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Among the supporting cast are their friends and family members, including Stuart’s friend Romey Sullivan (Esther Hall), a lesbian who uses Stuart’s sperm to conceive a baby with her partner. version of Queer as Folk followed a main cast comprising Stuart Jones (Aidan Gillen), a successful and aggressive ad executive, Vince Tyler (Craig Kelly), his best friend who is also in love with him, and Nathan Maloney (Charlie Hunnam), a cocky but naïve 15-year-old-whose young age prompted backlash from viewers from the start of the series. Rather, both versions of Queer as Folk encapsulate the pervasive sameness of television representation in the late 1990s and early 2000s-another convention that’s slowly and imperfectly begun to change, with shows like Pose and Our Flag Means Death. Though each version provided unprecedented gay representation, the lack of diversity in race and gender expression in the show leaves out any representation of trans people and people of color in the queer community. It ran for five seasons, earning six GLAAD award nominations and one win, for Best Drama.īoth versions of Queer as Folk followed homogenous main casts of white, cisgender people, most of whom were in their 20s and 30s. At the end of its first season, Queer as Folk was Showtime’s highest-rated show, garnering a much higher viewership than the network had anticipated. and follows a similar but expanded cast of characters: five men and their family, friends, and lovers. Lipman and Cowen got their version greenlit and swore they’d make it even raunchier than its U.K. because it featured too much sex, too many drugs, too little condom use, and so on. version, arguing that nothing of its outrageous ilk could ever exist in the U.S. They had just read a piece in the Los Angeles Times about the U.K. version of Queer as Folk was created by Daniel Lipman and Ron Cowen when another show they were working on for Showtime fell through, and they decided to pitch Queer as Folk in its place. The show brought 2 million viewers to Channel 4, topped only by ER. It had an initial run of six episodes, with two more made later, bringing the total to eight. The show premiered in 1999 on Channel 4, and followed three men and their friends in Manchester’s Canal street area, known as the Gay Village. While the concept of “representation in media” is often paid ineffectual lip service, Queer as Folk was the real, ridiculous, sexy, messy, multi-faceted thing.ĭavies was itching to write something he felt accurately captured not only the realities of being a gay man in Manchester, but also the broader experience of growing up and discovering who you are. and U.K., and provided many young queer people’s first exposure to gayness not framed as either a mildly interesting sideshow attraction alongside a straight person’s “real story,” or an abject tragedy. Queer as Folk also contributed to broader shifts in public sentiment toward the queer community in both the U.S. In doing so, it had a significant part in setting the stage for other quintessential queer dramas, including The L Word, the L Word reboot ( Generation Q), Glee, Genera+ion, and even, yes, Euphoria. So often called “ground-breaking” that the description might start to sound trite if it weren’t also true, Queer as Folk put gay people and queer storylines front and center in a way that even other media of the time prominently featuring gay characters, like Will & Grace, had yet to do. But a little over 20 years ago, the original incarnations of Queer as Folk did just that-first in the United Kingdom in 1999, and then a year later in the United States. In an era of increasingly frequent-if often imperfect-queer representation in media, it might be difficult for the young target audience of Peacock’s new reboot of the classic Queer as Folk to imagine that a show following a group of gay men in Pittsburgh living relatively average lives could have created a new paradigm for how gay and lesbian stories would be told on television.