Pose was the last series created by Ryan murphy for the Fox before his billionaire signing for Netflix. Many of us feared that with the departure of the showrunner of the chain he would have his days numbered, but he has been able to reach his third season to say goodbye to his audience and tell the story he wanted. The series is a portrait of the trans community of New York in the decades of the 80 and 90, the years during which the pandemic AIDS It was one of the great health threats and it was ravaging that sector of the population. The filming of the final season of Pose was affected by the sudden arrival of the covid. I even thought that I was not going to see more after the second season, with a closing that almost sounded like goodbye. But finally seven more episodes have been possible for a third installment that is already available in HBO. New chapters that have arrived almost at the same time that Murphy hit it again with Halston on Netflix. In the biopic of the famous designer starring Ewan McGregor the question of AIDS is also very present. The final episodes of Pose have been marked by sanitary restrictions in the filming, which had raised production costs to levels that had to be considered raising the curtain. Throughout these final chapters, the parallels and differences between the pandemic that the series told us and the one that plagues the planet today are evident.
During the 1980s, the emergence of AIDS was marked by the stigma that in those first moments it was associated homosexuals and drug addicts. Time would make it clear that no one was exempt from getting infected. Pose makes us a portrait of how the trans community lived with the happy bug and the infected tried to move on with their lives. AIDS was a death sentence that sooner or later would reach the patient, although the virus could spend years inactive in the body until it began to attack the defenses. With the covid we have seen that those most vulnerable to the disease succumbed in a matter of days. There were protective measures, but the coronavirus is much more contagious. And with the two pandemics there were conspiracy theories and those who spoke of sinister laboratories dedicated to the manufacture of microorganisms of mass destruction.
In the latest episodes of Pose they tell how when they began to provide treatments that were effective in keeping the advance of HIV in the body at bay, there were literally cakes to receive it. Mainly because drug companies preferred to test them on white people. They were too expensive treatments to waste on people who are black or at risk of social exclusion. If AIDS was a death sentence, execution was assured if one belonged to the wrong social class or race. The new drugs were only for the rich. Something similar is happening with the arrival of covid vaccines, where rich countries have hoarded the first doses and the crumbs are reaching the poor. Curious also that with AIDS there were no deniers abjuring the treatments because they thought they were going to chip them. Having access to these drug combinations that put an end to the disease was a social claim and no one doubted their benefits. Despite the years that have passed, we are still without a vaccine for AIDS, although it seems that it will become a reality.
But Pose is not a series that deals exclusively with AIDS. Immerses us in the world of balls, those transgender parades and dance battles that were held in the discotheques of these areas, in which the Afro-American and Latino LGTBI community evaded the harsh reality and faced their social exclusion. A world to which Madonna he wanted to pay tribute with his song Vogue, a moment that also has its reflection in the series. Every night the protagonists aspired to have their moment of glory as runway divas and splurging glamor while trying to get the highest score from the jury. Each team was grouped into families and the main characters of the cast belong to the Evangelista House, name with which they pay tribute to the famous top model. It was presented as a series called to make history by having the largest number of transgender actresses in the cast, a challenge that years later the Javis (Javier Ambrossi and Javier Calvo) they assumed with their biopic of La Veneno. A pose to the Spanish.
The departure of Ryan Murphy was very noticeable in the series and there is a big difference between the first season and the next two, The scripts lost part of their transgressive spirit and they were drifting towards territories a little more tearful. Although with and without Murphy, the best supporting character is Elektra (Dominique Jackson) who with airs of a diva presented herself as a kind of Alexis Colby (Joan collins) of Dynasty destined to be the villain of history as the mother of the House of Abundance. When she was bad she was the best, but when her redemption came, she also continued to be so. In this final season the best episodes are precisely the two that she stars in. The Emmy did not want to put this series aside and after this final season they have nominated MJ Rodriguez, becoming the first trans interpreter to compete for the best actress award. In her role as Blanca, the matriarch of the Evangelist House, we have seen that small family of people taken off track and taken off the streets and help them fight for their dreams by giving them a position in life. By the end of the series, their marginal lives are behind them and so is the disease. At the end pose He did not speak of death, but of life. And he has managed to transmit the vitalism of characters who resisted being considered social outcasts, nor that their sexual condition defined their lives.