In the neon-lit corridors of Hamburg’s Reeperbahn, Olivia Jones is more than a performer; she is a landmark. For decades, the towering drag queen has served as the glittering heartbeat of the St. Pauli district, evolving from a provocative nightlife act into a respected cultural icon who has rubbed shoulders with Angela Merkel and addressed the German public during the Eurovision Song Contest. Now, that larger-than-life legacy is being translated to the screen in a high-production ZDF biopic, marking a pivotal career leap for the actor tasked with stepping into those formidable high heels.
Johannes Hegemann, a 29-year-old powerhouse of the stage, takes on the role of Jones in the film Olivia, scheduled to air May 13 at 8:15 p.m. On ZDF. For Hegemann, the project represents his first lead role in a television film, a challenge that requires more than just a wardrobe change. It is an exercise in psychological and physical alchemy, transforming a classically trained theater actor into a woman who defines the particularly concept of “spectacle” in Northern Germany.
The film, directed by Till Endemann, is based on the 2021 autobiography Ungeschminkt – Mein schrilles Doppelleben (Unmasked – My Gaudy Double Life). While the world knows the sequins and the towering wigs, the narrative focuses heavily on the man behind the makeup: Oliver Knöbel. Through Hegemann’s performance, the film explores the friction between the vulnerability of a young man in the conservative province of Lower Saxony and the armor of a drag superstar in the urban chaos of Hamburg.
The Architecture of a Transformation
The physical transition from Hegemann to Jones was a grueling process of precision, and endurance. Each filming day began with a 90-minute transformation sequence, a ritual of contouring and costuming designed to erase the actor and summon the icon. However, Hegemann argues that the true work happened long before the makeup brushes touched his skin.
To capture the essence of Jones, Hegemann immersed himself in the “trashier,” less polished era of the 1990s. He studied archival footage from the early days of the Hamburg drag scene, noting that the empowerment of that era was rooted in a raw, subversive energy rather than the polished glamour of modern drag. This preparation extended to the physical: Hegemann spent hours walking in high heels to master a gait that was simultaneously “smooth, sexy, and graceful.”
“I didn’t let the scale of it get to my head,” Hegemann reflected during a walk through the Kiez, past the various bars owned by Jones. “I simply had this intense desire to play with the change—both externally and in terms of character.”
Crucially, Hegemann drew a distinction between “Olivia” the persona and “Olli” the person. By spending time with Oliver Knöbel personally, he was able to internalize the human being beneath the artifice. This nuance is central to the film’s emotional core, ensuring that the character is not played as a caricature, but as a living, breathing individual.
From Provincial Trauma to Political Acceptance
The screenplay delves into the darker chapters of Knöbel’s early life in Springe, Lower Saxony. The film portrays a youth defined by rejection and instability, highlighting the cruelty of classmates and teachers, and a fractured relationship with a father who embezzled over a million marks before fleeing to Brazil. These moments of isolation serve as the catalyst for the creation of Olivia, a persona that allowed Knöbel to reclaim power over his own narrative.
One of the film’s most poignant arcs is the relationship between Oliver and his mother, played by Annette Frier. Frier portrays a woman caught in a painful tug-of-war between maternal love and a deep-seated inability to understand her son’s identity. The film tracks this slow, often agonizing journey toward acceptance, culminating in a moment of reconciliation that Hegemann describes as one of the most moving sequences in the production.
The trajectory of Olivia Jones’s life, as depicted in the film and verified by her public record, is a study in social ascent:
| Era/Year | Milestone | Significance |
|---|---|---|
| 1990s | Hamburg Debut | Transition from provincial life to the St. Pauli drag scene. |
| 2017 | Federal Convention | First drag queen invited to the election of the German Federal President. |
| 2021 | “Ungeschminkt” | Publication of autobiography detailing her “double life.” |
| 2024/25 | ZDF Film “Olivia” | Mainstream cinematic portrayal of her life and struggles. |
A Rising Star in the European Circuit
While Olivia is his first TV lead, Hegemann is far from a novice. His career began with a “luxury choice” after studying in Zurich and Rostock, where he was recruited by both the Thalia Theater in Hamburg and the Berliner Ensemble. He chose Hamburg, becoming a mainstay of the Thalia ensemble until 2025.
His versatility has already caught the attention of some of the most rigorous directors in contemporary cinema. In 2024, he appeared in Andreas Dresen’s In Liebe, Eure Hilde, a Berlinale entry focusing on communist resistance during the Nazi era. He also featured in Kirill Serebrennikow’s The Disappearance of Josef Mengele (which premiered at Cannes) and Ildikó Enyedi’s Silent Friend, which competed at the Venice Film Festival alongside stars like Léa Seydoux.
Critics and collaborators often point to a specific duality in Hegemann: a mixture of “big-boy charm” and a fragile, quiet seriousness. It is this ability to pivot between strength and vulnerability that makes him a fitting choice for the role of Olivia Jones—a figure who is simultaneously a fortress of confidence and a survivor of deep personal loss.
As the May 13 broadcast approaches, the industry will be watching to see if Hegemann can translate his stage prestige into a television triumph. The film promises to be more than a biography of a drag queen; it is a chronicle of the courage required to be seen in a world that often prefers the mask.
For more information on broadcast schedules and availability, viewers can visit the official ZDF website.
Do you think the screen can ever truly capture the energy of a live drag performance? Share your thoughts in the comments below.
