Greta Thunberg’s Sister Beata MonaLisa Does The Splits

Some months ago, while doomscrolling, I came across a video of a girl tearing the fuck out of Whitney Houston’s “I Will Always Love You.” Watching her felt like chasing one of those slippery water snake toys that shoots out of your hands, or fancying a straight boy: elusive, yet addictive. The absurdity of her delivery was underwritten by perfect vocal technique. I couldn’t look away, binging more and more content. Her page was a sweaty fever dream—the love child of high-camp Xtina and an Edith Piaf drag queen. I needed to know who she was. After some light googling, it was revealed that Beata MonaLisa, AKA Bea, is… Greta Thunberg’s younger sister. But if the internet offers you that fact first, Bea herself is intent on making it the least interesting thing about her. At just 20 years old, MonaLisa is already an unstoppable force. Fearless in both character and performance, she’s carved out an identity worlds apart from her sister’s clean-cut activist image. She has grown from the ashes of the press storm that was her childhood into a superstardom all her own. Already heralded as a gay icon, the singer/dancer/model/actress/producer/writer/choreographer sat down with me over Zoom just as she was putting the finishing touches on her first studio album.

SUNDAY 7 PM, MAY 31, 2026 STOCKHOLM

———

PARKER: Where are you?

BEATA MONALISA: In my apartment in Stockholm.

PARKER: When I last called you, I was dripping with sweat.

MONALISA: I am right now. It’s the warmest day of the year. I came home dizzy. I can’t complain because I hate winter.

PARKER: I need to not moan about summer.

MONALISA: I need to learn to live in the moment and be happy.

PARKER: I’m so glad you got your Instagram back.

MONALISA: I was freaking out. It was gone for a day and my friends were calling me like, “Did you get kidnapped!?”

PARKER: Oh shit. I was selfishly angry because I couldn’t binge-watch your content.

MONALISA: That day I went swimming with my father, he drove me home and I thought, “Wow, that was such a nice day. I don’t need social media ever again.” Right that second, I got the notification it was back. I was like, “Just kidding. It was just a test.” It was the AI robots I think.

PARKER: I’m imagining some evil guy blocking you.

MONALISA: Some evil, old, straight man. Usually the people who are in power positions, unfortunately.

PARKER: Well, welcome back to the internet.

MONALISA: Thank you. Are you in your house?

PARKER: Yes. I actually went partying last night and got home early this morning. 

MONALISA: I’m also a night owl.

PARKER: Did you go out this weekend?

MONALISA: No, I was too busy with the internet drama. I usually go to Backdoor, Scandinavia’s biggest gay club.

PARKER: Always the same place?

MONALISA: Always.

PARKER: That doesn’t happen here because London’s too big.

MONALISA: I was there last summer. I went to Duncan? Club Duncan? A gay bar. Oh, Admiral Duncan. I loved it. It was my first time going to a bar.

PARKER: Ever!? And you went to the Admiral Duncan in Soho. Love.

MONALISA: Is that weird or?

PARKER: It’s not weird, it’s fun.

MONALISA: I saw Beyonce in there.

PARKER: WHAT!?

MONALISA: She wasn’t in London, she was—

PARKER: But you didn’t see Beyonce in the Admiral Duncan!?

MONALISA: No, no. In concert.

PARKER: Ok, my brain almost imploded. 

MONALISA: Out of the artists who are alive, she’s my number one. I was on the floor crying and the security thought I’d fainted.

PARKER: I only like dead singers too.

MONALISA: It sounds so weird. It’s insulting. I have a Marilyn picture here.

PARKER: Tell me who you love that’s dead?

MONALISA: Okay, let’s talk about dead people. Michael Jackson is the only artist that has no bad songs. 

PARKER: The first video I ever saw of you was your Whitney Houston “I will Always Love You” cover. Someone posted it as the “cursive singing final boss.”

MONALISA: What does that mean?

PARKER: You know how cursive letters are curly? So many British people sing like, “eehrrrhrrhrr yeararrrr.”

