Queer as Folk

I am one of the few people in the US fortunate enough to

see this British TV series. It's certainly better than the majority of American sitcoms and mini-series. The story lines give a mature, humorous, satiric look at the life of gays in Manchester, England. There are serious elements of parents rejecting their gay children, homophobia, and the dangers of picking up people, but overall the stories are

kept brisk, funny, and delightful.

The closest that American TV comes is DYNASTY, MELROSE

PLACE, ACTION, and MARRIED...WITH CHILDREN, but this show

is more gutsy and even has Shakespearian irony. It presents interesting characters, bold plotting, and transcends its own open sexual elements. Following the

adventures of the three main characters (sexual-magnet

Stuart, unrequited romantic Vince, and teenaged conqueror

Nathan), the story includes a whole wide world of other

people and in wonderfully playful.

It would be nice to think that one of the US cable lines

will be bold enough to show it.

Down in Brasil, they aired the Portuguese dubbed US version of this show, and I hated it (and yes, I am male and attracted to guys). I just thought it was ugly, stereotypical and just a downright humorless gloom fest.

However, my friends showed me the UK version. I was hesitant at first, but I gave it a chanse. In fact, I love the UK version way much better than the USA version. Good acting, actual fleshed out characters, and some humor thrown in here and there (unlike the other one). Yeah, even thouhg some of the gay men here party and are sexually aroused, but this time they are more portrayed as humans and not stereotypes (and yes, in the UK, those are ACTUAL gay people, from what I heard).

Only if they air the show on Brasil TV and play it in Portuguese even.

This series are really the best gay-soap of all times!! It's never boring, you get always a laugh and the characters will be more interesting by every episode of the series. I think that this TV-series will go to the classics... Well, I hope so. I'll give it 12/10 (!)

I am straight and I remember when this first "came out" and the debate and host of press articles it generated in mainly the lifestyle sections of our newspapers about the explicitness of the gay sex scenes. The debate was mostly positive but I remember thinking how brave C4 were to put this on, we had all seen explicit straight sex scenes on television series before which was nothing new' but never explicit gay sex scenes which at that time was new.

I watched the second ep and I was gripped from the start. To me it was about a sizeable minority out there whom us straights knew little about. The sex scenes were to me at that time shocking but sex scenes are just part of any adult drama so I was not disturbed as some where at that time. But the seminal and brilliant thing about this was the writing, Russel T Davies is a big name over here and always writes quality TV.

At that time I thought all gay people were just the Larry Grayson effeminate stereotypes, it never occurred to me that there are gay people who are as "queer as "Folk"", as in, just normal people with the same drives and ambitions who just want to live happy and hassle free lives. I also remember learning that Aiden Gillen (a fellow Dub) was not gay but straight and being minorly shocked by that.

I recently watch this again which prompted this review and I can say that this was one of the best and most educating TV shows I have ever seen. It got good ratings and I believe "added" to our more accepting attitudes to homosexuality. This is what TV dramas do at their best and this is one of the finest examples.

It is still worth a watch.

It's easy to see where this original British version of "Queer as Folk" generated talk when it debuted in the UK. Its liberated tone and sassy manner flings itself at the viewer with uninhibited abandonment.

It's certainly time for more honest depiction of alterative lifestyles, even though these characters may represent a cultural minority. Russel T. Davies' script is pointed and efficient, and Charles McDougal's and Sarah Harding's direction (of episodes 1-4 and 5-8, respectively) keeps the action moving and the dialogue sparkling.

Harding's direction is particularly effective, as Davies escalates character development as the series moves toward the end. The viewer begins to understand the selfish arrogance of Stuart, and the dependent relationship of Vince, to the viewer's dismay. Even the young Nathan emerges as a bit of a disappointment in the ethical department.

The driving rock beat of the score adds a flippant touch to these characters whose lives are closely attached to the flashy bar scene and superficial materialism. One night shagging, drug taking, and regular boozing complete a pretty empty portrait.

Selfish, self-centered, and immature, these characters are more to be pitied than censured as they engage in "La Ronde"-type laisons several nights a week. There's very little Canal Street has to offer, other than elaborate distraction, and these fellows play into its fold with addictive verve.

Turn up the volume, spin the crystal, boogie til dawn . . . it's all part of the escapist route-of-no-return. No matter that a mate ODed on heroine, as a result of a quick, irresponsible pickup. The funeral is as routine and unfeeling as as the last relationship. A stark and thought-provoking drama has been fashion by Davies, and played up a storm by a highly talented cast, headed by Aidan Gillen, Craig Kelly and Charlie Hunnam.

Gillen's work seems particularly reminiscent of Gary Oldman's in "Prick Up Your Ears." It's a highly detailed characterization that seems to come from the inside out. Both Kelly and Hunnam are seasoned professionals, and provide skillful insight to their presentations.

If anyone thought the cockney in "Beautiful Thing" was difficult to understand, give a listen to the dialect here. It can be uniformly cut with a knife, yet it also adds to the authenticity of its blue collar setting.

"Queer as Folk" certainly did what it set out to do: set a genuine precedent in mature and intelligent television filmmaking.