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“This movie and the special are much closer to who I actually am at my core as a person. In this film, he can be sexy, hot, powerful, and vulnerable-all made possible because of the actor’s vulnerability. Fire Island, brash not only in its approach to the social dynamics of gay male culture, but also in its sensitivity and tenderness, allows Booster to move from his initial confrontational character and unsheathe himself. Pop culture is reaching a himbo saturation point, and it’s been a part of Booster’s act for so long that it’s become what people expect of him. “You always want to stay two steps ahead of where the cultural conversation is,” he says.
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Now, before the premiere of his Amy Heckerling-esque riff on Pride and Prejudice, his first Netflix special called PsychoSexual, and a role on the upcoming Maya Rudolph-led Apple TV+ series Loot, Booster is “back off” of that “bimboy” persona. When I speak with Booster on Zoom, he elaborates on how the funny and discriminating Hot Idiot character has allowed him some critical distance: “I think I created that persona as a form of protection.” The Hot Idiot, or himbo per our common parlance, has usually been the province of white and mostly straight men for Booster, it was a chance to be subversive, “a fresh take on being an Asian man” that could raise a middle finger to the fraught politics of Asian-American masculinity-while sipping on a vodka soda and getting laughs with precisely-structured jokes. (“I literally knew I was gay before I was Asian,” he jokes both bluntly and with a whiff of performed naïveté.) Booster’s stage persona then became accessible on a national level when he appeared on Conan in 2016. It was in the endless runs of open mics and shows that this flippant and appealingly glib persona emerged. Before this performance, Booster’s stage presence depended on what he has described as a “Hot Idiot” persona: libidinally driven, yet astute in his observations mockingly facile, but self-assured cheekily illiterate, but also, as one character in Fire Island says with admiration, “biting.” It’s a clever costume and putting it on has been a useful kind of drag in the last decade or so of Booster’s career, but Fire Island lets him add another dimension.īooster, born in South Korea and adopted into a white family in Illinois, got his start in standup in Chicago and then moved to New York, his name steadily rising with his queer peers. Later, through a glass window watching friends, he surveys a neon-soaked underwear party. But in Fire Island, the film he wrote, executive produced, and stars in, we see him lose his gaze in a mix of wonder and yearning, his eyes wandering on the ferry to the Fire Island Pines. It is relatively unusual to see Joel Kim Booster stare off into the middle distance.