MONALISA: Oh yeah. “Erererrrhrhhrhhrhh yararrrrrrrrr.”

PARKER: Then I deep-stalked you. Whitney, Edith Piaf, Dreamgirls, everything that’s really exhausted. You ripped them to shreds and took them somewhere new. I thought that was really impressive.

MONALISA: Thank you. The Whitney video went viral. There was a rumor in America that it was AI. At first, I was offended, but then I took it as a compliment. People were fully convinced. There was a lot of hate as well.

PARKER: That means you’re doing well.

MONALISA: A producer actually called me and said “I saw how much hate you got, so I want to work with you.” It means you evoke emotions in people.

PARKER: Will you say yes?

MONALISA: Probably. I have my main producer in Sweden who I’ve been working with since I was 13. He’s like a father figure. He’s playing the piano in that video.

PARKER: Where did you film it?

MONALISA: Musikaliska Kvarteret, the oldest music hall in Sweden. Einstein received his Nobel Prize on the same stage. I was singing there the week before. The crowd was so loud the boss said, “Why don’t you borrow it for a night and make some material?”

PARKER: That’s literally the dream.

MONALISA: I didn’t even plan it. The fact it got such a strong reaction when it wasn’t even polished.

PARKER: But that’s why it did, because it feels authentic and AI at the same time.

MONALISA: Nowadays, there’s so much AutoTune.

PARKER: Altitude? Like when you’re high up in a mountain?

MONALISA: Sorry, I’m talking American. [British accent] AutoTune.

PARKER: Ohhh. [Mock-British accent] AutoTune, darling.

MONALISA: I decided to never use it. I record everything live. I like it brutal and raw.

PARKER: I feel like you came out of the womb singing.

MONALISA: I started dancing when I was three and singing when I was seven. I performed in shows at school and everyone thought I was annoying. I was bullied by everyone.

PARKER: In the words of Jessie J, who’s laughing now.

MONALISA: Now, the bullies follow me. They’re like, “We went to school together.” I’m like… 

PARKER: No. Cancelled.

MONALISA: Exactly.

PARKER: Did you legally change your name to MonaLisa…?

MONALISA: I was born with it. It’s from my grandma Mona and great grandma Lisa.

PARKER: That’s iconic. Can we talk about your family? Can we talk about Greta…?

MONALISA: I’m not responsible for other peoples lives.

PARKER: Ok, understood. Are you classically trained?

MONALISA: No. I went to a classical music school, but I didn’t enjoy it. I was in to pop music.

PARKER: But you have so much vocal control?

MONALISA: I’m self-trained. I was cast as Edith Piaf and I played that role for five years, from 12 to 17. Imagine singing her songs every single day for five years. 

PARKER: Everything makes more sense now with your recent cover of “Hymne à l’amour.”

MONALISA: It’s my favorite song. The most beautiful and the first I ever sang on stage, so it has a deep emotional connection.

PARKER: In the same way as Whitney, you took on Edith and completely fucked it up. It’s so brave. 

MONALISA: Music gives me the confidence.

PARKER: Are you recording your album yet? 

MONALISA: I’m finishing it.

PARKER: #excited.

MONALISA: I’ve been working on it since I was 13. I keep coming back and changing things. There are nine songs, seven are finished.

PARKER: You write everything?

MONALISA: Completely by myself.

PARKER: Some you wrote at 13? I couldn’t sit with something that long. It would send me loopy.

MONALISA: They’ve evolved. I’m a perfectionist.

PARKER: How do you know when something’s finished?

MONALISA: When my producer says, “Shut the fuck up, Bea. I can’t take anymore!” You have to learn to be satisfied.

PARKER: When I read something I wrote last week, it feels so different. I’m like, the weather’s hot now, it’s got to be different. Time has such an effect on things.

MONALISA: You’re like, “I’ve matured.”

PARKER: I’m gagging to hear the album, when will it be finished?

