privilege.

The actor also challenged religious rhetoric that divides people into acceptable citizens and supposed monsters.

Ritchson is a practising Christian, but he has frequently criticized sections of the Christian right for supporting policies and politicians he considers incompatible with the values they profess.

He argued that any belief system encouraging hatred, separation or the dehumanization of other groups should be treated as a warning sign.

That message may resonate with LGBTQ+ audiences, although Ritchson’s connection to gay popular culture began long before his latest political intervention.

In 2011, he guest-starred in an episode of The CW drama 90210 as Tripp, the former college roommate and first male crush of Teddy Montgomery.

Teddy, played by Trevor Donovan, reconnects with Tripp during a trip to Mexico before the two men kiss and spend the night together.

The storyline also revealed that Tripp had a boyfriend and that the couple were in an open relationship, a relatively unusual detail for mainstream teen television in 2011.

Ritchson’s appearance lasted only one episode, but the kiss has remained a popular rediscovery among viewers who encountered him years later through Reacher.

More recently, the actor attracted another wave of attention from gay audiences through Dr. Squatch’s knowingly excessive “Manlandia” advertising campaign.

The campaign presented Ritchson as the muscular ambassador of a fictional masculine paradise while chopping wood, flexing, removing his shirt and promoting the company’s grooming products.

The advertisements were designed as tongue-in-cheek celebrations of different forms of masculinity, although much of the internet understandably focused on the shirtless lumberjack portion.

Those moments help explain why a political interview with the action star is also generating considerable attention within LGBTQ+ entertainment circles.

Neither playing a gay role nor starring in a homoerotic advertising campaign automatically makes someone an ally or gives greater authority to their political opinions.

Ritchson’s latest comments stand on their own because he explicitly connected his politics to protecting marginalized people and confronting abuses of power.

The delivery was explosive, but the principle underneath it was straightforward: wealth, celebrity and political office should never place anyone beyond scrutiny.

📷 @alanritchson / @thecw / Dr Squatch

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Jake Shears Is Broadway’s Next Frank-N-Furter

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Some Broadway casting announcements require a moment to process, while Jake Shears playing Frank-N-Furter feels almost inevitable.

The openly gay Scissor Sisters frontman will take over the leading role in Broadway’s current revival of The Rocky Horror Show at Studio 54.

Shears begins performances on September 11, succeeding Luke Evans as the glamorous scientist at the centre of Richard O’Brien’s cult musical (Deadline).

Evans will play his final performance on August 23 after earning a Tony Award nomination for his performance in the revival.

Shears brings a career steeped in glitter, theatricality and queer pop culture to one of musical theatre’s most famously uninhibited characters.

As the frontman of Scissor Sisters, he helped turn songs including Take Your Mama, Filthy/Gorgeous and I Don’t Feel Like Dancin’ into flamboyant pop anthems.

His relationship with musical theatre has also grown steadily alongside his recording career.

Shears made his Broadway debut as Charlie Price in Kinky Boots in 2018.

He later played the Emcee in the West End production of Cabaret and wrote the lyrics for Tammy Faye, the Elton John musical that transferred from London to Broadway.

Frank-N-Furter now offers him a role that combines rock performance, comedy, sexuality and the kind of unapologetic spectacle that has long defined his work.

Shears will not be the only new visitor arriving at the Frankenstein Place.

Kevin McHale will make his Broadway debut as Brad, while Tony Award nominee Lorna Courtney will take over the role of Janet.

McHale and Courtney begin performances on August 25, replacing Andrew Durand and Stephanie Hsu, who will also depart on August 23.

McHale is best known for playing Artie Abrams throughout six seasons of Glee.

His casting also carries a satisfying piece of television history because Artie portrayed Dr. Scott when Glee staged its own version of The Rocky Horror Show.

McHale made his New York stage debut in the recent revival of The 25th Annual Putnam County Spelling Bee, but Brad will be his first Broadway role.

Courtney earned a Tony nomination for originating the leading role in Broadway’s & Juliet.

She subsequently played Veronica Sawyer in the Off-Broadway revival of Heathers and appeared in the world-premiere stage adaptation of The Greatest Showman.

Paul Soileau, who is part of the current company, is scheduled to perform as Frank-N-Furter between Evans’ departure and Shears’ arrival.

The revival is directed by Sam Pinkleton, the Tony-winning director of Oh, Mary!.

