Lessons from POSE: A Letter to My Adolescent Self

collage by Grace Kwon

On Friday, March 5, 2021, Steven Canals, the creator and executive producer of FX’s POSE, announced that the third season of the award-winning series would be its last. As this announcement came as a shock to viewers and admirers worldwide, it is essential to reflect on the dialogues this show has been able to push forward, as well as highlighting the creatives involved and their contributions to this monumental series. Quick question, how many current shows uplift and acknowledge Black and Afro-Latine Trans* women and Queer folks as series regulars? If you are only able to think of one or two, this illustrates how Hollywood gatekeeps and restricts marginalized communities from telling their stories in an authentic and unapologetic fashion. In my opinion, one of the aspects which makes POSE legendary is folks like Steven Canals who refuse to conform to the status-quo. POSE has received Golden Globe, Critics Choice, and Primetime Emmy nominations, while also garnering honors through organizations such as the Peabody Awards, The TREVOR Project, GLSEN, the AFI Awards, and the GLAAD Media Awards (just to name a couple). In September of 2019, actor Billy Porter won an Emmy for Outstanding Lead Actor in a Drama Series, making him the first openly gay Black man to win in that category. The series begins its first season in 1987, taking place in New York City during the HIV/AIDS epidemic. The show considers the impact of this epidemic on Black and Brown communities, including Black and Afro-Latine Trans* women, while also diving into the importance and the celebration of Ballroom Culture. These historical aspects are combined together to explore the impact of white supremacy, poverty, transphobia, gentrification, governmental corruption, and historical stigmas positioned against marginalized communities. However, the series also considers the importance of support, laughter, community care, growth, accountability, family, and joy and places these aspects at the centre of its narrative. POSE is not just a series, it is a calling to a bigger movement which stresses the significance of meaningful representation and shows how inclusive stories are more about humanity than anything else. 

In 2014, during his time at the University of California, Los Angeles (UCLA), Steven Canals not only wrote POSE, but began meeting with over one-hundred and sixty studio executives to pitch the series. He was told the show was “too Black,” “too Queer,” “too Brown,” and “too Trans.” Canals, who is a Queer Afro-Puerto Rican filmmaker from the South Bronx, later met with Ryan Murphy thanks to Producer Sherry Marsh in order to (yet again) pitch POSE and the rest is history. It must be said that without the Black and Afro-Latine Trans* Elders and Ancestors of Ballroom and Steven Canals, POSE would not exist. When examining POSE from the development process to being on-screen, nothing is more evident than the hard work invested by Canals, the cast, and the crew in order to center narratives which Hollywood and the status-quo considers to be “complicated” or “undesirable.” But, let’s also acknowledge the unprecedented history of POSE’s writers’ room, consisting of five writers including Steven Canals, Ryan Murphy, and Brad Falchuck, who also serve as executive producers. More importantly two Trans* women also write and produce POSE, including Janet Mock, a Black Trans* woman author, producer and director (for the series amongst other incredible projects), and writer along with Our Lady J, who is known for their work on Transparent as an actor, writer, and producer. The behind-the-scenes elements of POSE also represent the importance of marginalized stories being told by marginalized creatives. What is evident from Canals and the writers is a commitment and willingness to ensure that each character has a complex storyline and is not being tokenized for the sake of fulfilling a diversity quota. POSE does not only acknowledge this as a necessity, but actively works towards it, combatting the co-opting and commodifiation of Black and Queer spaces seen in the past and the present.

