Ten years of filth, horror and glamour, and the Boulet Brothers are still raising hell. Before “The Boulet Brothers’ Dragula” became a global phenomenon, Dracmorda and Swanthula Boulet built their following in Los Angeles’ underground queer nightlife scene, launching a horror-infused drag pageant at the now-defunct Faultline leather bar in Silver Lake. Now, with Season 7 premiering Oct. 27 on Shudder and AMC+, the Emmy-nominated horror hosts are celebrating a decade of exterminations and gloriously twisted television. The new season channels the grainy VHS aesthetic of ’80s horror, with campground massacres, Troma-inspired challenges and a soundtrack featuring Sisters of Mercy, Siouxsie and the Banshees and Ministry. And their legendary LA Halloween Ball returns for its 26th year, still built on that same DIY spirit that once turned egg beaters and fans into animatronics overnight. With Poppy headlining, it’ll be killer — all proving the Boulet Brothers have no plans to rest in peace.

Stephen King’s “Carrie” returns in a new TV adaptation, now streaming on Prime, from filmmaker Mike Flanagan, who revisits the story of a bullied teenage girl discovering her telekinetic powers amid social media, viral humiliation and a culture of normalized cruelty. Starring Summer H. Howell as Carrie White and Samantha Sloyan as her mother Margaret, the series offers a contemporary take on King’s 1974 novel. When the homeschooled Carrie attends public school for the first time, her classmates turn a vulnerable moment into a viral spectacle, showing how online harassment can follow someone long after they leave the classroom. The series also explores the TK gene, connecting Carrie to a lineage of powerful women, and every episode Flanagan didn’t direct was helmed by a woman: Kate Siegel, Axelle Carolyn, Hiromi Kamata and Kyra Sedgwick. Both Flanagan and Stephen King were skeptical about revisiting the author’s first novel, until King saw the plan. “Actually, I really like this,” Flanagan recalls him saying. “I think this could be very, very relevant.” laweekly.com/the-power-of-ca…

For Alison Wonderland, slowing down has never really been part of the plan. The Australian-born, Los Angeles-based producer and DJ has spent more than a decade building a career in dance music, while raising two kids, touring globally and running her own label, FMU Records. Now, she’s entering a new chapter: releasing music entirely independently and reclaiming ownership of her creativity. “I’ve never been able to own my own music,” she says. “It would be really nice to have ownership of my creativity again.” That independence comes with pressure, but Alison Wonderland says she knows what she wants, and what she doesn’t. After years of fighting to be taken seriously, she’s still driven by the same restless instinct that has pushed her career forward. “I’m sick of trying to prove myself. That’s probably my biggest insecurity.” laweekly.com/alison-wonderla…

Isaiah Rashad has spent the past decade being asked to explain who he is, where he fits and what comes next. These days, his answer is simpler: “I’m just a dude.” In between legs touring his new album “It's Been Awful” he returns to Los Angeles for The Anniversary Show at YouTube Theater, next Tuesday, Sept. 29, honoring 10 years of his studio debut “The Sun’s Tirade” and celebrating over a decade of music, growth and devoted fans. At 35, Rashad is continuing to figure out what he’s learned along the way. He talks about the pressure of being put on a pedestal, sobriety, fatherhood, Chattanooga, Los Angeles and the role of family in keeping him grounded. He also explains why these days he’s more interested in making a table, cooking a meal or finding somewhere with fireflies than building a mythology around himself. laweekly.com/isaiah-rashad-i…

Alice Bag has spent nearly 50 years making music and creating space for women, Chicanas and people who have often been excluded from rock. Born and raised in East Los Angeles, Alice became the frontwoman of The Bags in 1977, emerging from LA’s first punk wave. She became a teacher, author and archivist, maintaining the “Women in L.A. Punk” digital archive since 2004 and documenting her experiences in her memoir, “Violence Girl.” On Sept. 9 at the Wiltern, the Alice Bag Band played its final show, opening for Bikini Kill. While that chapter is closing, Alice has several projects ahead, including a new record with Juanita & Juan and a punk operetta with Kathleen Hanna, Adele Bertei and Andrew Springer. For Alice, community remains central as the resistance continues. “Shows are places where you can refuel and reaffirm your sense of community,” she says. “It’s gonna be a long fight, so we got to hang together and take time to renew our strength.” laweekly.com/alice-bag-retir…

