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). 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. 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. 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.

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