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Final season of ‘Pose’ is must-see TV that matters
Groundbreaking FX drama has left its mark
When the COVID pandemic hit in the early months of 2020, there were certainly more pressing and essential worries for us to grapple with than how it would impact the next season of a TV show. Yet it’s a testament to the power of “Pose” that many among its legion of fans were at least as concerned about the show’s disruption as they were about the possibility of running out of toilet paper.
The powerhouse FX drama — which spotlights the legends, icons and ferocious house mothers of New York’s underground ball culture in the late 1980s — had already made history. Not only did it feature the largest cast of transgender actors in regular roles, it boasted the largest recurring cast of LGBTQ actors ever included in a scripted series. In its first two seasons, the show racked up accolades and honors (including a Primetime Emmy for Billy Porter as Outstanding Lead Actor in a Drama Series) while breaking new ground for the inclusion and representation of queer people — and especially transgender people of color — in television, both in front of the camera, and behind it. With the end of its second season in August 2019, fans were hungry for a third — but thanks to COVID, its future was suddenly in question.
So, when word came that the show’s third season would have its debut on May 2, it was the best news since finding out the vaccines were finally going to start rolling out. But it was bittersweet: Along with confirmation of the series’ imminent return came the sad revelation that the new season would also be the last. “Pose” would be coming to an end with a final, seven-episode arc.
As any viewer of show can attest, there were a lot of threads left hanging when last we saw its characters. That means there’s a lot of ground to cover in these last chapters in order to give everyone — characters and audience alike — the closure they deserve.
The show’s official synopsis goes like this: It’s now 1994 and ballroom feels like a distant memory for Blanca, who struggles to balance being a mother with being a present partner to her new love, as well as her latest role as a nurse’s aide. Meanwhile, as AIDS becomes the leading cause of death for Americans ages 25 to 44, Pray Tell contends with unexpected health burdens. Meanwhile, a vicious new upstart house is emerging in the ballroom world, and the members of the House of Evangelista are forced to contend their legacy.
Obviously, there are a lot of details left hidden in that broad overview, and fans are undoubtedly full of questions about what they can expect to see.
Fortunately, the bulk of the show’s main cast convened on Zoom last week (along with show co-creator and Executive Producer Steven Canals and Executive Producer Janet Mock) for a press conference to discuss their “Pose” experience, and while they didn’t exactly give away any spoilers, they definitely dropped some tantalizing hints about what’s in store for audiences in the farewell season.
In truth, most of the discussion was dominated by reminiscences and expressions of mutual appreciation, sure signs that the feeling of family we see onscreen is something that has taken hold off screen, as well. But in between the affectionate banter, the cast and creatives addressed several questions that might be most on viewers’ minds.
Perhaps the most pressing of these — why, after only three seasons, is the critic-and-audience-acclaimed show calling it quits? — was taken on by Canals, who explained:
“I always knew what the beginning and what the end of the narrative would be. And when Ryan Murphy and I first met in September of 2016, we felt really strongly that that particular narrative made sense. And so, while we certainly could have continued to create narrative around these characters and in this world, and we certainly had a conversation in the writers’ room about it … I think we all agreed that it just made sense for us to ‘land the plane,’ if you will, comfortably — as opposed to continuing to give an audience story that just simply didn’t have any real core intention or a real thrust towards specificity.”
Also of interest was the obvious subject of how the parallels between the current pandemic and the AIDS crisis that looms over the show’s narrative might be reflected in the new episodes. While he didn’t hint at any direct connections in “Pose,” Porter used the subject to underscore a theme that has always been one of the show’s most important elements:
“I think the parallels are quite profound. I know that as a Black gay man who lived through the AIDS crisis, I have been dealing with a lot of PTSD during this COVID time. It’s very reminiscent of what it was like then. The best news about that is that I survived. We got through it, and there is another side to it. We can get to the other side.
“I feel like that’s what ‘Pose’ really accomplishes this season, reminding the public that it’s when we come together and when we lead with love [that] we get to the other side.”
