By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
True, the critic's tape I received was more explicit than the show that actually aired (thanks to a rating system much harder on gay films than on comparable straight stuff). Still, there's enough of the old in/out to keep this pervert's pecker up. Itching to see the fabled rimming scene in its entirety? Stay tuned for the deluxe video edition. For sex addicts who just can't wait, word is that those unexpurgated critics' tapes are being auctioned on eBay.
Meanwhile, as the actor who plays Brian, the show's big throb, reaps the rewards of his perfectly symmetrical smirk, he's already given interviews boasting that his girlfriend is "very cool" about his walk on the wild side. Attention agents: Not only is this actor STRAIGHT!!!! but he's out to appeal to that niche of women hip enough "to deal with me as a gay man." Move over, Rupert Everett. This dude's every bit as willing to have a kid with Madonna and much more likely to call her a bitch in the morning.
As for Justin, the dewy demon who falls for Brian and won't let go, the fact that he's 17 (two years older than his counterpart in the British series on which this version is based) seems to have gone by all but unremarked. But there's been plenty of buzz about the show itself. Though HBO's prison drama Oz shows lots of male nuditynot to mention rapeviolent images of homosexuality are far more acceptable than what frightens the horses most: relationships. This series is not just about gay sex; it's about the bond gay sex creates. This unique aspect of gay life has been all but forgotten in the age of AIDS.
Among its many casualties, AIDS has squelched the potential of erotic attraction to cement group solidarity. But this powerful force in human behaviorsublimated in straight male society as the basis for teams, military units, and music comboswas once the central element of gay liberation. These days, it's fashionable to think of gay sex as a binary act rather than a tribal one. But Queer as Folk recalls the olderand never really repressedgay model. This is what makes the show groundbreaking, despite its stilted characterizations and flimsy sitcomic reflexes. Unlike The Boys in the Band, whose characters expressed their sexuality entirely outside the group, this drama shows how the ramifications of desire can form the gay equivalent of family.
Consider Brian, whose lust (and more importantly, respect for his lust) makes him the leader of the pack. Not the alpha, mind you. Brian doesn't measure his macho by the ability to subordinate others; in fact, Brian has no authority at all. But this band coheres around his free-floating desire, and once someone connects with Brian, heor shebecomes part of the fold. Then the pack expands as each member brings lovers into it. Everyone lives by the unspoken erotics of longing, anger, and love.
While the show delves (not always subtly) into the notorious gay fear of intimacywhich is really a male fear writ queerit doesn't surround this issue with the usual patina of imminent doom. Yes, gay life can be cruel, but there is also what Jackson Browne calls "tenderness on the block." And while Brian's promiscuity certainly springs from terror, it is also presented as a source of nurturance. His feelings for his child and its lesbian mother are no less genuineand no less alienatedthan many a husband's affections are. When Brian gets hooked, reluctantly, on young Justin, the result is a snarling devotion that's not so different from what often passes for fathering.
What's missing from Queer as Folk is that old trope of gay drama meant for a "general" audience: mixed company. Straight society is an intrusive, if not hostile, presence here, mitigated only slightly by each character's parents. Though the fathers are either absent or abusive, the mothers remain loving, mirroring the scenario of many gay men's lives. These moms serve as guides to the netherworld and points of identification for female viewers (who are likely to form a large part of the audience). The gay-friendly mother who can't wear enough pride buttons is the show's most insufferable creation, but one thing you can count on from Queer as Folk is that she will prove to be richly paradoxical. That's the way life is, and verisimilitude is the signature of this series.
Sex isn't what makes the show provocative; it's the distinct society created by gay desire. But the bonds between these men resemble their relationships with their parents in all sorts of refracted ways. So what ultimately comes across is that gay life is the template for a new kind of family: a lot more flexible than the traditional model, but no less painful or binding.