What makes Pose brilliant isn’t it’s use of transgendered actors (been done before in Transparent, Boy Meets Girl, Orange is the New Black, etc). It isn’t the exposè style of the Balls (been shown before in Paris is Burning and Saturday Church, and elsewhere). It isn’t even the heart-felt tales of the characters (we’ve seen a lot of these kinds of tales before).
No, the genius of Pose is that it treats its characters as normal; that you cannot help but see them as they see themselves, especially the women. In particular Mj Rodriguez and Indya Moore, from Saturday Church, and Dominique Jackson whose stories dominate the eight episodes. But there are rooms-full of these incredible women struggling for recognition, in every way you can define that.
But it isn’t just about the women. Billy Porter (American Horror Story) brings an energy as MC to the Balls and to the series. He navigates his own complicated tale and manages to draw on his wide variety of talents. Newcomer Ryan Jamaal Swain delivers a sweet and vibrant ball of hope to story while his dance teacher, Charlayne Woodard (Glass), provides some additional outside perspective.
The other contributing factor to the genius of Pose is that it also manages to bring the late-80s period piece into current political and cultural relevance with the parallel storylines of Evan Peters (American Animals), Kate Mara (Morgan), and James Van Der Beek (Downsizing). The reflections and tangling of the two worlds offers surprises and insights as well as a few dark laughs.
Ryan Murphy’s breadth of genre and his ability to make them each so personal, be it high school, horror, or history, continues to surprise and find success. Pose isn’t perfect. It is a tad arch, which isn’t surprising, and some of the actors are natural, but a little untried. But the overall impact and journey is surprisingly effective and avoids feeling exploitative or in any way disingenuous.