This show crossed all barriers, appealing to every kind of viewer, thanks to the beautifully written characters, magnificently realized by the superb cast, and I for one am sad to see it end, this once-in-a-lifetime bold and redemptive journey.
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Added on August 8th (a day after the series finale aired) - Just wanted to say that this show has changed television forever, not just because it pushed the envelope - actually, it EXPLODED the envelope - but also because of all the lives it touched, informed and/or changed. This is the only show on television, cable or network, that I watch religiously and I couldn't be any more thrilled that it's been renewed for another 2 seasons. It's impossible to imagine any different actors in the main roles, in fact - the true sign of brilliant casting. The most important reason this show works is because of THE ACTORS, who are all superb, creating 3-dimensional characters that you care about, deeply, week after week. Kudos to Showtime for having the courage to put it on.
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QAF is, in my opinion, the best cable TV series of all time (since Rude Awakening is off the air).
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QAF is excellent series TV, vastly entertaining. Right now I'm deep into season four and I can't wait to find out what happens next. It's a real wallow, and I'm always sorry that it's over. Now in its fifth season, I've come to appreciate the show in big gulps since I rent each season from Netflix.
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Michelle Clunie as Melanie and Thea Gill as Lindsay strike me as an appealing, smart, and caring lesbian couple Their stability as a couple shows what is possible without proselytizing. Sharon Gless's working Mom waitress can be abrasively grating at times, but she presents a loving mother to a gay son, and that's a good thing. At first I thought Randy Harrison's sweetly beautiful Justin was going to be a fluffy love toy for Brian, but Justin's own problems have shown Brian's caring side, and you get to see that Justin is no dummy. Scott Lowell has a natural affinity for Ted Schmidt's insecure and manipulative accountant.
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I love that he's always picking himself up after every romantic disaster, dusting himself off and heading towards the next with high hopes. Peter Paige's Emmett is adorable and heartbreaking. His character's worry about everything has finally become endearing. Michael is a child, but a sweet one with his love of comic books, and his unresolved longing for Brian. He's unapologetic about his sexuality and is not obsessed with settling down into domestic bliss the way Michael is. He wants to be appreciated for his worth. Brian's a stunning bad boy, confident of his looks, his talent, his ability to spot bullshit a mile away. What I responded to is his character's absolute refusal to be liked, unlike the very likable Michael (Hal Sparks) whose insecurity demands that he be liked. His no gamesmanship attitude towards sex and relationships makes total sense. Gale Harold's Brian took me totally by surprise. But how wonderful to have a show all about gay people where nobody gets killed for being gay, or commits suicide or is in some sort of depression or any other negative situations that have been such a feature of films showing gay characters as life's losers. Sure everyone always seems to be showing up at the big gay club with its go-go dancers and steamy back room. The relationships work beautifully and you see a fairly representative slice of gay life on this series. Their insular gay world in Pittsburgh was refreshing. I found I cared deeply about these characters. But once the first season was half over, I was hooked. QAF started for me as a superficial soap about gay life.
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My normal reaction is that if a series is good in its original British guise, the Americanization will be awful. I'm no prude, and thank goodness I've stopped squirming. As an older man (55), I'm amazed at the level of graphic nudity, the frankness of the sexual couplings whether gay or lesbian sex is involved, and it struck me as astonishing that the reason I would sometimes be uncomfortable viewing these scenes, is that there are virtually no images for gay people on TV that are comparable to those in QAF.