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The original reboot was far from perfect: everyone was thin, white, middle-class, able-bodied, and thoroughly obnoxious. Everything is inclusive and lovely and as it should be, but something’s missing. The party even hosts a “crip club” night specifically for disabled queers to get it on. Brodie walks through the bisexually-lit space, saying a brief “hi” to everyone there, who he’s on a first-name basis with. The party is called Ghost Fag, and it’s basically a version of every party you’ve ever seen in any gay show in history. Eventually, Brodie and his also-gay brother Julian (Ryan O’Connell) move into Noah’s huge apartment and decide to start their own party to reclaim some of the joy lost that night at Babylon. The group of friends makes fun of mainstream gays and attempts at applying flashy rainbow capitalist salves to the gruesome wounds of being publicly and homophobically targeted. Ruthie finds she can’t cum anymore, while Noah and Brodie grieve their mutual friend Daddius, who was one of the 9 casualties at Babylon-and who Noah was secretly fucking. It’s a lot, and the following episodes do their best to try and do justice to everyone’s specific trauma journey regarding the shooting. He ends the night at the legendary gay club Babylon, where he meets and is hit on by Marvin (Eric Graise) and sees teen Mingus’s drag performance before the night gets interrupted by an Omar Mateen-esque spree shooter. He also catches up with Ruthie, his childhood best friend and one-time lover, who is now expecting twins with her partner Shar. Without a place to stay, he drops into his ex Noah’s (Johnny Sibily) apartment, hoping the two can rekindle their flame: despite Brodie having left town right after the death of Noah’s mother some years earlier. In the show’s pilot, we’re introduced to Brodie (Devin Way), a young gay man on the verge of dropping out of med school to return to his hometown of New Orleans, where all his old friends (and queer community) are still living. That is not, and has never been “Queer as Folk’s” job. One show can hardly encompass the needs, desires, fears, and realities of an entire community.
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And unfortunately for me, it’s the most important aspect.
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But there was one element of the show that was conspicuously missing from the vibrant, glittery undertaking of the reboot. His songs make people feel protected, nourished, sexy, joyful, and heartbroken-simultaneously, and one after the other.That said, we have other things to fight against. In response to a world that was often unforgiving toward him, Hadreas has created an escapist, dream-like space in his music, where anything is possible. "We actually made this one first," he says, telling me that record has "a very physical feeling attached to it." He tells me both records were made back-to-back. The artwork contrasts with his visuals from his last album, Set My Heart On Fire, which conjured familiar caricatures of hyper-masculinity, borrowed from iconic rock imagery. Two piercing blue eyes, presumably his, are its only obviously human qualities. The cover of Hadreas's new album, Ugly Season, depicts an obscured and supernatural-looking figure.
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When he tells me about his rough childhood, and how much he yearned to be free to be able to be himself, it's impossible not to find him endearing. There's also a distinctly gay swishyness about him-I can say that, because I'm also very gay and swishy. As we chat, he alternates between irreverence and seriousness, which feels typical of someone whose entire career has been spent being Very Online. He will soon fly to New Zealand to perform, before playing some shows in Australia too. When I talk with Perfume Genius over Zoom, real name Mike Hadreas, he's at home in Los Angeles.