Click For Photo: https://media.wired.com/photos/5d26714c0eb6cd000866e1cd/191:100/pass/culture_dof_pose.jpghttps://twitter.com/PoseOnFX/status/1149051167311196160
Death stalks just about every nook, crevice, and corridor of Pose’s fourth episode. Only, it’s not the scowl of HIV/AIDS that is the threat this time. Many characters on the current season of the FX hit—its second; and a fantastic one so far—still struggle with the life-threatening virus, but that’s not where this week’s episode trains its focus. The real glow is found in its unavoidably disturbing parallels: It reaches back and echoes into a future-present where black trans women are afforded little to no value in society. When death finally arrives, we learn that the character Candy Ferocity (Angelica Ross in sensational farewell performance) has been murdered, her body left discarded in a cheap motel closet by an unknown John. Like so many other trans women of color, Candy’s is one marked by sexual violence and communal grief. It remains a story without an end.
Jason Parham is a senior writer for WIRED. Depth of Field is his weekly dispatch about culture's most searing current images.
Brainchild - Ryan - Murphy - Steven - Canals
The brainchild of Ryan Murphy and Steven Canals, Pose is a rare miracle of a series that has pointed its sights on black and Lantix trans women enclosed by circumstance: These are people who tussle daily against the stink of intolerance, poverty, disease, and social ignorance. The New York City ballroom scene they inhabit is also a community in which elegy is routine, and mourning itself has become like prayer. The world, we learn, was not so different in 1990 than it is today, where just this year there have been 13 reported deaths of trans women of color. For black trans women, the crisis is especially unforgiving.
My love of the show, like most Murphy endeavors, is its intemperate spirit, its taste for amphitheater emotion. It’s all very over-the-top, and admittedly a little too bombastic...
(Excerpt) Read more at: WIRED
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