A retelling of Pride and Prejudice, the film trades Austen’s critique of the Regency-era gentry class for that of the post-2000s Fire Island demographic: predominately cisgender, gay white men with rock-hard bodies and the financial freedom to afford luxe lofts and top-shelf prices in the infamous New York landmass – a queer mecca and resort destination.Ĭonrad Ricamora and Joel Kim Booster in Fire Island.
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It is this contextual insight and cultural nostalgia that guides the Pride-ready movie Fire Island, from director Andrew Ahn and writer/actor/executive producer Joel Kim Booster.
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Back then, Hollywood was churning out adaptations galore with the clear favourites being loose updates of Austen ( Clueless) and Shakespeare ( 10 Things I Hate About You), which offered a solid foundation for timeless stories retold in contemporary worlds. We wistfully remember the 1990s and 2000s era, when the form was less a dumping ground for comedic actors to cash in on their celebrity, and more a space in which sharp writing and easeful direction was the norm. Where have all the good rom-coms gone? For lovers of the genre, especially millennials who grew up with modern-day classics, this has become a common refrain. Streaming on Disney+ with Star starting June 3 Starring Joel Kim Booster, Bowen Yang and Margaret Cho