It began previews in March and officially opened at Studio 54 on April 23.

The production received nine Tony Award nominations, including Best Revival of a Musical and acting nominations for Evans, Hsu and Rachel Dratch.

Other members of the evolving company include Dratch as the Narrator, Amber Gray as Riff Raff, Harvey Guillén as Eddie and Dr. Scott, Josh Rivera as Rocky, Sherie Rene Scott as Magenta and RuPaul’s Drag Race favourite Valentina as Columbia.

The Rocky Horror Show first premiered in London in 1973 before inspiring the 1975 film adaptation starring Tim Curry.

The story follows the painfully conventional Brad and Janet after a breakdown leads them into Frank-N-Furter’s mansion and a world determined to disrupt everything they thought they understood.

Its mixture of glam rock, sexual freedom, audience participation and gleeful defiance helped it become an enduring part of queer culture.

With Shears slipping into Frank’s heels and McHale finally stepping onto a Broadway stage, the new cast feels particularly well suited to continuing that strange journey.

📷 @rockyhorrorbway / @jakeshears (+ boyfriend @jonreynolds1) / @kevinmchale (+ boyfriend @austineyes)

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Scott Kress Is Looking for Love in Tubi’s Messy New Gay Dating Show

Scott Kress spent years making videos about the frustrations of modern dating, so his friends decided it was time to stop listening and start casting.

The result is Scott Kress Needs a Man, a new gay reality dating series now streaming free on Tubi.

The show places nine eligible bachelors in a mansion and asks them to compete for the attention of the popular TikTok creator (DNA).

Kress has built an audience of more than six million followers through comedy videos that frequently explore being single, dating apps and his ongoing search for a relationship.

His friends Carter Kench, Asher Lieberman and Sydney Morgan helped create the series and appear as co-hosts, producers and highly involved advisers.

Tubi describes the show as a mix of reality television, comedy, romance and LGBTQ+ programming.

The platform’s official summary says Kress allows his closest friends to take control of his love life as they test a group of bold bachelors through a series of unconventional challenges.

The first episode introduces the contestants through a round of individual speed dates before sending one man home almost immediately.

By the second episode, the traditional romance format has already given way to a tug-of-war staged beside a mud pit.

The competitors naturally end up in swimwear, while the winners receive the opportunity to make out with Scott.

Subtle courtship this is not.

The contestants include Javi, who recently joined the Pit Crew on RuPaul’s Drag Race.

Other early standouts include Max, who quickly begins functioning as an unofficial narrator, and Braulio, who arrives wearing a hockey jersey.

The outfit appears designed to appeal directly to viewers still thinking about the queer hockey romance Heated Rivalry.

The show regularly acknowledges its modest production budget and occasionally leans into moments that feel more constructed than spontaneous.

Rather than hiding those limitations, the series turns them into part of its knowingly chaotic personality.

The more interesting tension comes from the casting process itself.

Promotional casting materials reportedly sought ordinary people interested in finding a genuine connection.

As with almost every reality dating show, however, viewers are invited to decide which contestants want Scott and which ones mainly want attention.

Early episodes already contain rivalries, shifting alliances, flirtation between the men and a double elimination.

A teaser also suggests that two contestants may have become closer to each other after filming stopped for the night.

That possibility gives the familiar dating-show setup a particularly queer complication.

The bachelor may be the official prize, but placing nine gay men together does not guarantee that every romantic storyline will continue pointing toward him.

Scott Kress Needs a Man arrives during a period when queer dating programmes remain far less common than their heterosexual counterparts.

Gay contestants have appeared in mainstream reality formats, but fully queer seasons and series are still treated as occasional experiments rather than a permanent part of the genre.

This production is smaller and less polished than the largest network franchises, yet its casual confidence may be exactly what makes it appealing.

It does not treat gay dating as a social lesson or an important television milestone.

It simply allows a group of men to flirt, compete, make poor decisions and create entertaining television.

Scott Kress may eventually find the relationship he has been searching for, although the mess along the way is clearly the main attraction.

The series is currently available free on Tubi, with new episodes scheduled to arrive weekly.

📷 @itsscottkress / @tubi

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Trump Administration Dismantles Specialised Support Network for LGBTQ+ Veterans

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The Department of Veterans Affairs has begun dismantling the national infrastructure created to help LGBTQ+ veterans navigate the country’s largest integrated healthcare system.

