The VMAs Was Gay, Chaotic, Campy, and We Need to Talk About It

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Published Sep 28, 2026

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The 2026 VMA really said, “You thought you were just watching an awards show?” Absolutely not.

We got Madonna reminding everyone why she’s Madonna, a George Michael tribute that had the gays emotionally seated, Taylor Swift giving us another relationship metaphor to dissect, and an opening that apparently involved laser-beam butt plugs. Yes, you read that correctly. Take a deep breath. Let’s unpack.

Madonna Took Us to Danceteria

Madonna opened the show with Sabrina Carpenter and Charli XCX joining her for a celebration of her own history and the club culture that helped shape her. The performance also featured appearances from longtime collaborator Debi Mazar and Julia Garner, the actor associated with Madonna’s long-discussed biopic project.

But the references went deeper than a parade of famous faces.

 

 

Madonna brought elements of Lou Reed’s Walk on the Wild Side by sampling the song. Those choices connected her pop spectacle to the downtown New York art and queer scenes that surrounded her early career. Basically, Madonna gave the children a crash course in Danceteria. Take notes.

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And because this is Madonna we’re talking about, the camp didn’t stop onstage.

One particularly fun detail was happening behind the camera. At one point, the cameraman capturing the performance was serving his own little fashion moment, wearing red-bottom heels, thigh-high sheer stockings, and a cheeky harness. Because apparently even the person filming Madonna had to understand the assignment.

 

And Then George Michael Happened

This is where the VMA really got us in the feelings.

George Michael gave us a number of songs that became part of the cultural zeitgeist: Careless Whisper, Faith, Father Figure, Freedom! ’90, and, of course, the Wham! classics that have been haunting every Christmas playlist since forever.

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The tribute brought together Sombr, RAYE, Teddy Swims, and Adam Lambert, with MNEK, Meek, and Saint Harison joining Lambert for Freedom! ’90. And Adam Lambert? Surprise!

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His appearance wasn’t part of the initial announcement, making his entrance particularly delightful for queer viewers who wanted someone who could bring a little of Michael’s spirit and theatricality to the moment.

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Sombr opened with Faith and Father Figure, wearing an actual black Harley-Davidson jacket Michael wore during his 1988 Faith tour. According to Vogue, Michael also wore the jacket in his famous Diet Coke commercial.

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RAYE followed with I Knew You Were Waiting, while Teddy Swims took on Careless Whisper.

It wasn’t just a greatest-hits medley. It felt like a younger generation physically stepping into Michael’s music.

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READ: The VMAs Are Celebrating George Michael, But Something Feels Missing

Taylor Swift, Please Stop Making Us Investigate

Then there was Patient Zero, which understandably caught queer ears because of its medical language and a title carrying significant historical weight in conversations surrounding the AIDS epidemic.

But the song itself is about a toxic relationship. Swift explained that the idea came from hearing about an ex’s new girlfriend reaching out to his former partner for insight into his behavior. The “patient zero” metaphor refers to being the first person to experience the damage of that relationship, not HIV/AIDS.

And yes, the distinction matters.

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Madonna Also Collected Seven Moon People

Because apparently opening the VMA wasn’t enough.

Madonna finished the night with seven awards, including Artist of the Year, Best Collaboration for “Bring Your Love” with Sabrina Carpenter, and Best Dance for Confessions II – The Film.

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So, George Michael tribute? Check.

Madonna history lesson? Check.

Cameraman serving thigh-high stockings and harness? Check.

Laser-beam butt plugs? Somehow, also check.

Honestly, the VMA gave us enough pop culture to keep the group chat employed for another week.

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