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Is this shopping mall the gayest place on Earth?

Is this shopping mall the gayest place on Earth?

Opened in 1982, the Yumbo Centrum in Spain's Canary Island bills itself as the world's only LGBTQ+ mall. With four floors and 200 venues across 200,000 square feet, the Yumbo anchors a queer community remaking travel as a double-down embrace of their true selves. Photograph by Thomas Rabsch, laif/Redux
At the Yumbo Centrum in Spain's Canary Islands, Pride never ends
Dario Villalba, 29, a shirtless actuary from Milan, roars into the night, jumping in a sweaty briar patch of men on a far-flung Spanish island. 'Sempre! Sempre!' he cheers. 'Sempre di più! Yumbo per sempre!' ('Always and always! More and more! Yumbo forever!') As a Bruno Mars remix blares, Villalba revamps the chorus: 'Sleep tomorrow, but tonight go crazy. All you gotta do is just meet me at the—'Yumbooooo.''
Opened in 1982 with the hope of 'if you build it, they will come,' Yumbo Centrum now bills itself as the world's only LGBTQ+ mall: four floors and 200 venues across 200,000 square feet of open-air Brutalist bedlam. Those numbers shape the dimensions of a surprising truth about this obscure locale: it just might be the gayest place on Earth. Yumbo anchors the resort town of Maspalomas, on the southern tip of Gran Canaria, part of Spain's Canary Islands off the coast of Africa. But it also anchors a LGTBQ+ community for whom Yumbo is a place where they can become themselves.
'It feels like family. Even strangers feel familiar,' says Huw Davies, 73, a Welsh retiree who first came to Yumbo in 2005. 'I've never been anxious when I'm here. That's real freedom. That's real love.'
Yumbo's official Pride Week celebration is in May, but at Yumbo, Pride never really ends, buoyed by LGTBQ+-focused parties and events almost every month. Year-round, the polyglot crowds gravitate to the world's universal languages: dance, laughter, music, and rizz. Yumberos—that's the locals' name for visitors—come for round-the-clock sex positivity, and all the accompanying pleasures. Everyone at Yumbo is living their best main character life. The open relationships, the ride-or-die friend squads, the dads burping their babies at midnight; they all radiate Yumbo's gestalt glow. A Grace Jones double performs at a disco in Yumbo. The mall is covered with camp surprises, including clubs and bars for every interest, drag shows and European-themed bars. Photographs by Tobias Kruse, Ostkreuz/Redux
'Yumbo breaks all the rules—the patterns—and you find a new kind of gay life here,' says Leo De La Rosa, 39, a model from Madrid, as he strolled the mall.
Even Yumbo's workers share the vibe. Take Jean-François 'Jeff' Renard and Thierry Fontaine, elderly husbands from Toulouse who dress up like burlesque twins and gadfly about before working together at a bar where they hold court. Or shy Osman, the locally born-and-raised 22-year-old who mans a tiny grill in the parking lot, selling $5 bratwursts from 9pm to 6am and, as he put it, 'learning that things can also grow in moonlight.' Or Gonzalo Benabu, 37, Yumbo's Argentine magojista ('massage wizard') who fills his downtime with whispered prayers as he holds the dog tag necklace his mother got him inscribed with one word: sagrado ('sacred'). Croatia's oldest coastal town
Yumbo can be anything, from campy to earnest, or romantic, sometimes all at once. Simple people in a simple place
For all its hype of diversity, queerness often suffers from an aesthetic sameness derided as 'clones'—an ironic homogeneity in fashion, music, physiques, and other aesthetics. Yumbo challenges clones, beginning with its labyrinthine layout of aggressively unstylish concrete and extending to its unexplained dinosaur mascot—a green brontosaurus with red stegosaurus plates—who wears a red bow tie. It's not shabby chic, just plain shabby. It's all decidedly counter-American (not opposed to Americans who are plentiful) rejecting the habit of turning gay havens into luxury real estate.
The only freestanding structure in Yumbo's massive central courtyard is a Burger King where workers wear Pride t-shirts instead of corporate uniforms; it somehow has a rooftop 'secret garden' bar sponsored by Absolut. Yumbo also has a pyramidal mosque, an on-site doctor, a Wall of Love for sentimental scribblers, an AIDS memorial cactus garden, casinos and arcades, a park dedicated to a local gay rights hero, and an 18-hole rooftop mini-golf course.
It has bars and clubs for every legal passion and proclivity. There are rainbow benches and staircases. A massive central courtyard full of men dancing to a Lady Gaga tribute band or remixed versions of a Journey medley from the television show Glee or the Brokeback Mountain theme. There are competing drag comedy shows, sports bars where the sport is Eurovision (a pan-European song competition known for its over-the-top kitsch), and drink specials so extreme that beer can be cheaper than water.
Every inch of Yumbo is lathered in camp surprises: a spa where fish can nibble customers' feet, bars themed around gladiators or pirates, a bar that raised $68,000 to train seeing-eye dogs, restaurant menus with as many as 229 dishes and a dizzying array of chaotic bric-a-brac including an inspirational Beyoncé mug, rainbow mankinis, bobbleheads of Princess Diana, a Palestinian fútbol jersey, fur coats, a $850 crystalline Hulk beside a $570 crystalline Chewbacca, homoerotic sculptures, suggestive chefs' aprons, and rainbow sunglasses that read 'I LOVE MY GAY.'
But yumberos can still buy on-trend clothes including good boy shirts, letterman jackets, neckerchiefs, and rompers. Plus, vending machines sell adult unmentionables as casually as bags of potato chips. Its eclecticism reminds yumberos that queerness is free to be whatever queer people want it to be.
Cloning curdles gay travel too, homogenizing destinations into the same bougie beach blur. Yumbo, by sharp contrast, sticks out like a sore thumb. And yet its chiefly European crowds are choosing Yumbo over continental queer hubs like Amsterdam, Berlin, London, Madrid, and Mykonos.
'I can't stand gay people who think they're richer than everyone else,' says Mohamed Drifel, 36, a hammam manager from Marseilles. 'I like simple people in a simple place. The people here are simple. We're all the same, and I like that.' Most yumberos arrive by bus; it costs $3.95 from the nearest airport. Last year, 60 percent of the island's tourists made between $28,000 and $85,000.
They even win over the locals.
