40 Out and Proud TV Shows

1. LOST BOYS AND FAIRIES (BBC)

Set in Cardiff and embracing the Welsh language in a way not seen before on prime-time BBC TV, Daf James’ stunning drama sees performance artist Gabriel, played by the fabulous Sion Daniel Young, and accountant Andy, played by the brilliant Fra Fee, considering adoption as they build a family. Alongside their appointed social worker,

Jackie (played by the amazing Elizabeth Berrington) and they embark on a long, challenging, and personal selection process that will change their relationship and home forever, pressing more than a few buttons from their childhood. This is especially true for Gabe, who, while stating in public that he has dealt with the gay shame of his religious, rural upbringing, one that saw him bullied at school as his relationship with his stern father faltered, still has unresolved emotions and feelings relating to his sexuality and Welsh identity. At the same time, Andy is more secure and desperate to become a dad, sharing his life experiences with a child who has had a difficult start to their life.

Andy and Gabriel’s journey is heartbreaking, joyous, humorous, musical and magical as they meet a young seven-year-old boy (Leo Harris) who has had a rough and violent start to his life. He is everything they thought they didn’t want, yet also everything they need. But as the slow, delicate process of relationship building begins, their relationship will be tested, their past traumas aired, and their hopes for the future cemented in a genuinely groundbreaking TV drama that defies genre labels.

2. CHANGING ENDS (ITV)

Growing up gay in 1980s Northampton is no bed of roses for the young Alan Carr, but it is made even more complex by his dad being the manager of the Cobblers (Northampton Town Football Club).

Written by Alan Carr and Two Doors Down’s Simon Carlyle, Changing Ends is a delightful exploration of Carr’s early life, from his first day at secondary school to his love of drama and early comedic talent. To say Alan doesn’t quite fit in would be an understatement. His passion for The Golden Girls, dislike of football, oversized glasses, gappy teeth, squeaky voice, and penchant for performance make him unique in suburban Northampton life. Luckily, his mum, Christine (Nancy Sullivan), is full of love and support, no matter her son’s differences. At the same time, his football manager dad, Graham (Shaun Dooley), is utterly confused by his son’s behaviour as he struggles with a football club at the bottom of the fourth division and a ground falling apart at the seams. 

At the heart of this joyous and tender coming-of-age comedy is the young Oliver Savell, who perfectly captures Carr’s camp, theatrical and cutting humour through a performance that is as near to perfection as you can get. The result is a hilarious and heartwarming semi-autobiographical comedy that shines through its performances, wit and endless charm. 

3. CHUCKY (SCI-FI)

Anyone following the career of Don Mancini, David Kirschner, Brad Dourif and their four-foot killer doll, Chucky, will know that queer identity and diversity thread through their seven-movie series. However, many of us wondered where the pint-sized nutter would take us next following Curse and Cult of Chucky. Therefore, when Chucky, the TV series, was announced, I was filled with excitement and trepidation. Would Mancini and Co. honour the stories that had come before or opt for something radically different?

Thankfully, they picked the former, and we got a direct continuation of the story built up over seven glorious movies. In many ways, Chucky season one feels like the Child’s Play 3 that should have been, as it centres on the feelings of detachment adolescence inevitably brings.

Over three delightfully wicked seasons, Mancini and Co’s discussions on sexual orientation, gender, difference, and inclusion create a unique TV horror that combines classic coming-of-age themes with a continuation of thirty-plus years of Chucky lore, resulting in a wild, entertaining and proudly queer slice of TV horror that will appeal to older fans and bring on board a host of new ones.

4. IN THE FLESH (BBC)

Horror has long provided a vital home for Queer storytelling and representation, from Cat People (1942) to The Haunting (1963). As BBC Three began to find its feet, Dominic Mitchell’s 2013 take on a zombie apocalypse would place the relationship between Queer representation and horror centre stage on the small screen.

Mitchell’s underrated series would delve into complex discussions on mental health, sexuality, and community as we followed a young queer Zombie called Kieran through the trials and tribulations of a new undead life and the teenage experiences that came before it. Here, Mitchell would weave the standard zombie story with the experiences of minority communities, maintaining a delightful mix of horror and comedy.

5. QUEER AS FOLK (CHANNEL 4)

Some TV shows carry such immense power that people can recall exactly where they were when the first episode landed in our living rooms. I know exactly where I was on the 23rd of February 1999 when Channel Four’s Queer as Folk arrived on our screens.

