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If Stuart is the product of a swaggering new labour generation, Jim represents a more brooding 1970s gay man. The film culminates in a breakdown of these compartmental identities when his students confront him with questions about his sexuality that he can't avoid. He lives a double life, straight-presenting geography teaching during the day, scouring London’s cruise clubs and bars for men at night. It follows a teacher named Jim (Ken Robertson) on his constant, almost ritualistic search for love. In a similar vein to Queer as Folk, when Nighthawks (1978) was screened on television it came under scrutiny from sections of the LGBT community and general public for its realistic portrayal of gay experience.
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In more recent years, reality shows have overtaken television, and the mainstream has subsumed many marginal issues.
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Throughout the 1980s, they produced films and series including My Beautiful Laundrette (1985), In The Pink (1986) and Out on Tuesday (1989), all of which incensed the then Conservative government because of their depiction of same-sex desire. Their programming was left-of-centre and aimed at LGBT and POC audiences. When Channel 4 launched in 1982, it had a radical remit to provide an alternative to the other terrestrial channels. Having daring and relatable LGBTQ+ characters and storylines on television is essential to confront these regressive prejudices and assure people that they have supportive communities. Recently, some schools in the West Midlands have suspended their ‘No Outsiders’ lessons – a curriculum introduced to promote equality and diversity – following outrage from parents. However, LGBT+ people in the UK still face many challenges, with trans people continuing to experience horrific amounts of discrimination and abuse on the street, in the workplace and in the media. 20 years since the original series, the perception of LGBT+ people in the UK has improved, with hard-won rights and freedoms – including the repeal of Section 28, a law banning the promotion of homosexuality by local authorities, in 2003. Queer as Folk was the first time many people had seen empowered gay characters on television, characters who directly opposed the stereotypes of shame and death widely imposed on gay men at that time. The transformation is encapsulated in a memorable scene where Nathan confidently struts through the school corridors in time to ‘Sexy Boy’ by Air (1997).
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His style and self-confidence develop as he becomes aware of his sexual currency in a youth-orientated market place, from a slouchy jacket in episode one to full Brian Molko-esque tight shirt and choker by episode four. It is in these spaces that he finds an intergenerational family, less conservative and more fun than the one he has at home. In series one, Nathan Maloney finds refuge from his classmates in the clubs of Canal Street. After a car dealer makes a homophobic remark, incorrectly assuming he is straight, he test-drives a Jeep off the forecourt directly through the dealership window - a reasonable response in my opinion. To anyone bigoted, Stuart dealt spectacular retribution. His life focused on continuous sex: marriage wouldn’t have been an option, neither would a consistent relationship, or even sleeping with the same person more than once.
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Lead character Stuart Alan Jones was anarchic and without the tragedy or self-deprecation so often ascribed to gay characters. Three weeks after the pilot episode, the beer company Beck’s revoked their sponsorship for the show, allegedly because of a scene in which 29-year-old Stuart rims 15-year-old Nathan after picking him up at the end of a Thursday night.
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The series followed the lives of three gay men, Stuart (Aidan Gillen), Nathan (Charlie Hunnam) and Vince (Craig Kelly) on Manchester's scene around Canal Street. In 1999, Channel 4 took a risk on a controversial new drama called Queer as Folk, pitched from a young screenwriter named Russell T.