How Pose Made Great Art Out of Excess With Wedding Episodes
Daniel D Addario, provided by
May 30, 2021
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Spoiler alert: Do not read this column if you have not seen the May 30 “Something Old, Something New” episode of FX’s “Pose.”
“Pose,” the FX series wrapping its three-season run in June, is a show that’s always been comfortable using exaggeration as a sort of wishful metaphor. Consider the show’s first episode, in which Dominique Jackson’s character leads a museum heist in order to ransack historical finery to wear at a ball. The characters, along with their show, use wit and ambition to procure clothes worn by royals, and redistribute them to Black drag artists and trans women. By bending reality, the show reclaimed the visual language of wealth and power. To mention that such a heist seemed unrealistic at best isn’t just not in the spirit of “Pose.” It is irrelevant to what the show was doing.
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Eric Liebowitz/FX
It was around the 20-minute mark of my sustained sobbing during last night’s
Pose that I realized I may not be able to objectively assess these final few episodes. Certain plot points? Ridiculous. Motivations? At times, nonsensical. Still, I’m so invested in these characters, I’m rooting for them on these journeys, no matter how wild the turns.
It’s a testament to the entire
Pose team, but Janet Mock in particular deserves credit for writing and directing this episode and masterfully weaving in character histories that keep the emotions grounded even when the story flies so far off the rails its floating above
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