Series finale of "Transparent": Verquer-queere Mourning Bundle

At the end, the whole series bursts like a table fireworks, the Grellwerk and Tamtam crumbs in the last Sofaritze blows, where they will even weeks later. "We need a Joyocaust, for all the lives we've lost", sings the ensemble of "Transparent", all dancing and shoop-shoopen with fluttering jazz hands, that even after musical standards it can quickly become a bit, well, musical , As the finale for the series about a trans woman, who pervades her coming-of-age with over 70, the creators have chosen a feature-length vocal sequence. And the "Joyocaust" number is the monkey who smashes the lid at the end.

In four seasons, the story of Maura Pfefferman (played by Jeffrey Tambor) and her family since their premiere in 2014 on Prime Video has done a lot and missed many things, which was at least revealed as a gap. Above all: that it is great to put trans and non-binary people in the center of a series - but that they should be played by trans people.

The awareness of this has grown in recent years, today a figure like Maura would probably no longer be so unreservedly occupied with a cis-man as Jeffrey Tambor. At the start of the series, one saw less of this omission, more of their merit: "Transparent" was the first series world, the action in the perspective of a transgender story moved and cleared the stage for people who were previously allowed to appear only as minor characters - Unique Adams in "Glee", Sophia Burset in "Orange Is the New Black".

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The Pfeffermans were a television family that scratched and pinched. Hysterically dysfunctional, serial neurosigmatic, incapable of harmless small talk, who would not hop in the next moment in a burning nettle test out of questions of sexual identity and social convention. The musical finale is now the glaring epilogue of a saga that has lost the main character.

Because in late 2017, just after the start of the fourth season, Jeffrey Tambor was accused of sexually harassing members of the ensemble, he was finally fired in 2018. Because without him now just no "transparency" can give, in the final episode Serie, Maura and a bit Tambor even buried itself: The actor himself is not seen, Maura dies off-screen from a heart attack.

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Jill Soloway, the creator of the series, modeled the story after her experiences with her equally transsexual father, her very own "Moppa". She wrote the musical along with her sister Faith Soloway, who starred in the genre for a stage showcase in 2017: "Should 'Transparent' Become a Musical?" Their stage interpretation with Broadway actors was called, in the series final version Faith has a small appearance as intimidated piano player Shmuley.

The final accompanies the bereaved through Maura's death and her funeral, but until the rest of the family to sincerely group embrace in a verquer-queer bunch of mourning bundles, there is still a lot to do: Josh is still tinkering with his sex addiction, Ali lives now gender nonconformist than Ari and wants to become a rabbi, Sarah sinks into frenzy with her spicy husband. Mother Shelly is trying on a processing musical about her family, a somewhat strained meta-box, but at least one of the best songs of the finale contributes: The Mini-Revolting Revue "Your Boundary Is My Trigger", a dizzy vortex of psychological terms, in the midst of it Shelly admits to wanting to stuff her kids back into her vagina. Also touching on "Let Her Be Okay" is the farewell to Maura's LGBTQ community they sing at their funeral.

The rest is a lot of filler, musically and dramaturgically: In the most successful cases misses a musical episode of a slightly too retracted series of new, high-speed rocking swing, pushes developments that they then wear to the end of the season - as a final stop bollard is natural not affordable. In the episode "Once Again With Feeling", the genre masterpiece from "Buffy - In The Bane Of Demons", the characters in their musical numbers reveal what they can not otherwise pronounce, breaking crusts and shaking off the old.

In "Transparent - The Musical Finale" this does not work, but the piano ballads and Klezmer numbers always seem a bit like a classic "Oh look, a squirrel!" - Move, which distracts from Tambor's disturbing departure and the ambiguity of the funeral metaphor should. But it is good that this series does not simply fade away into the dark to say goodbye. The musical finale is full of painful jokes, as she delivered the series in her best moments, as when Sarah explains to her siblings that Maura's desire to be burned has nothing to do with the concentration camp crematoria: "Cremation is not the Holocaust. It's a completely different oven. " And one desires urgently a new series, in which the figures talk quite naturally about the pronouns to which they hear. Of it necessarily more. You just do not necessarily have to sing the whole thing.

"Transparent - The Musical Finale" on Amazon Prime