MONALISA: Hopefully, this year.

PARKER: Are you keeping it secret?

MONALISA: No. It’s a clear message. Pro-queer, anti-macho.

PARKER: Are you queer?

MONALISA: No, but my fan base is. I was invited by the host of Drag Race Sweden, Robert Fux, to sing at a queer event. It was the best night of my life. I felt like I was accepted as an artist for the first time. It was thanks to the queer community. I wrote a tribute song in the taxi home called “You’re the Upgrade.”

PARKER: So, you’re already a gay icon.

MONALISA: If they say so.

PARKER: The other day you posted, “When I sing, straight men’s fragile masculinity is exposed.” Tea.

MONALISA: I have many straight male producers who tell me how to sing. They want to feel like they’ve taught me. A loud, young female is very provocative, especially to them because they want to have control. The album’s about the freedom of identity and empowering women. I have a song coming out where I make fun of Trump.

PARKER: Your Instagram’s going to be deleted again. I. want. music. videos.

MONALISA: I’ve never made one. I have so many ideas already.

PARKER: I saw a drag queen had performed your song, which for me means you’ve made it. I was watching the Kylie Minogue documentary on Netflix. She was attacked by the press, and her manager took her to this drag show where all the drag queens dress up like her, and she was like, “Okay, I’m fine. Everything’s ok.”

MONALISA: I felt the same. I was sad about the Insta ban and thought I had to start over. I have another private account that I used to stalk my ex. I went on to one of my fan pages and they had posted that video. I felt validated by it. Drag queens have high standards, they don’t accept anyone.

PARKER: What does success look like for you?

MONALISA: Maybe it’s a feeling. You can be worldwide famous and not feel accepted, or you can have a small fan base and feel very successful. 

PARKER: Do you want worldwide fame?

MONALISA: I think so, but it’s more important to have fans who understand you.

PARKER: I feel like you have that already.

MONALISA: They’re very specific. They have the same interests, the same way of dressing, the same humor. I’m very sarcastic

PARKER: Me too. I’m British. Of course I’m sarcastic.

MONALISA: [British accent] Yor Bri’ish?

PARKER: [high camp British accent] Oi’m Bri’ish. Af cawse oi’m sarcastic.

MONALISA: WAH A. [American accent] Wah-der

PARKER: [American accent] Wahdur.

MONALISA: Oh, my god!!! Oi loive a Bri’ish accen’, mayte.

PARKER: Awroight, mayte.

MONALISA: I have a British friend who makes fun of my accent. Bo’w’er. B’w’. Bwuh. [glottal stop noises] Do you know any Swedish?

PARKER: None.

MONALISA: Nothing?

PARKER: I know ABBA.

MONALISA: You know Ikea.

PARKER: Ikea every day.

MONALISA: I’ve probably been once. It’s so boring. It’s like a sleeping pill.

PARKER: Can you teach me something in Swedish? 

MONALISA: Vattenflaska.

PARKER: Vattenflaska.

MONALISA: Water bottle.

PARKER: Bata o’ wawa.

MONALISA: Someone said if Stranger Things was British, it would be Bit Odd, Init?

PARKER: You should be a comedian too.

MONALISA: I don’t have the confidence to speak on stage.

PARKER: What do you mean!

MONALISA: I get really nervous in between songs where you have to speak. I’m like, “So…how are you doing?…”

PARKER: I think you could boss it.

MONALISA: I have the worst patience in the world.

PARKER: Me too. 

MONALISA: I’m worse than you.

PARKER: Probably. Because I grew up without a phone. I have some pre-tech brain space, but I’m burning through it on the brain rot these days. The super sloppy shit. Do you use AI? Actually, that’s so boring. I’m not going to speak about that.

MONALISA: I don’t anymore. I used it to translate things because people write to me in different languages, but I don’t even speak Swedish anymore. All of my friends are from other places.

PARKER: Where?