'From the moment I enter Yumbo, I put on my shirt so no one will think I am for anything strange,' laughs Luis Paredes, 45, a local nurse. 'I associate it with something grotesque, a little decadent, and quite tacky.' He pauses. 'But it can be fun.' His pause breaks into a smile, remembering his second-ever boyfriend, who he met in Yumbo. 'In general,' he says, 'yumberos are respectful—even if they are uninhibited. That's a rare combination.' A shared paradise
Yumbo's bars are themed with a European candor: Eiffel bar for Francophiles, Bärenhöhle for Germans, Club Mykonos for Greeks, Ola Nordmann for Norwegians. Corey Vuhlo, 37, a supply chain worker from Berlin, recalled working in lederhosen in the German section of Disney's Epcot Center, where he defied tourists' expectations as a Black German.
'Similar people come here, of course,' he says over a Burger King lunch, 'but more chill. Friendlier.' His friend Mucho ('he's a lot') piped up: 'The only thing better than smooth talkers are the rough ones.' Vuhlo laughed and continued: 'It's nice to see gay life as more open-minded. Not so fussy. It's kinda trashy here in a fun way. It's so '80s.'
That '80s vibe might be intentional, guesses Alonso Santa Cruz, 32, an anthropologist from Seville, over beers. Any sanctuary Yumbo offered after its 1982 debut was immediately dimmed by the early, merciless years of the AIDS epidemic.'It's a bit of a theme park for older generations that couldn't have possibly had this in the '80s or '90s,' he says. 'It's really harmonious. Not peace exactly, but truce. It's like a shared paradise. Every group has their own heaven but here is a heaven for all.'
Of course, Yumbo is not immune to criticism, as a French lesbian couple attested while passing Tom's Bar, a Yumbo hub that bans women and drag queens but welcomes dogs. 'Yumbo is a physical manifestation of the LGBT community,' says Cristina Agüimes, 29, a physical therapist from Lyon. 'Tell me. Where do lesbians go?' she asks. 'We have almost nothing. This is better than nothing. It's not paradise. But it's a start.'
For all its camp distractions, Yumbo is a reminder that while the straight world defines travel as a fantasy, pilgrimage or escape, queer people have remade travel as a double-down embrace of their true selves, the adventure within, free from the pervasive anxiety of navigating the infinite obstacle course for otherness.
'As gay people, we're always coming out,' says Alan Thompson, 44, a personal trainer from Glasgow. He moved to the Yumbo area last year with his husband, Derec. They got engaged at Yumbo in 2018, sharing the stage with drag queens Michael Marouli and The Vivienne. 'In Yumbo,' he continues, 'you can stop coming out. It's so freeing. We're so happy to live in the Yumbo bubble as we see gay rights go backwards back home and around the world.'
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Also, I know it's a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I'm looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group's friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda's drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we're huddled around a Chili's triple dipper, which is as bleak and real as it gets. 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Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years. Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in 'Sex and the City,' the driving force of the show. I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with. As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan's children separate — so unbelievable, and demeaning to both characters. Carrie's final 'revelation' that a woman doesn't need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room. Garcia: Samantha, and Cattrall in turn, were sorely missed. And you're right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa's storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts. As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe's mother, played by Patti LuPone, and Brady's baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I'll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can't say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can't say that's true here. But now that we're at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you'll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag? Villarreal: Oh geez. There's no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn't stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I'd place 'And Just Like That …' after that, with the Abu Dhabi getaway movie dead last. What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie's Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don't get me started on Lisa's jumbo balls of twine necklace. I'm curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn't do much to move the plot forward. Last week's penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie's book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that's transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie's take on a 19th century woman having an existential crisis. And look, maybe I'm schmaltzy, but I did sort of love the last line she tacked on in her epilogue: 'The woman realized, she was not alone — she was on her own.' Mary, are you judging me right now? I promise I didn't dance to Barry White's 'You're the First, the Last, My Everything' through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren't there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn't mean you can't have companionship in other ways. Anyway, what's the takeaway from what happened with this show? Hollywood isn't going to stop trying to find new life in established properties. So, what can be learned from what went wrong here? McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie's journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible! I will certainly miss marveling at Parker's Olympics-worthy ability to navigate nearly any surface in heels (and 'sell' outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view. As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone's story neatly boxed up like a Thanksgiving pie. But who doesn't like pie? Garcia: I love pie! But let's not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn't always what we need. Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I'll be ready for their return to my screen? Sorry, not sorry — I don't have time to set healthy boundaries with friendships that are no longer serving me.

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