2 minute read
California
THE SUCCESS OF “POSE,” WHOSE THIRD
and final season aired this year, lies in its ability to do multiple things at once. Yes, it’s a record-breaking, trailblazing series that paints a detailed picture of New York City’s 1980s ballroom scene. But it’s the series’ hyperfocus on its characters—played by a cast that, for the first time in scripted TV history, included multiple transgender women of color—that makes it feel intimate despite the crowd.
And damn, is it a crowd: the looks, the struts, the vogue-the-house-down slays. The FX drama from Steven Canals, Ryan Murphy, and Brad Falchuk is cast by Alexa L. Fogel to near perfection, from the top of the call sheet to the unnamed background characters.
Blanca Rodriguez (Michaela Jaé Rodriguez) is the matriarch of the House of Evangelista, tenderly mothering poor, queer kids of color in Manhattan. But she isn’t all softness; her anger, sadness, and desperation are also in crisp focus, and they make Blanca a compelling centerpiece for this series.
Making up the rest of the Evangelista clan are Indya Moore as sex worker and aspiring model Angel, Ryan Jamaal Swain as burgeoning dancer Damon, Angel Bismark Curiel as the wily Lil Papi, and Dyllón Burnside as the resourceful Ricky. The chemistry among this makeshift family is tangible, with each bringing their own essence to the show’s already well-formed dynamics.
Meanwhile, a deliciously wicked Dominique Jackson plays Elektra, the cutthroat mother who leads various rival houses; she’s the yin to Blanca’s yang. Where the former prioritizes securing her chosen children’s lasting success outside of the ballroom, Elektra lives to serve only her ego. Yet by the time she rejoins House Evangelista, Elektra’s dominance over her many children (Jason A. Rodriguez, Hailie Sahar, and the brilliant Angelica Ross among them) changes into graceful submission, showcasing that Jackson does, indeed, have range.
As sharp-tongued ballroom emcee Pray Tell, Billy Porter comes out swinging and never lets up; he’s a veteran of the scene who is fighting his own battle with HIV. The Emmy winner has standout moment after standout moment on the show, including the heartbreaking realization of his positive status, and later, musical performances that remind us why the theater veteran is now one of Hollywood’s biggest stars. The final season—particularly the finale—had us in tears as fan favorites Blanca and Pray Tell navigated life with HIV/AIDS, and as Pray ultimately—spoiler alert—succumbed while prioritizing those around him by entering a clinical trial testing new medications.
Big-picture issues like gay rights, drug abuse, and the HIV/AIDS epidemic are woven throughout the series, but the true baseline of “Pose” is the group of people that its creators grant us the space and time to get to know. Despite nearly a dozen actors appearing in almost every episode, their intimate storylines push “Pose” beyond voguing and flashy costumes. Gaudy in just the right places, the series is heartfelt without being saccharine and meaningful without being didactic.
“Pose” is something to be celebrated; it stands out in the prestige TV landscape as a source of joy and entertainment. By the end of it, you’ll want to do all of the things the show breathily demands of its audience at the top of every episode: Live! Work! Pose, baby!