MONALISA: Mostly Iran, actually. My godmother is from there. She’s a comedian. Her family is my second family, so I’m surrounded by Iranians. And then many Latinos, French, and Turkish people. There’s a Scandinavian social law called Jantelagen, which says no one should stand out more than someone else. If you stand out, they treat you like a criminal. It’s really bad, especially for artists.

PARKER: Is it enforceable?

MONALISA: Not really. But Swedish people think I’m too loud.

PARKER: You should come here. They’ll love you here.

MONALISA: I want to.

PARKER: I take it for granted.

MONALISA: I take Sweden for granted. It’s a very safe country. People come here to hide.

PARKER: I’m looking to hide.

MONALISA: Haha we can switch apartments.

PARKER: What’s next for you?

MONALISA: Remixes of my first single “I Found Your Father’s Gun.” It was everyone’s favorite. Did you like it?

PARKER: I was obsessed.

MONALISA: What did it remind you of?

PARKER: Nothing, but that’s why you’re so good. You’ve found singularity in a world that’s commodified and homogenous. Even in just the way you use your voice. How did you manage that?

MONALISA: You can work it out and tell me. Time moves so fast.

PARKER: I know.

MONALISA: Imagine if you hadn’t pressed record.

PARKER: Don’t put that into the universe.

MONALISA: I’ve recorded songs before and the voice disappeared.

PARKER: Oh, no.

MONALISA: Oh, nurrrrr.

PARKER: My hair’s getting crazy. It’s the heat. Why is it growing?

MONALISA: I love your hair. It’s so…freak. You don’t give a fuck. You know what I mean?

PARKER: I’m pretending to not give a fuck.

MONALISA: I also give a fuck.

PARKER: I think you’re better at pretending not to.

MONALISA: On stage, I give no fucks. Off stage, I’m more sensitive.

PARKER: Why does the stage do that?

MONALISA: Growing up, I saw artists be really nice on stage, then come off and be rude to people. I thought it was so fake, so I flipped it. Off stage I’m humble and sensitive. On stage, I’m rude. You have to make a character so if Bea gets critiqued, it doesn’t feel personal.

PARKER: I need to work on my character.

MONALISA: Your alter ego? Do you have one?

PARKER: Maybe a mini one.

MONALISA: Maybe when you’re drunk.

PARKER: I have to navigate spaces full of rich people and celebrities. In those environments, I’m definitely different. I normally go for mysterious British boy. I don’t say much, but I love being naughty.

MONALISA: Most journalists aren’t very naughty. 60-year-old journalists are so stuck in their ways.

PARKER: A lot of young ones too. The same people run everything, so if you write something naughty or bad you won’t get invited or hired again. It’s a death spiral. I thought you hated me for posting you on my story as Greta Thunberg’s sister…You were like, “My name’s Bea…[sarcastic smiley face]” I was like [imitates hyperventilating].

MONALISA: No, no, no! I was just introducing myself. I put the smiley because I wanted it to be cute. You said something nice about musical theatre?

PARKER: Okay, phew. I was just being anxious. Yes. I dream cast you as Roxy Hart in Chicago with Jinx Monsoon playing Velma Kelley. If any Broadway casting directors read this, please make it happen. So camp. So good.

MONALISA: I love Dirty Dancing.

PARKER: My mum got with my dad because he looked like Patrick Swayze.

MONALISA: A lot of musicals are very High School Musical-esque. For me, it’s a little cliché. I need drama.

PARKER: [Sings] I gotta go my own way…

MONALISA: I do know all the dances from High School Musical though.

PARKER: We’ll have to perform them together

MONALISA: Let’s go to a gay club when I come to the UK. 

PARKER: Can’t wait to go to the Admiral Duncan with you. Let’s get crazy.

MONALISA: I want to get crazy. I can get crazy without alcohol. I don’t drink.

PARKER: At all? We can go sober.

MONALISA: I’ve been kicked out sober for being too drunk.

PARKER: Well, that’s our goal.

MONALISA: To get kicked out from being too drunk—sober.