Part of what makes POSE incredible is the outstanding performances from the cast. Actor, CEO, and activist Angelica Ross, who portrays Candy, explores the depth of her truth and ambition. Ross brings electricity to the screen as Candy, expressing her liveliness while also calling out the misogynoir and cis-privilege perpetuated in Ballroom by men such as Pray Tell. While it was not Candy’s labor to engage in those conversations, Ross’ line delivery and performance made every ounce of Candy’s perspectives and criticisms, aspects to reflect on and to be held accountable for. MJ Rodriguez delivers a masterful performance as Blanca Evangelista, the Mother of the House of Evangelista. Her character communicates warmth, optimism, and the overall passion to see and push her children to pursue their aspirations. For Elektra Abundance Wintour-Evangelista (Dominique Jackson), her character delivers wit and laughter in every space she occupies. The writers and Jackson do an amazing job in making Elektra to be fierce, complex, and a bold woman who knows exactly what she wants. In addition, through Elektra there is a commentary on resilience and how there should be more support and affirmation for Black women living their life in any way they deem fit. With the House Mothers from the House of Ferocity, Candy (Angelica Ross) and Lulu (Hailie Sahar), their determination says it all. During each ball and within their own house, they seek to foster spaces on their terms while never losing sight of what they are fighting for. Yet, their characters deliver a comedic balance while being honest and setting the stage for each space they occupy, which aids in making their scenes memorable. The children of the House of Evangelista, including Damon (Ryan Jamaal Swain), Angel (Indya Moore), and Lil Papi (Angel Bismark Curiel), each bring their own personalities to the table which adds to the vibrant and lively nature of the Evangelista household. The variety of differing ambitions, challenges, and beliefs makes this household relatable. It is reminiscent of our own family conversations and dynamics, where there is so much love, and also (like every family) moments of aggravation and frustration. Then, we have Pray Tell (Billy Porter), a Black, Queer man who is an emcee in the Ballroom space while also serving as a father figure to those in the community. Through Porter’s performance, we as the audience not only get to explore the emotional complexities his character has to face, but also witness his vulnerability in connection to his willingness to persevere. Pray Tell often provides balance, relief, blunt honesty, and support. However, as his disagreements with Candy were prevalent (throughout both seasons), there was (and still is) emotional work to be done on his end in order to grapple with his own privilege as a cisgender man; one which season two calls out on the carpet. 

One of the aspects which makes a series stand out is its ability to intersect art as a means of social change, while also emphasizing the importance of not just simply depicting the experiences of marginalized communities, or perpetuating trauma. Marginalized communities are more than our traumas, while this should not be ignored, our joy and aspirations should be uplifted, as well. POSE not only explores aspects of transphobia which need to be discussed and abolished, it also includes thoughtful dialogue between characters to demonstrate support and community care. Community care in this series is portrayed through helping those who are homeless, providing advice and aid, while also checking-in, showing up, and affirming each other’s aspirations and dreams. As Blanca faces challenges of her own after being diagnosed with HIV (which progresses into AIDS in season two), we see her activism in both seasons, as she not only challenges transphobic establishments but also relays her experiences to her children in order for them to recognize how essential it is to be safe, aware, and mindful, as the disease continues to disproportionately impact their communities. In season one, Damon is kicked out of his biological parents’ home after they discover he is queer. Following this, Damon takes a bus to New York City and is homeless, until he meets Blanca while dancing in a park. From that moment on, the two are inseparable. Not only is Blanca a maternal figure for Damon, she is also very honest, like every mother, in regard to warning him of what lies ahead. After Damon comes home late following a night out with his boyfriend at the time, Ricky (Dyllon Burnside), Blanca discusses the importance of using condoms and not being afraid of exploring his sexuality. The power of this scene rests on centering the “Birds and the Bees'' talk for LGBTQIA+ youth and adults. As this conversation has been used in society through a persistent heteronormative context, the filmmakers are in essence providing love, care, and honesty to a conversation which has been historically used to erase Queer narratives and perspectives. Like every episode of POSE, the audience is supposed to tackle those themes and not rely on the communities present to educate them.

Following the murder of Candy, we also see the overwhelming support from those in the Ballroom Community and all of the House Mothers. They not only actively work out how to retrieve her from the morgue, they also reach out to her estranged parents and those within the community. The “Never Knew Love Like This Before” episode is emotional to say the very least, but the audience has to sit with what complacency looks like. As the episode centers the murders of Black Trans* women, it also stresses the importance of giving folks their flowers while they are alive instead of being insincere following death. However, in episode nine of season two, “Life’s A Beach,” we see that while Blanca, Lulu, Elektra, and Angel are still processing their loss, they take a vacation and get to enjoy the sun for a moment. They sing “Hold On” by En Vogue in the car and share stories. It’s moments like this which remind us how essential it is to center, aid, and uplift Black Trans* joy; not lessen or infringe upon it. That is the power of this series. It isn’t about conflict or a set story, but rather a display of what family looks like. It’s a portrayal of what support and community looks like, which encompasses being there, having your bad days, and supporting each other through thick and thin. As all family dynamics are complicated, POSE breathes life to human connection and the vitality of love and growth.

