The Boy Who Wasn’t George

Ellis Scott occupies that interesting zone where resemblance becomes its own kind of identity. The "not Boy George" qualifier does the heavy lifting here—it tells you everything about the aesthetic (the makeup, the androgyny, the early-eighties referencing) while insisting on the distinction. Whether Scott actually lands it depends on whether the influence feels inhabited or just worn as costume. The line between homage and xerox is always thinner than it looks.