Swords, steel and 800 roaring fans — The Armored League made its West Coast debut last Friday, Sept. 4. The sold-out TAL 21 brought full-contact armored combat to the Ukrainian Cultural Center, with fighters wielding blunted swords, axes and polearms alongside shields, punches, kicks, elbows, knees and headbutts. The fighting isn’t scripted, and the clanks are piercing. The night ended with an all-LA final between Nathaniel Gaston and Ronin Sato, both members of local club LA Golden Knights. Gaston took the win, earning an Armored League title and cash prize. Founded in New York City in 2024 by Anthony Rafes, Damion DiGrazia, Pedro Navarro and Scott Litts, The Armored League has grown from small local tournaments to events featuring international fighters from across the globe. Following the sold-out LA debut, the League is making plans to come back even bigger. laweekly.com/the-armored-lea…

Trash cans, explosions, confetti, dancing, a 25-minute side quest, someone getting killed. Somehow, this is “Stamptown.” Zach Zucker and Co's clown variety show started in the basement of a gay bar in Edinburgh, where the guys flyered in suits and performed for zero to three people a day. Ten years later, it’s on Netflix. The special, taped at the Montalbán during Netflix Is a Joke Fest, crams hours of comedy into 59 minutes — hilarious, daring, horny, and at times both profound and deviant levels of stupid. Onstage, “Stamptown” can resemble total anarchy. Behind the curtain, its operation is more like a football game, built around performers taking real risks every single night. Chad Damiani calls it “the standard.” Courtney Pauroso calls it “the clown phenomenon that it is today.” And Zach? “This is all of our win.” laweekly.com/why-zach-zucker…

For more than a decade, Dahi has helped define the sound of other artists. From Kendrick Lamar’s “Money Trees” and Travis Scott’s “90210” to work with SZA, Drake, Madonna and countless others, the Inglewood-raised producer has spent years behind the boards, winning the Best Rap Song Grammy for 21 Savage and J. Cole’s “a lot” in the process. Now, he’s stepping into the center with “Black Boy (Alternative),“ his debut album as Dahi, out tomorow, Aug. 28. The 11-track album brings together Kendrick Lamar, Childish Gambino, Vince Staples, Ravyn Lenae, Moses Sumney, Channel Tres, Amber Mark, Fousheé and more, in a genre-agnostic triumph/sensation that draws from the hip-hop, R&B, rock and West African sounds that shaped his upbringing. The album took 12 years to develop, partly because Dahi had to figure out what his own voice sounded like, finally coming together upon this realization: “I really need to honestly make this album for me and not really care about anything outside of that.” laweekly.com/dahi-in-and-out… ✍️ Mark Stefanos 📸 Marissa Blair Barrington Darius

Palisades Village reopens laweekly.com/getting-social-…

P-Lo’s sixth solo studio album “OUT THE BOX” arrives today, Aug. 14, after more than a decade of establishing himself as a producer, artist, entrepreneur and advocate for the communities that shaped him. Across 16 tracks, the album gathers the knowledge of production and solo work into one intentional project, with guests including Killer Mike, SadBoi, Kreayshawn, 1Umbrella and SOBxRBE. Throughout his career, P-Lo, who splits his time between LA and the Bay Area, has remained deeply connected to the Bay, carrying its sounds and culture into his work while helping create opportunities for the next generation of artists. “I never really wanted my music to not sound like I’m from the Bay,” he says. “People want to say, ‘Oh, the Bay sound doesn’t translate.’ But I know it does. I know these tempos and these sonics translate across the world.” “I feel like we’re always five to 10 years early on a lot of things,” he adds. “And that’s cool. That’s our contribution to the sphere of the world, in the world of music.” laweekly.com/both-sides-of-t…