Over the last couple of years, public support for LGBTQ issues has noticeably declined, and broader acceptance metrics have hit decade lows.

While activists love blaming conservatives and “right-wing influencers,” the truth is simpler: the community has overplayed its hand, pushing extremes that alienate the mainstream. When your “representation” drowns in stereotypes, perversion, and in-your-face defiance of biblical norms, don’t be shocked when people push back.

Enter Tina Romero—gay daughter of zombie legend George A. Romero—and her “tribute” to dad: a full-throated gay zombie flick. “I just feel like the gays need a zombie film. It’s time that we get to have a big gay zombie movie,” Romero declared in interviews. And that’s exactly what Queens of the Dead is: a film by queers, for queers, and nobody else.

This 2025 zombie comedy-horror, directed by Tina Romero in her feature debut, stars Katy O’Brian as stressed promoter Dre, Jaquel Spivey as flamboyant drag protégé Sam, real-life drag queen Nina West as reliable diva Ginsey, Riki Lindhome as sharp-tongued Azure, Margaret Cho as a scooter-riding badass, and a majority-LGBTQ ensemble including Tomás Matos, Jack Haven, Cheyenne Jackson, and more.

The plot? A zombie apocalypse erupts in Brooklyn on the night of a massive warehouse drag extravaganza called “Yum.” In the pulsating heart of the underground scene, ambitious Dre pours everything into launching her career-defining show. Performers flake, toilets clog, DJs vanish—but the crew rallies: fierce queens, club kids, frenemies trading shade amid glittering costumes and backstage drama.

Gruff handyman Barry (Quincy Dunn-Baker) fumbles pronouns while trying to help. As influencers and partygoers flood in, the undead crash the party—phone-clutching zombies swarming streets and breaching the venue. Barricaded inside with dance cages, dressing rooms, and a bar, the group confronts rivalries, billing disputes, and personal beefs.

But survival forces unity: they weaponize “unique skills”—death drops, high heels as stakes, makeup brushes as tools, campy flair as distraction—turning the stage into a glitter-soaked battlefield of fabulous (and gory) defiance. Practical splatter abounds: zombie rats, dismembered limbs, blue-gray metallic ghouls inspired by drag aesthetics.

Reviews hail this film as a joyful queer twist on George’s social-commentary zombies, with nods like Tom Savini’s cameo mayor declaring, “This is NOT a George Romero movie.”

But that’s the poison pill.

We all know Hollywood and the progressive media will protect its own and they cannot criticize a LGBTQ film without being homophobes according to their own standard of rules. Here’s the reality.

By casting these characters as heroes—putting aside “drama” to unleash their “distinct abilities” against the horde—the film inverts making abomination look empowering, communal, even sacred. Drag shows as temples of excess? Effeminate men in stripper garb dishing “gurl” shade and brazen gags (penis pastries oozing cream, Kesha blasts mid-fight)?

It normalizes what Scripture condemns: “men with men working that which is unseemly” (Romans 1:26-27; 1 Corinthians 6:9-11), presenting vile affections as clever, crass humor.

Barry, the straight plumber, comes off boorish on LGBTQ topics—vilifying biblical views as backward while heroic queers bond through “friendship” (code for lust-driven ties). No repentance, no judgment—just pride triumphant, “bury your gays” tropes subverted into victory.

This reeks of ancient cults like Ishtar’s (Ashtaroth in Scripture): goddess of sex, war, fertility, served by cross-dressing priests (galli) engaging in temple prostitution and same-sex acts. Here, drag “priests” in a club-“temple” battle like her war aspect, celebrating sexual freedom as divine.

Every frame screams depravity: gross sexual gags, unashamed immorality, meant only for those proud in it. Watch ten minutes—you’ll see a world drowned in disturbing perversion, targeted at insiders who revel in it.

Queens of the Dead know their audience: the narrow gate isn’t for them and this film isn’t for you. It’s not entertainment; Hollywood’s broad path leads to destruction and when you see the common denominator on that path, believe them when they show you.

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