Examining this series and what it has brought forth is indicative of the work that we have to continue: supporting, protecting, centering, and affirming our marginalized communities, including our Trans* brothers, sisters, and siblings. As a young Black woman who is cisgender and heterorsexual, I believe that this series and (more importantly) the issues it tackles, speaks to how we all bear the responsibility to center those communities and protect (not appropriate or steal from) those spaces. There is absolutely no debating the fact that cisgender and heterosexual folks need to recognize that is not the labor of LGBTQIA+ folks to educate us. We have owed them for centuries and we owe them now. Therefore, it is essential to ensure that platforms and series like POSE which are unapologetically Queer, Trans*, Latine, and Black, are being uplifted, affirmed, and that we are doing everything in our power to amplify and not speak over, while engaging in accountability and intersectionality, by all means necessary. As this show has discussed and as society has shown one too many times, silence is complicity and complacency. And, let’s be clear, simply loving a series is not enough. In what ways are you showing up? Are you compensating Black Trans* folks for their labor and contributions? How are you being a co-conspirator and putting in work? The clock is ticking and your time was yesterday to start getting in the trenches and centering Trans* and Queer communities in everything you do. Actions will always hold more significance and validity over empty words. 

Another aspect to emphasize is support. If you truly love this series and appreciate the folks who made it, then you need to show up and support every endeavour they engage in afterwards. I don’t know about you, but every project Canals and Mock take on, I will be front and center. We have constantly seen the erasure of the Black and Afro-Latine women and femmes from the cast when it comes to award recognition and the appreciation of their labor and craft; therefore, with examples such as Angelica Ross’ Trans* Tech company, rally behind her efforts. With actors Dominique Jackson and Hailie Sahar with their film and modeling projects, amplify them. With MJ Rodriguez and her singing and acting career, buy and stream. There are many more examples, but the point is, never forget the importance of supporting those creatives in whatever they do, because oftentimes when a series has ended the same vocal support is not matched when new projects arise from those artists. 

As this journey comes to a close, I wanted to thank every single creative who worked on this series. Thank you for your brilliance, your labor, your integrity, and your willingness to have these stories told. There were several times when watching this series, I felt heard and reflected on screen; something that growing up (and now), was not afforded to young Black folks as much as it should have been. With that being said, music has also played a big role in this series. From classics including “Love Takes Time,” “Fly, Robin, Fly,” “Looking For A New Love,” “Hold On,” and “Love Is The Message,” there are several moments in this series where I am reminded of several childhood gems. The music not only connects with camera movement and dialogue, it swiftly provides transitions in order to be aesthetically accurate to the time period. It also relies on nostalgia and creative expansion in order to have music to reflect each character and their current predicament. POSE, to me, is a series that is built on truth, authenticity, love, family, and connection. Something that no white executive in Hollywood could ever manufacture or buy.

What was done here is nothing short of excellent and while tears will be shed this upcoming season, I have nothing but gratitude for the hard work invested from Ballroom Legends and creatives such as Twiggy Pucci Garcon, Leiomy, Jack Mizrahi, the Late Great Hector Xtravanganza, Jason Rodriguez (Slim Xtravaganza), and many more. What you all created here is not just a series, it is a cultural movement built and centered on how and why chosen families are so important, while mastering how art can always be used as a vessel for any passion. To Ms. Janet Mock, thank you for being the epitome of Black Woman Excellence as your directorial style is impeccable. Your cinematic voice has aided in POSE being an unapologetic and free experience. For each and every episode you wrote and directed, there is a strong tenacity and passion in each one; symbolic of love, family, and support. To Mr. Steven Canals, thank you for every ounce of passion and rigor you poured into creating this series. It is because of fearless, talented, and daring leaders and creatives like you, that young Black creatives like myself can dream of the possibility of opening our own spaces and seeking our platforms unapologetically. In the early 2000s, you had a vision and at any time you could have retracted, yet you chose not to. Your brilliance and drive to fight for this story should not be erased or ignored, whatsoever. Not only have you aided in changing the television landscape, the work invested in this series is also a testament to your determination and commitment to ensure that marginalized stories are front and center, as they should be. The gratitude for your craft and labor should be endless. As an aspiring future storyteller, the journey of POSE has impacted my life tremendously, a way in which I am still processing, but one thing is for sure, you all have created a legacy. One which, we and future generations have the responsibility of carrying on forever. Thank you. 

The first two episodes of the final season will air on Sunday, May 2nd on FX at 10:00 p.m. (EST).