Russell T Davies would remove a legacy of gay men as non-sexual figures within the opening fifteen minutes and, in the process, shock and delight a whole nation. It was unapologetically provocative, bold, joyous and wicked as it danced down Manchester’s Canal Street and celebrated late 90s hedonism, sex, friendship and queer confidence. 

Queer as Folk would change TV forever and usher in a new era of LGBTQ+ storytelling worldwide. Russell T Davies didn’t just smash the rainbow-coloured glass ceiling; he took a sledgehammer to it!

6. IT’S A SIN (CHANNEL 4)

Russell T. Davies’ long-awaited AIDS drama sat in development for a long time before finally airing on our screens in 2021.

In many ways, It’s a Sin is a prequel or companion piece to Queer as Folk in the same way Cucumber is a sequel. It’s a drama that reflects a buoyant and vibrant 80s community under siege, its very survival held in the hands of those gay, trans, bisexual and straight people who fought their corner as AIDS ripped through the country. Davies’ discussions on the secrecy of 80s gay life, the need for escape from small towns to big cities and the political and social stigma of homosexuality are vivid, emotional and honest. At the same time, his dissection of the LGBTQ+ community highlights the diversity of its opinions and beliefs, many of which caused conflict and division due to a fear of oppression.

The result is nothing short of a modern TV masterpiece. By exploring a community in need that a government ignored, It’s a Sin is the story of a new disease that was allowed to steal a whole generation’s lives, hopes, and talents.

7. ORANGES ARE NOT THE ONLY FRUIT (BBC)

The BBC’s adaptation of Jeanette Winterson’s semi-autobiographical novel, Oranges Are Not the Only Fruit, is a milestone in LGBT+ TV history. Like Queer as Folk nine years later, Oranges Are Not the Only Fruit would end up at the centre of public outrage and debate for its portrayal of teenage sexuality and the hate-filled acts of a Pentecostal Church toward a young woman, Jess (Charlotte Coleman), due to her emerging sexuality.

Directed by Beeban Kidron, Oranges Are Not the Only Fruit would win the TV BAFTA for Best Drama Series and Actress. But more importantly, it would challenge TV audiences to rethink the role of religion in hate and discrimination through a wickedly sharp screenplay that shone a light on religious conversion therapy.

8. TIPPING THE VELVET (BBC)

Sarah Waters’ novels have been adapted for television several times. But it was the 2002 adaptation of Tipping the Velvet that would take representations of lesbian love and sex in a whole new direction. This is the story of Nan (Rachael Stirling), a Whitstable oyster girl who falls for a music hall star named Kitty (Keeley Hawes) and enters a world of sex, prostitution and hidden Victorian desire.

Tipping the Velvet, alongside another Waters adaptation, Fingersmith (2005), would open the door for The L-Word, Orange Is the New Black and others in the years following its release. Tipping the Velvet loses little in its journey from book to film, its bold and brave exploration of female sexuality wrapped in Victorian grandeur, grime and smoke. 

9. ANGELS IN AMERICA (HBO)

Tony Kushner’s epic gay fantasia on national themes began its life in the late 1980s when a San Francisco theatre company approached Kushner. Kushner began to work, drawing on his experiences of politics, sexuality, religion, and the human condition in 80s America.

Set amid the AIDS crisis, the play would interweave the lives of various characters, each grappling with their own struggles as they search for meaning in a world of chaos, oppression, and uncertainty. Here, the ‘angels’ Kushner created served as a metaphor for hope and transformation rather than reflecting any particular religious iconography.

Angels in America is unlike any play that came before it in its sheer scale and vision; it would dissect Reaganomics and the oppression of individuals and communities as a new millennium approached. In Angels in America, the horror of AIDS is viewed through a prism of division, unity, intolerance and love as the capitalist machine continues its march.

Kushner’s play extends beyond the AIDS epidemic, enveloping the audience in its scope as it explores what it truly means to be human. Each character’s life is shaped by differing worldviews, political opinions, and beliefs; yet they are united by one thing: they are outsiders in a world built on predefined norms.

The resulting drama prompts its audience to examine their beliefs, motivations, and biases while advocating collective responsibility in driving social change. Here, the play confronts political and social injustice issues during the AIDS crisis and reminds us that capitalism can breed division and cloud our compassion and empathy for one another, no matter our community background. 

10. THE WHITE LOTUS (HBO)

Class dynamics, societal inequalities, power, position, lies, and sex comprise the deliciously rich, delightfully enthralling, and downright brilliant The White Lotus, written by Mike White. Each season—beginning with the Hawaii-set first and continuing with the Sicily-set second uses the idyllic backdrop of an opulent resort to examine the darker undercurrents of its guests’ lives. The show juxtaposes the polished veneer of privilege with the messy, often uncomfortable realities lurking beneath the surface. This duality is reflected in the lives of the wealthy guests and the experiences of the resort staff, whose labour and sacrifices go largely unacknowledged.

