The reboot of the pioneering queer Showtime series is doing things the original never did.
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, is delightful as a bar manager who pokes fun at Shane’s reputation. “Girls must love that wall you’ve built,” she teases, a long overdue dig at the brooding hairdresser’s enduring sex symbol status amongaspirational, with a crew of wealthy and glamorous friends who established a lesbian aesthetic far removed from the dowdy cat-lady punchlines that still popped up in mainstream media at the time.
, and if the new characters feel thinly drawn in comparison to the olds, it might be an unavoidable consequence of a reboot that takes the worthy risk of expanding its portrait of LGBTQ life with fresh perspectives and talent. But it would be a massive missed opportunity ifcontinues to isolate the two cohorts from one another, sidestepping the intergenerational rifts it seems primed to confront.
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