The context of this third version is rooted in the pluralist identity politics of today, contrasted with the regression-pushing demons released into the atmosphere by the Trump administration, and the rabidly anti-LGBTQ Republican-run state administrations of now.
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This new Queer as Folk is following the second, third and fourth waves of LGBTQ representation on screen that its original series helped generate.
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After its revolutionary template of 20-plus years ago, we have had The L Word, Pose, The L Word: Generation Q, and a proliferation of queer characters on the big screen and on network, cable, and streaming TV (most recently in Fire Island, like this series of Queer as Folk featuring lead characters who are not gay white males). The televisual challenge facing this new Queer as Folk is one it helped create. “Any new ‘Queer as Folk’ is following the welcome second, third and fourth waves of LGBTQ representation on screen it helped create.” and post 9-11 years two of its characters decamped to Canada at the end, and marriage equality was morphing from a whisper to campaign slogan. The first American version took place in the Bush Jr. Queer visibility in pop culture was more patchy than nil. Section 28, which forbade the “promotion” of homosexuality-yes, before it was a reviled Russian law, Margaret Thatcher had made it a reality in Britain-was still on the statute books. The original British series debuted before the age of consent was equal for gay and heterosexual men, and while lesbians and gay men were banned from military service. Just like the first two versions of the show, the politics of Queer as Folk are intrinsic and time-specific. When Brodie’s request to Venmo some money for a hotel is refused, Brodie says to the guy: “And I thought you were an ally.” If you want to see flesh-taut, muscled, and filmed with sweat- Queer as Folk has a lot of it, and all that sex comes with an emphatic manifesto for many kinds of change.
Let me pay reparations with my tight hole.” The not-really-significant villains in the show are influencer Jack (Benito Skinner, in a one-dimensional role) who tries to insert himself into the mourning of the tragedy, and fleetingly another white guy who has a BLM lower-back tattoo and who begs Brodie at the beginning of the first episode: “Take me, punish my white ass. Just before the firing of bullets erupts, Brodie and Mingus make a connection. Meanwhile, also heading to Babylon, is Mingus (Fin Argus), a 17-year-old high schooler with a penchant for skateboarding and dramatic eye makeup, who is about to make his drag debut and who has also lucked out in the TV parent stakes-Juliette Lewis, as his mom Judy, accepts everything about her child indeed he groans at her constant well-meant intrusions. The eight-episode season opens with the handsome 30-something-looking-way-younger Brodie (Devin Way) returning to town, and into a series of conflicts with his ex-boyfriend Noah (Johnny Sibilly) and trans best friend Ruthie (Jesse James Keitel), who is partnered and about to become a parent to twins with non-binary partner Shar (CG)-thanks to Brodie’s sperm.īrodie is also reunited with his gay buddy Daddius (Chris Renfro), who is hiding a secret from Brodie, and there is also tension for Brodie with his family, which as well as having Kim Cattrall as mom Brenda includes brother Julian ( Special’s Ryan O’Connell, who has cerebral palsy, and who is also a writer and co-executive producer of Queer as Folk).
(Davies has given his hearty blessing to this new version, created by Stephen Dunn.)Īnother big departure: Kim Cattrall may no longer be Samantha Jones, but here she is, playing Brenda, a Martini-mainlining mom with a fluttery Southern accent, and not as conventional as she at first seems. This is not, as it was, a show featuring a central cast of hot, able-bodied, cis white lesbians, gay men and bisexuals, yet its script is still lubed with the wit and sass that has been part of Queer as Folk from the very beginning, thanks to its creator Russell T.