ABSTRACT
We deploy a queer of color critique to read the 2021 film Boogie. Identifying a cisheteronormalized architecture of racialized gender performance that signifies urban aesthetics, we question the film’s assumption that urbanity equals futurity. This false equivalency creates a narrative missing the operation of Whiteness as an invisible, universal power. We denaturalize how Boogie invisibly upholds what Kim (1999) identifies as the racial triangulation of Asian Americans vis-á-vis White and Black Americans and challenge metronormative spatial relations. We push for greater attention to impossible possibilities of “queer(er) pastures,” or rural queer spaces as alternative sites of queer worldmaking.
