I thought this series was even better than the first! The time is now 1990 and AIDS and the political reaction (or non-reaction) rightly and necessarily takes centre stage. The episodes now tend to concentrate on just one ‘strand or situation but as we know the characters well, this exploring in more depth is highly effective. the funeral of Candy was remarkably powerful and I loved the device of her ghost speaking to those whom she left behind helping them to come to terms with what had happened as well as giving words of wisdom for the future. It reminded me,as did other dramatic approaches, of Angels in America and the ghost of Ethel Rosenberg appearing to the dying Roy Cohn. In a way, much of this is a modern version of Longtime Companion. I also think that it is doing a superb job educating younger gay people as to their history which must never be in danger of being forgotten.
The start of ACT-UP is a major focus and there is a very thoughtful range of approaches to how it was seen by the community - by no means all were totally on board from the start…And casting Sandra Bernhardt as a vital AIDS nurse/specialist was a marvellous idea, particularly given her early commitment to this cause. I also particularly liked the new feature of having a quotation shown at the end from real people that related to the main theme of thrust of that episode.
But lighter moments are not forgotten. Patti Lupone chewed the scenery (again) as a ruthless real estate businesswoman - who, surprise, surprise, also had training as a singer dance - cue eye-popping performance in a hospital cabaret of ‘I’m Still Here!. But, pleasingly, even at the end when her machinations and actions caught up with her, there was a degree of understanding for her and the challenges she faced in being a female business mogul in the 80’s and while it was not made explicit (and neither should it have been) a parallel of sorts could be drawn between her and the house mothers and their families.
A fine and very powerful drama then -and yes at times, quite often, it is manipulatively sentimental (not least in the final musical number at the end of the final episode where, with the introduction of lip-synching, the number chosen was Diana Ross’s performance of ‘Oh Say Can You See’ with the central AIDS-stricken character rising from her wheelchair!!!… but SO WHAT?!! It works.
Looking forward to Series 3