In 'It's a Sin,' the music is its own language

ワシントン It’s a Sin,” 現在HBOMaxに登場する並外れた新しいミニシリーズ, エイズ危機の荒廃についてです, はい, しかし、ショーはまた、奇妙な親族の絆の喜びについてです, and the urgency of those connections.

(CNN’s parent company owns HBO Max.)
Created by Russell T. Davies, the series follows a group of mostly gay friends living in London in the early plague years.
One wayIt’s a Sinshines a light on the pressures and politics of the era: through an evocative, synth-saturated soundtrack. The name of the show itself is a nod to the 1987 hit by the British pop duo the Pet Shop Boys.
    Over the course of five episodes, “It’s a Sinfrequently uses music to give language to the emotions of its main characters, many of whom are still growing into their identities and learning how to express the fear and joy that accompany their journeys.
    約 15 minutes into the first episode, viewers are taken to a gay bar. Inside, Ritchie Tozer (played by Olly Alexander) stands against a wall, nervously trying to fit in. He isn’t out to his family on the parochial Isle of Wight, and he’s just moved to London for school. Ritchie says nothing, never puts into words the agita he must be feeling at this moment in his life.
    He doesn’t need to.
    Playing in the background is Soft Cell’s chart-topping 1981 recording ofTainted Love,” with its propulsive synth. The song voices Ritchie’s emotional wrangling in a manner the young man presumably can’t.
    Once I ran to you / Now I’ll run from you / This tainted love you’ve given,” Soft Cell vocalist Marc Almond sings on the chorus. “I give you all a boy could give you / Take my tears, and that’s not nearly all / Oh, tainted love.
    Tainted Lovedoesn’t have explicitly queer roots. But the track’s tropesmaddening confusion, doomed romance, the idea ofcleanliness” — are familiar to queer people.
    Like the song’s narrator, Ritchie wrestles with the notion of tainted love. In particular, he grapples with the messaging he receives from his family that suggests that there’s something not right about same-sex desires.
    There’s the political context to consider, あまりにも. The show takes place during the reign of former British Prime Minister Margaret Thatcher, 誰だった squeamish about certain public-health warnings regarding AIDS, protested that children were being taught that theyhave an inalienable right to be gayand enacted the since-repealed Section 28, which prohibitedpromotinghomosexuality.
    The brief bar sequence, その後, is significant in its keen portrayal of one of Ritchie’s first anxious attempts to challenge the script he’s been handed about how and whom to love.
    But part of the power ofIt’s a Sinis that it focuses on more than just unease. The series also captures the moving sense of community the central characters feel when they’re togethereven in a world all too eager to marginalize them.
    One expression of this dynamic: Belinda Carlisle’s 1987 masterpieceHeaven Is a Place on Earth.”
    At the end of Episode 4, the occupants of the Pink Palacethe name Ritchie and the gang give to their group homeparticipate in a die-in to raise awareness about the destructive toll of AIDS. Police officers beat the peaceful protesters bloody. In the back of a paddy wagon, Ritchie reveals to his friends (“all my mates”) that he has AIDS.
    But he also extends a stirring promise. “I’ve got some news for you. I’ve got news for you all,” Ritchie says. “I wanted you to be the first to know: I’m gonna live.
    The above moment of communion then cuts to the closing credits, そして “Heaven Is a Place on Earthbegins to play; the song functions as a coda to the episode.
    They say in Heaven, love comes first / We’ll make Heaven a place on Earth / Ooh, Heaven is a place on Earth,” the booming chorus goes.
    Originally about romantic love, the song, ここに, gives voice to the feeling of camaraderie among the Pink Palace residents, to the small bliss their circle provides. Ritchie is the protagonistbut he’s nothing without his chosen family: Roscoe Babatunde (Omari Douglas), Jill Baxter (Lydia West), Colin Morris-Jones (Callum Scott Howells) and Ash Mukherjee (Nathaniel Curtis).
      シリーズ’ soundtrack is filled with tunes that telegraph a variety of queer sensibilities, from longing (The Flying Pickets’ 1983 cover ofOnly You“) to isolation and escape (Bronski Beat’s 1984 gay anthemSmalltown Boy“).
      Together, the songs help articulate the Pink Palace residentscomplex relationships to the outside worldand to one another.

      カテゴリー:

      i898

      タグ:

      , , ,

      コメントは締め切りました.