An internal email obtained by The Advocate says LGBTQ+ Veteran Care Coordinators will be redesignated as general Care Coordinators with responsibility for supporting all veterans.

The change does not formally remove LGBTQ+ veterans from the VA healthcare system.

Nor does the email state that lesbian, gay, bisexual, transgender and queer veterans will be denied ordinary medical treatment.

It does, however, eliminate much of the specialised structure that allowed staff members to address the particular barriers those veterans may experience.

The July 22 communication instructed employees that national processes, communications and procedures specific to the LGBTQ+ coordinator programme would be discontinued.

Monthly coordinator meetings and regional leadership calls will end.

New-coordinator orientations and the programme’s professional community of practice will also be discontinued.

Dedicated Microsoft Teams channels and materials stored through the programme’s LGBTQ+ SharePoint site will be archived.

Employees were told to save any resources they wished to retain before those materials became unavailable.

The latest instructions follow a broader June directive ordering Veterans Health Administration facilities to eliminate initiatives described by the Trump administration as promoting gender identity or gender ideology.

That earlier memo also stripped the LGBTQ+ designation from the care-coordinator positions.

VA officials presented the move as an effort to ensure that all veterans receive treatment based upon clinical need and without discrimination.

Initially, some employees were reportedly assured that the change would largely involve job titles rather than the substance of their work.

The new email shows that the consequences extend considerably further.

The coordinators’ national support network, training structure and LGBTQ+-specific communications are now being removed.

One VA healthcare provider involved with the programme told The Advocate that staff members felt shock, anger and betrayal.

The provider said employees had reassured veterans that their services would continue after being told that little would change.

They must now return to those patients and explain that those assurances were inaccurate.

For more than a decade, LGBTQ+ Veteran Care Coordinators have served as identifiable points of contact within VA medical centres.

The VA previously employed at least one coordinator within each of its 142 healthcare systems.

Their responsibilities included connecting patients with clinicians familiar with LGBTQ+ health needs.

They helped veterans resolve difficulties involving treatment and access.

They educated medical staff about policies affecting lesbian, gay, bisexual, transgender and queer patients.

They also worked with community organisations, identified gaps in care and encouraged veterans who feared discrimination to engage with the health system.

The positions were not created merely to provide symbolic representation.

They developed in response to documented barriers affecting LGBTQ+ veterans.

The VA has previously acknowledged that some queer veterans expect discrimination inside medical facilities and may therefore delay or avoid seeking care.

Former programme leaders have also pointed to higher reported levels of depression, anxiety, post-traumatic stress, suicidal thoughts, homelessness and substance use among parts of the LGBTQ+ veteran population.

Specialised programmes were developed to respond to those disparities.

One was PRIDE in All Who Served, a ten-week health-education and support programme for LGBTQ+ veterans.

The VA had described it as a best practice and reported improvements including reduced depression, anxiety, suicide risk and identity-related stigma among participants.

Another programme, CBT-PRISM, adapted cognitive behavioural therapy to address minority stress, stigma and discrimination affecting LGBTQ+ patients.

The long-term future of such programmes became uncertain after the June directive prohibited the use of VA funding, facilities and staff time for initiatives involving gender identity.

The current dismantling also follows earlier restrictions directed particularly at transgender veterans.

In 2025, the VA began phasing out certain gender-dysphoria treatments for new patients while allowing some veterans already receiving hormone care to continue.

The administration also removed a directive governing care for transgender and intersex veterans and restricted some referrals for gender-affirming procedures outside the VA system.

The latest decision is broader because it affects infrastructure serving lesbian, gay and bisexual veterans as well as transgender patients.

The VA’s argument is that general care coordinators can support everyone without organising services around particular identities.

Critics argue that this approach confuses identical treatment with equitable treatment.

A veteran who already trusts the medical system may need only an appointment and a referral.

A veteran who has experienced harassment, discrimination or rejection may require a knowledgeable contact who understands those experiences and can help rebuild trust.

Removing the LGBTQ+ title does not remove the veteran’s sexuality or gender identity.

Archiving the training material does not erase the medical and psychological effects of stigma.

Ending the national network does not eliminate the need for clinicians who understand queer patients.

The immediate question is what individual coordinators will still be permitted to do after becoming general Care Coordinators.

Some may continue using their experience to help LGBTQ+ veterans informally.

