![]() But even if we set aside the framing device’s patently false implication that queer art wasn’t allowed to exist in the 90s, there’s something lost in the mission to destroy the innuendo for the sake of fully overt representation. Molloy, ever the model of writerly professionalism, refrains from responding with “no doy”.īringing these characters out of the narrative closet is meant as a triumph, the pilot episode’s calling-card sequence a threesome that climaxes with a levitating coital tableau. Namely, that this pair of adult male companions given to ostentatious Gothic attire and arch double entendres were in actuality lovers. ![]() As he once again relates the story of his time in turn-of-the-century New Orleans with the debonair Lestat (Sam Reid), he diverges from the record he previously laid out, explaining that the world of 2022 allows him to be candid about certain things that were best left unsaid 30-ish years earlier. Having relocated his upscale bachelor crypt from San Francisco to Dubai, Louis (Game of Thrones alumnus Jacob Anderson) summons journalist Daniel Molloy (Eric Bogosian) for another tell-all chat, now with an added revisionist wrinkle. The remixed sequel created by Rolin Jones – a Pulitzer prize finalist playwright spending more time these days on lower-profile small-screen work such as Low Winter Sun, Perry Mason and, most germane to the matter at hand, The Exorcist – makes text of a subtext already so glaring that it eclipsed all other interpretations.
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