The unique visualities of Pride parade have been strategically used for political activism but also considered as a tool attracting audiences from broader society. While Prides’ intense commercialization being normalized globally, its potential socio-political outcomes tend to be ignored. This study examines recent Sydney Gay and Lesbian Mardi Gras’ (2020) festival program visuality employing intersectionality as a concept, to critically analyse the organizer’s perspective of the festival. It is thus a conjunction of two different fields: Event studies and Queer theory, to discuss political issues surrounding a Pride festival. By creating and analysing total of 375 LGBTQ character diversity intersections out of 137 persons represented in the program, this study affirms an assimilation of the conventional homonormativity onto the festival visuality and event settings. This includes disproportionately large image portrayals of specific group mainly described as able-bodied young White cisgender male; many of the planned events are also analysed to be representing their interests. The pattern of homonormative depiction is seemingly inherited to other groups (e.g. lesbian, transgender) creating a contemporary form of LGBTQ-normativity. The social events out of various planned events are particularly striking when it comes to the homonormative pattern where also maintains excessive pricing strategy. This is further explained with the festival organizer’s focal interests on economic gains through a qualitative analysis. The findings indicate a temporal disparity between the organizer and the movement body regarding identity politics, which thus implicates the festival’s existence as a tourist attraction rather than a social movement. Commercialized Pride festivals create paradoxes of assimilating heterosexual interest in queer spaces as attracting audiences from broader society. Its potential socio-cultural meaning has been discussed.