Raging Stallion Unleashes ‘The Devil You Know’

LOS ANGELES—Fun fact about Sir Peter: He loves scary movies. A lot. And while he wasn’t even alive in the 1980s, that doesn’t stop him from living them every day. “I’ve been obsessed with horror movies since I was a kid. I used to watch them with my grandma—classics like Friday the 13th, A Nightmare on Elm Street, Carrie and The Hills Have Eyes. I love that gritty ’80s slasher era; it’s my comfort zone,” gushes the star. “I’m also a big fan of the new wave of horror—films like Terrifier, The Conjuring series, and everything that’s bringing back that raw energy. But if I had to pick, ’80s horror will always be my golden age. Those movies are pure magic.” Considering the performer’s profession and the message those films often conveyed, that might come as a surprise. “I’ve always been drawn to that classic ’80s horror logic: If you have sex, you die. It’s absurd, moralistic, and brilliant in its own way. I wanted to bring that spirit into the 21st century—make it fun, current and unapologetically queer.” Enter The Devil You Know, a twisted tale from Raging Stallion just in time for the Halloween season. Sir Peter first talked to Falcon | NakedSword President and CEO Tim Valenti about the project during GayVN Awards week this past January in Las Vegas. “When I read Ben Rush’s script, I immediately wanted in,” Sir Peter says. “Being gay men who grew up watching horror movies, we have a deep love for the genre. Those movies shaped a lot of who we were as young queer guys. “I always rooted for the villain because I think villains are misunderstood. Nobody is just one thing—we all have a good side and a bad side. Sometimes we do questionable things for complex reasons, and that humanity fascinates me.” The Horrors of DatingThe project follows a new couple on a romantic trip to a remote town in Barcelona—where things aren’t as they seem. “The spark for The Devil You Know came from the unsettling idea that what we should fear most isn’t always hidden in the dark—it can be right beside us, smiling sweetly and holding our hand,” says Rush. “I wanted to examine the darker side of intimacy in the gay community, where charm and sexuality can act as masks, and where openness can become a dangerous gamble.” Rush wrote the script, and co-directed with Alter Sin. Devil also stars Leander, Paddy O’Brian, Samuel Hodecker, Jake Mathews, Adam Tyrant, a resurgent Ross Hurston and newcomer John Jai. “Dating, in this story, feels like walking through a haunted maze—every turn could lead to something thrilling or something deadly,” Rush shares. “How do you tell the difference between genuine connection and a carefully set trap? This film pulls back the curtain on that danger—the seductive snare dressed in leather and confidence, saying exactly what you need to hear.” Rush says that in the film, the link between horror and gay sex isn’t about shock value—it’s about shame. “For generations, mainstream culture has branded both as taboo, as something dangerous or corrupt. The film leans into that shared history of fear and repression, using it as the soil from which its horror grows. It’s not about portraying queer sexuality as monstrous—it’s about showing how society has already done that, and how that stigma still lingers in the dark corners of our collective psyche.” He says the story is rooted in the fear many LGBTQ+ people have been taught to feel—fear of their own bodies, their own desires—shaped by religion, patriarchy, and the politics of control. “We’re not equating queerness with evil; we’re interrogating the systems that ever suggested it was. The Devil You Know asks: What happens when you take those old, oppressive myths and turn them inside out—when horror and eroticism collide to reclaim what was once condemned?” Rush drew on some more modern horror films for inspiration, “films like The Invitation and The Lodge, both of which masterfully build tension through atmosphere, psychology, and isolation. What drew me to those movies is how they create horror not just from jump scares, but from human behavior—from trust, intimacy, and the slow realization that something isn’t right.” He notes that Devil takes those psychological and emotional ideas and filters them through a queer lens—exploring how desire, shame and vulnerability can become just as haunting as any supernatural threat. “Like those films, it’s not just about what’s happening around the characters—it’s about what’s happening inside them—literally and figuratively, I guess—and how the line between devotion and destruction starts to blur.” Sin notes that directing unease is about rhythm, suggestion and emotional misdirection. Rush adds that it’s also built through restraint—it’s what you don’t show, he stresses, that gets under people’s skin. “We used stillness, silence, and small moments that feel slightly off: a glance that lingers too long, a sound that shouldn’t be there. Visually, I like to blend beauty with threat—a comforting image that slowly starts to feel dangerous. And emotionally, it’s about empathy. When you care about the characters, every subtle shift feels like a warning. That’s where real unease lives—in the tension between trust and fear.” The Gruesome TwosomeTrust was a crucial element behind the scenes, as well. The project once again paired the directing duo, who also collabed on projects like Heart On and the Spain in the Ass series. As Rush often does when he has an idea, he called Sin right away. “We talked about trends in the horror genre and how this kind of story could be a metaphor for romance and dating in the current cultural landscape.” Over time, Sin notes, the story evolved into something much more psychological. The two spent time with the cast ensuring that everything was rooted in character motivation. “Horror without emotional grounding feels empty, and drama without tension feels flat,” Sin