Controversial Drama which chronicles the lives of Stuart and Vince, and also 15 year old Nathan who is in love with Stuart
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2000   1999  
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Cast

Series cast summary:
...
 Stuart Jones (10 episodes, 1999-2000)
...
 Vince Tyler (10 episodes, 1999-2000)
...
 Nathan Maloney (10 episodes, 1999-2000)
Denise Black ...
 Hazel Tyler (10 episodes, 1999-2000)
Andy Devine ...
 Bernard Thomas / ... (10 episodes, 1999-2000)
Esther Hall ...
 Romey Sullivan (10 episodes, 1999-2000)
Alison Burrows ...
 Sandra Docherty (9 episodes, 1999-2000)
Caroline O'Neill ...
 Janice Maloney (9 episodes, 1999-2000)
Carla Henry ...
 Donna Clarke (8 episodes, 1999)
Caroline Pegg ...
 Rosalie Cotter (8 episodes, 1999-2000)
Alfie Robinson ...
 Baby Alfred (8 episodes, 1999)
...
 Alexander Perry (7 episodes, 1999-2000)
Saira Todd ...
 Lisa Levene (7 episodes, 1999)
Ben Maguire ...
 Christian Hobbs (7 episodes, 1999-2000)
Juley McCann ...
 Siobhan Potter (6 episodes, 1999)
Sarah Jones ...
 Suzie Smith (6 episodes, 1999)
...
 Cameron Roberts (5 episodes, 1999)
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Storyline

Two gay friends, Vince and Stuart, live on a cocktail of sex, drugs and clubbing. They are both 29, and Stuart is the type of guy who cops off every time he goes out. One night, he spots 15-year-old Nathan, and brings him back to his apartment where they make love. Now, Nathan is still after Stuart, but Stuart just thinks of Nathan as one in a long line of one night stands. Written by Anonymous

Plot Summary | Add Synopsis

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Drama

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Release Date:

23 February 1999 (UK)  »

Also Known As:

Diferentes Como Nós  »

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Did You Know?

Trivia

Christopher Eccleston auditioned for the role of Stuart Jones. He withdrew himself from consideration shortly after his audition, saying he felt he was "too old" for the part. When he withdrew, he recommended they audition Aidan Gillen. See more »

Quotes

Stuart Alan Jones: Where are you going?
Vince Tyler: You've copped off!
Stuart Alan Jones: I'm just getting his phone number, that's all!
Phil Delaney: What did you do - swallow it?
See more »

Connections

Featured in The Greatest: 100 Greatest TV Characters (2001) See more »

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User Reviews

Original Version Shines
21 July 2001 | by (Cleveland, Ohio USA) – See all my reviews

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.


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