Caution: spoilers ahead.
The entertainment industry has never had considerable representation in relation to the LGBTQIA+ community and, when it decided to bet on characters that deviated from the cis-heternormative pattern, they usually failed to capture the complexity of such people, turning them into mere secondary escapes or comic reliefs that they lived through. in the shadow of a protagonist accepted by society. Over the years, this scenario of contempt has changed and, although we still have a long way to go, things have started to gain more expression. And, in the 2000s, an important series was of paramount importance to explore the queer – ‘Queer as Folk’.
The production, both North American and English, served as a watershed for this social minority that did not feel worthy of being seen on screens and, even if it did not contemplate the sexual diversity that we see today, it served as a considerable advance to make people understand that the difference should be applauded, not diminished. now the Peacock decides to stay in line reboots and remakes that have been dominating the contemporary entertainment scene and channeling efforts towards a more updated version of the classic show – and I guarantee you that the result, despite the obvious slips, is absolutely incredible, full of twists and messages that go beyond the political spectrum. -ideological, opening space for relations queer and individual experiences dialogue with what we face day after day.
Each element of the production has a clear purpose, starting with the setting. O showrunner and producer Stephen Dunnwho has already commented that he had his “sexual awakening” when watching the original work of Russell T. Davies, decides to pay homage without abandoning the clear idea that he has in this new undertaking. Known for praised ‘Monster Closet’Dunn manages to migrate to the LGBTQIA+ tragicomedy with enviable fluidity and demonstrates an impeccable eye for detail: after all, the work is set in New Orleans, considered the most gay-friendly of the southern United States, and takes the opportunity to consecrate the late Chi Chi DeVayne, which served as inspiration for several of the plots in the premiere season. And, while this setting is of undeniable importance to the unfolding of the story, it is the characters and their relationships and desires that keep us following this saga from beginning to end.
If in 2022 the fight for equality has been gaining more voice, it is clear that this would be transported to the universe of ‘Queer as Folk’. We have, for example, Mingus (Fin Argus), a non-binary person aspiring to drag queen who is in high school and who is dragged into a shocking event on her debut as performer; brodie (Devin Way), who drops out of medical school to return home and try to find out who he is and what he really wants for his future; Ruthie (Jesse James Keitel), an English language teacher who has just had two children with Shar (CG), but she cannot abandon the traumas of a distant past and the multiple problems she faced and continues to face as a trans woman; Julian (Ryan O’Connell), Brodie’s younger brother who tries to reconnect with him, but realizes the task isn’t as simple as it seems; Noah (Johnny Sibilly), Brodie’s ex-boyfriend dealing with grief, depression and drug addiction; and several others.
All of them, moved by different wills and different worldviews, nourish a common thread that changed their lives forever: despite not being in the same place, the most famous nightclub in the place, Babylonbecomes the target of a gunman who kills several people and echoes the ongoing hate crimes suffered by the community queer. The scene in question, which concludes the pilot episode, is done with such poignancy and necessity for us to understand that reality is not a spoonful of sugar, that Dunn, allied with a very talented team, does not need to show what happened, but rather induce the spectator to understand and premeditate future events.
If Dunn’s driving is excellent, the cast surrounds us with performances spectacular, oscillating from drama to comedy through accurate dialogues and frightening naturalness. Moving away from novelistic mannerisms, as we find in other iterations of the genre, the idea here is to show that grief and trauma are not felt in the same way by everyone, but in different ways that lead people to seek a valve of relief. escape in sex, or in narcotics, or even in art – something that happens when there is no longer a palpable prospect for the days to come. Brodie, for example, turns to the celebration of life through parties that will unite the community, while Ruthie plunges headlong into compulsory masturbation to try to feel something; Mingus is flung into a mandatory maturation arc that distorts the reality he lives in with unparalleled force.
O reboot in ‘Queer as Folk’ goes against our expectations by presenting itself as a great series. Even if it doesn’t measure up to the original, the production allows another look at the LGTBQIA+ experience in the world we live in – and deserves our attention for Dunn’s cautious, beautiful and impressive driving and a stellar cast.