says. “When the audience connects to the characters on a human level, the horror becomes more profound—it’s no longer about the monster or the ghost, but about what those elements reveal in us. I’ve always gravitated toward psychological horror—the kind that seeps under your skin rather than jumps out at you.” Sin says that behind the scenes, there was a shared sense of purpose that made everything flow naturally—the atmosphere was one of collaboration and trust “Peter and Leander were the emotional backbone of the film. From the beginning, they both understood that this story wasn’t about external horror, but about inner conflict and fragility.” A Killer CastCasting Leander was a coup for the project, as the performer doesn’t do much studio work. But it wasn’t easy. “Tracking down Leander turned into quite the adventure,” shares Rush. “I reached out through every social platform imaginable, but heard nothing back. Determined not to give up, I contacted Derek Kage, knowing they’d worked together before, and asked if he could connect us. In hindsight, it might have been easier to get an audience with the King of England.” Three weeks later after a Zoom call, mission accomplished. “It was great to play a character I could really get into and have some fun with. I would love to do more studio work, scripted features, genre stuff. Life is a little hectic, so I’m often booked up with other projects when I get asked,” Leander says. “But if there’s an interesting idea, with a good writer and director, then count me in. Plus, the part was written with me in mind…after the call with Ben, I immediately knew I wanted to be involved.” And like Sir Peter, Leander drew upon his love of spooky cinema to embody his role—albeit from a different subgenre. “I really love the classic horror films that were bit camp, like the Hammer films with great British actors like Peter Cushing and Vincent Price. Lots of plastic bats and cardboard castles, but it was all about the shocks and the drama! Really fun stuff,” he says. “Then the ’80s had some amazing horror as well, when they started to make it a bit sexy. I remember watching The Lost Boys as a teenager, and the vampires were young and attractive—which is kinda standard now. But at the time, it blew my mind, like, ‘Oh, I wanna fuck the monsters, what’s going on?’” Lucky for Leander, he now gets to (spoiler alert) be the monster. “I love playing a villain. I was always a well-behaved kid—I did my homework, I helped old ladies cross the street. So it was super fun for me to take on an evil character and do all the things I’d never dream of doing in real life. It’s especially fun to play a character that’s pretending to be nice but is really evil inside. You have to show the audience that there’s something sinister going on, but without making it too obvious. Playing with subtle expressions and inflections. Then by the end when it’s all revealed, you get to really let go and be an absolute demon.” Like adult entertainment, Leander says, horror films tap into intense emotions—the thrill of being vulnerable, a bit of danger…things that get the heart racing. “Porn is a natural partner for horror because you draw from the same intensity and raw emotions,” he says. “But it’s also playful! You get to throw fake blood around and all those really fun movie-making things, before tearing each other’s clothes off and getting hot and horny. What’s not to like?” Sir Peter shares that an even scarier side of his hungry co-star came out behind the scenes. “I remember one funny moment when I got the pizza order wrong, and his Italian side came out—he was furious! I ended up eating the whole thing myself,” he says. “Working with him was a joy. We clicked quickly, and he’s one of those performers who elevates the scene.” An Unexpected TwistSir Peter was committed to authenticity for the project, and embodied method acting during the shoot. “I approached my character as an ordinary guy slowly corrupted by dark forces. To look the part, I even slept as little as possible during filming so I’d appear naturally exhausted. The shoot lasted four intense days, and we gave it everything,” he says. “The atmosphere was so good that I think you can actually feel it in the final film. The vibe reminded me of The Devil’s Advocate meets Get Out—stylish, eerie and psychological. I’m proud of all of us for that.” That exhaustion culminated in the film’s finale—a wickedly great time with an orgytastic climax. Sir Peter was able to unleash his dominant nature in the six-man group scene filled with surprises (hello, hot wax!) and memorable positions. “I like to take charge and keep the energy flowing; it usually happens naturally because that’s part of my personality,” Peter says. “In that finale, there were a lot of moving parts—literally! The wax sequence was intense but beautiful. Everyone was committed and in sync. By the end, we actually managed to have five guys climax one after another without a break—first time ever. That was a wild moment.” But the most shocking visual from The Devil You Know comes in the penultimate scene that releases digitally this week. It’s something fans probably never thought they would see: the very alpha, very aggressive Sir Peter bound and gagged. “I love that I can still surprise people!” Peter shares. “Usually, I’m not the one being gagged—but it’s fun to flip that dynamic. Sex should be about freedom, exploration and humor. Of course, my castmates will tell you I didn’t stop talking even with the gag on—it’s true. Acting with that restriction forced me to express more with my body, my eyes, my breathing. It was challenging, but I loved it.” And Rush enjoyed putting him in that situation. “He has this wicked way of ‘punishing’ me with roles that get people talking. And honestly, that’s the fun of it. You think you know Sir Peter, but you don’t—not yet.” Photos courtesy of Raging Stallion