Without national meetings, shared procedures, specialised orientation and dedicated resources, that support may become inconsistent and dependent upon individual employees or facilities.

The policy therefore risks creating a system in which an LGBTQ+ veteran’s experience varies significantly according to location.

The administration has not described the change as the termination of healthcare for LGBTQ+ veterans.

That would overstate what the internal communication says.

It is nevertheless accurate to describe the specialised support system as being dismantled.

Veterans were promised that their service entitled them to healthcare through the VA.

LGBTQ+ veterans earned that promise under the same conditions as everyone else.

The question now is whether the department can genuinely provide equal care while deliberately removing the expertise created to address the inequalities those veterans face.

📷 AI

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Tom Daley Goes Head Over Heels in Playful Patrick Church Fashion Collaboration

Tom Daley has launched a limited-edition fashion collection with British artist and designer Patrick Church.

The collaboration is titled Head Over Heels, although the reaction to its campaign photographs suggests the name could equally describe Daley’s admirers.

The collection combines Church’s emotionally expressive queer artwork with the relaxed summer style that has become increasingly associated with Daley’s life after competitive diving.

Its pieces include colorful striped pajamas embroidered with small diving figures, boxer shorts, retro gym shorts, a tank top, a fitted T-shirt and a knitted sweater vest.

The range also includes socks, an embroidered cap, a tote bag and two original artworks.

Prices on Church’s British store range from £28 for the socks to £175 for the embroidered pajamas, while the original paintings are priced considerably higher.

The clothing may be the product, but Daley’s campaign photographs quickly became the main event.

One image shows him lying shirtless in bed with the pajama top open and the coordinating trousers sitting low around his waist.

Another has him reclining in a wooden chair wearing only the collection’s striped boxer shorts.

Daley also models a fitted retro shirt while lifting it to reveal his stomach beside a swimming pool.

In perhaps the most deliberately theatrical image, he stands inside the water wearing denim shorts and a vest decorated with stylized diving figures.

The photographs were taken by fashion photographer Dylan Perlot and present Daley as considerably more than a retired athlete reluctantly modelling merchandise.

He appears completely aware of the effect being created and comfortable combining his familiar wholesome image with something more openly sensual.

Daley said the collaboration had been a long time coming because he had admired Church’s work for years.

Church was equally enthusiastic and said it was nearly impossible to grow up in the United Kingdom without falling in love with Daley.

He also described Daley as enormously supportive throughout his development as an artist and designer.

The pair reportedly spent approximately one year creating the capsule collection together.

Church is a British multimedia artist who lives and works in New York City.

His practice deliberately blurs the division between art and fashion while combining emotional vulnerability with a bold and fearless visual identity.

His journey into clothing began when he hand-painted garments for himself to wear on nights out.

After moving to New York, he developed the distinctive faces and figures that now appear across his paintings, clothing and accessories.

Church formally founded his brand with his husband, Adriel Church-Herrera, in 2018.

Daley’s involvement also feels like a natural continuation of the creative career he has been building alongside sport.

He became internationally famous as a teenager after representing Great Britain at the Beijing Olympics in 2008.

Daley eventually competed at five Olympic Games and collected one gold, one silver and three bronze medals.

He retired from competitive diving after winning silver with Noah Williams in the synchronized 10-metre platform event at Paris 2024.

Long before retiring, Daley had already developed an unexpected second public identity through knitting and crochet.

Images of him knitting while watching events at the Tokyo Olympics became one of the Games’ most memorable off-field moments.

He subsequently created the craft brand Made With Love, published patterns and presented his knitted work in an exhibition in Tokyo.

Daley also designed and hand-knitted distinctive scarves and hats for Team GB’s flagbearers at the 2026 Winter Olympics.

The Patrick Church collaboration moves him further from hobbyist crafting and more firmly into fashion design and modelling.

It also allows both men to play with familiar perceptions of Daley.

He remains the polite British Olympic champion, devoted father and enthusiastic knitter familiar to a mainstream audience.

He is also a confident gay man in his thirties who appears entirely comfortable reclining in boxer shorts while thousands of followers temporarily forget that a tote bag is available.

The collection may officially consist of pajamas, clothing and accessories.

The campaign sells something equally important: queer playfulness, confidence and the freedom to be wholesome and sexy at precisely the same time.

Patrick Church loves Tom Daley.

Judging by the reaction online, he is far from alone.

📷 @tomdaley / @patrickchurchny

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