Dr Jacques COULARDEAU QUEER AS FOLK That is a series that can only be British. I remember in the early 60s, or is it slightly later, a theater that played one big success in London at the time in Charring Cross Road, "No sex Please, we are British". Times have changed and this series is quite typical of that change. Sex, sex and sex, stopping one inch from hardcore sex, and gay what's more. And yet that film is a lot more than these few erotic episodes. First it is deeply committed to diversity in sexual orientation. All the nuances and shades of gayness are exploited and shown in the most funny and comical way, never derisive, never aggressive, but always in a comic orientation of its own. You cannot imagine the diversity of shades and personalities you may or might find in this community. In fact you have to dip yourself in it, or even soak yourself in it to know. But be careful though to know what you're doing otherwise it might become another famous play on Charring Cross Road, viz. "The Mousetrap". Second it strikingly confront the problem of age in a sexual community that is too often marked by transience and instability, especially since these couples are not recognize by the law and do not have the right to marry and create a stable home. That implies gay people are more or less forced to cruise all their life, to be the hunter or to be the prey. That is so clearly shown with the main character who is practically never having two helpings of the same dish. But that is true till a fifteen year old boy he seduces decides to ask for more insistently. That makes the main hero Stuart think maybe he is losing something that will never come back, his youth and he maybe should think of the future and not only of the present, or at most the balance of the hunt and how many people, I mean men and boys, he has shagged. But Stuart has another problem with his childhood friend, Vince, who is gay too, who would like to get Stuart or who would like Stuart to get him, but he is shy and he does not want to find himself involved in the great unstable sexual looting of the vast world. So he gets attached to an older man and this episode, both for Stuart and his friend Vince, is a revelation, an epiphany. They discover they have something in common that they cannot find at all with anyone else, and that is exemplified with the various actors who played Doctor Who. They have a past in common, a tremendous level of personal commitment to each other, generally called friendship, and a sexual attraction and even passion they can easily release, provided they get away from their common environment that is a mousetrap to them, viz. Manchester. Third the series does not hesitate to show what sex is for young male teenagers (fifteen or so) and here the fifteen year old boy, Nathan, is our study case. Nathan, is the living example of that age. Provocative and yet shy, exhibitionistic and yet modest, passionate and yet reserved, light-headed by principle and yet over-thoughtful. In fact he knows one thing: he wants sex. He knows a second thing: he wants gay sex. He finds danger and difficulties exciting, so why not try the macho jock at school who is of course both straight and homophobic, even if… when he closes his eyes and lets himself go, he may accept a helping hand. But this young chick, Nathan, has to learn one thing: Stuart is too old for him. He, Nathan, can only be some kind of a cherry on a pile of ice-cream for Stuart's birthday or any other celebration. But he has nothing in common with Stuart except his sex and his sexual attraction and orientation. And that's the meaning of the second series. The first series had finished nothing at all and we were hanging in midair. But the second series gives an end to every character and the last episode ends up with a hot scene on a hot parking lot in the hot state of Arizona between the hot cities of Phoenix and Tucson with a hot gun and a not so hot contrite "Sorry!" from a hot muscular truck driver who could very easily get involved in some hot gay bashing episode, like at the beginning of Stephen King's "IT". Just get the full two series and watch them for fun, enjoyment, and eventually, if you are in the proper mood and orientation, for pleasure.Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Versailles Saint Quentin en Yvelines, CEGID

Axel Otterberg 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 (!)

harry-76 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.

raybatchelor Pity there's no points system to give this show a clear ten out of ten. Aiden Gillen is superb as Stuart the lead role. However beware adopting him as a role model. But for those of us who are already Stuart-like just sit back and grin. Craig Kelly, who had a bit-part in Titanic, is memorable as Vince. In fact so much so that I was calling him Vince on set, just recently. Charles Hunnam as Nathan already has an appreciation society and in Queer As Folk breaks taboos that will keep this show controversial for may years to come. Fine scriptwriting from Russell T Davies makes 'Tales of the City' look very tame indeed - utmost respect to Armistead