Mock elaborated on the theme of resilience by discussing the importance of showing the strength of House mothers like Blanca and Electra (Dominique Jackson), who hold together — and lift up — their entire community:
“It’s that matriarchal power and lineage that I think the ballroom is, and what trans women are to one another, that then feeds everyone else and enables them to shine and have all the things that they want in the world. For me, it is [about] that celebration […] of Black trans women — that they’ve created this space, that they brought everyone else in with them, and that, at the end of the day, they are often the ones most often forgotten.
“I think with this season, I want everyone across the industry, the audience, to realize that. I think it’s essential, and it’s important.”
Mock also talked about the way “Pose” focuses on the small, day-to-day lives of its characters as much as it does the larger-than-life splendor of the ballroom culture in which they participate:
“We wanted to ensure that we show the everyday, mundane moments, as well as the great, grand celebrations. The ballroom is are presentation of what it means to congregate and share testimony and to love on each other, and our show is a celebration of the everyday intimacies. So, for us, while we were plotting these big, grand moments […] we wanted to bring in traditions — weddings, matrimony, all this stuff — that our characters get to engage in. We wanted to be a part of the tradition of that, and all the moments that a family shares together. We wanted to make sure that all of those things were celebrated in this.”
When discussion turned to the unprecedented level of support and collaborative inclusion with which the show’s queer cast were bestowed by Ryan Murphy and the rest of the creative staff — from the presence of trans women like Mock and Co-producer Our Lady J in the writers’ room to the extensive reliance on the insights and talents of real-life members of the ballroom community — Jackson was quick to add that besides giving the show its ferocious authenticity, it gave her an increased recognition of her own worth:
“I will never, ever, ever walk into a space thinking that I need to impress them […] I will never walk into a space being fearful of my identity stopping me from anything. Because of this journey, when I walk into spaces now, my identity is not because I’m an abomination. My identity is a plus. My identity is my value. So, when I walk into spaces now,they need to impress me. You can be the biggest Hollywood director, producer, whatever, but you’re not going to take my story or relay stories that are reflective of my life or my existence and make them into anything you want, because of ‘Pose,’ because of Ryan, because of Steven, because of Janet and Brad [co-creator/executive producer Falchuk), because of Our Lady J, because of my cast members.
“I will never walk into spaces or live a life or an existence thinking that I need to impress anyone.”
Porter concurred, adding:
“There was never, ever a space in my brain to dream what‘Pose’ is, what Pray Tell is. I spent the first 25-plusyears of my career trying to fit into a masculinity construct that society placed on us so I could eat.‘Pose,’ and Pray Tell in particular, really taught me to dream the impossible […] the idea that the little, Black church sissy from Pittsburgh is now in a position of power in Hollywood in a way that never existed before. You can damn sure believe that I will be wielding that power and there will be a difference and a change in how things go from here on out.”
If the cast members themselves have found themselves feeling more empowered thanks to “Pose,” so too have the millions of LGBTQ people — and allies — who have tuned into it since its premiere in 2018. The show is one of those rare entries into the cultural lexicon that simply allows its queer and trans people to live authentic lives, giving long-withheld representation to countless viewers who were able to see themselves reflected back from the screen for perhaps the very first time. It’s that powerful sense of validation provided by “Pose” that keeps it standing tall in an entertainment market now providing so much LGBTQ inclusion that it’s becoming dangerously easy to take it for granted.
Whatever moments of heartbreak, joy, and celebration “Pose” brings us as it plays out its final act — and there are sure to be many — we can all be sure it will leave us with a message expressed through an oft-heard line of dialogue that Mock says she found herself writing “over and over again” during the series’ run:
“You are everything, and you deserve everything this world has to offer.” It’s that nurturing sentiment the “Pose” has been instilling in us from the beginning, like a mother to us all.
And that’s why so many of us can’t wait until the first two episodes of its final season air at 10 p.m. (both Eastern and Pacific), Sunday, May 2, on FX.
The final season of “Pose” will begin to air on FX on Sunday, May 2, at 10 p.m. ET. (Photos courtesy of FX)
a&e features
D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
a&e features
Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
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MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
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