At the heart of this HBO delight is the exceptional writing of Mike White, who effortlessly draws the audience into his web of human behaviours through a truly wonderful collection of fully rounded characters, played by an exceptional ensemble cast. From Murray Bartlett’s Armond in season one to Jennifer Coolidge’s eccentric and lonely Tanya and Leo Woodall’s devilish Jack in season two, to name just a few, every character is compelling and rich in detail.

The White Lotus also distinguishes itself through its visual and auditory style. The lush, picturesque settings of each season starkly contrast with the interpersonal tensions and ethical dilemmas unfolding among the characters. The cinematography often frames the characters to highlight their isolation or complicity within the power structures they inhabit. Additionally, Cristóbal Tapia de Veer’s haunting, unconventional score is integral to the show’s atmosphere, blending tribal beats with eerie melodies to underscore the narrative’s simmering tension and unpredictability.

11. INTERVIEW WITH THE VAMPIRE (AMC)

Many questioned whether Interview with the Vampire should rise from the dead following Neil Jordan’s exquisite 1994 film adaptation starring Brad Pitt, Tom Cruise, Kirsten Dunst, and Christian Slater. Boardwalk Empire’s Rolin Jones proved them wrong.

In modern-day Dubai, vampire Louis de Pointe du Lac (Jacob Anderson) sits down with renowned journalist Daniel Molloy (Eric Bogosian) to share the story of his life — or rather, his afterlife—which begins in the hustle and bustle of 20th-century New Orleans. There, challenged by the constraints as a queer Black man in 1900s America, Louis finds it impossible to ignore the irresistible allure of Lestat de Lioncourt’s (Sam Reid) offer of the ultimate escape: a chance to outmanoeuvre the confines of mortality and join him as his vampire companion.

But Louis’ new powers come at a precious price, and the introduction of Lestat’s latest creation – the child vampire Claudia – propels them on a path of revenge and redemption spanning decades. Epic and sweeping in its visual beauty and performances, Rolin Jones’ adaptation of the Anne Rice classic is proudly queer, gloriously gory and bloody riveting.

12. I AM NOT OKAY WITH THIS (NETFLIX)

What do you get when you cross a John Hughes movie with Stephen King’s Carrie before adding a sprinkling of Stranger Things? The answer might be found in the Netflix comic book drama I Am Not Okay With This, a deliciously dark comic book adaptation from the same universe as The End of the F***ing World. Here, we find the story of a teenage girl struggling with grief, awkwardness, acne, emerging sexuality, and some troubling latent superpowers.

Still reeling from her father’s suicide, Sydney Novak (Sophia Lillis) is not exactly living the teen dream as she battles with her recent relocation to a small town, arguments with her mum and a best friend, Dina (Sofia Bryant), who may be something more. Meanwhile, Sydney’s weed-smoking geeky neighbour (Wyatt Oleff) happens to fancy the hell out of her. But the cherry on top of all this teen angst is her emerging telekinetic powers, over which she has little control.

There is nothing new in the notion of superpowers interfacing with puberty; it’s a mainstay of the comic book origin story. But it’s rare to see these stories placed into the hands of a teenage girl, and even more rare to find them dovetailed with the coming out process.

I Am Not Okay With This felt fresh, new and sharp in an ocean of competing titles, helped enormously by the casting of Sophie Lillis and Wyatt Oleff, yet Netflix pulled the plug, and just like Lockwood & Co. and a host of other YA titles, we were left wondering what could have been.

13. DON’T EVER WIPE TEARS WITHOUT GLOVES (SVT)

Don’t Ever Wipe Tears Without Gloves was not the first TV drama to explore the AIDS epidemic, nor would it be the last. But SVT’s Swedish drama is one of the most achingly beautiful and emotionally charged stories of love in a landscape of discrimination, death, and heartbreak ever made.

Based on Jonas Gardell’s trilogy, the story follows a young gay Jehovah’s Witness who arrives in Stockholm seeking to rebuild his life and the young man who befriends and protects him. But it is also the story of a liberal country during the AIDS epidemic and the cracks that would form in the liberal ideals Sweden held dear as homophobia raised its ugly head. It’s the story of a gay community in Stockholm under siege, and of love as gentle and delicate as the snowflakes drifting in the air.

14. MY SO-CALLED LIFE (ABC)

Not every groundbreaking LGBTQIA+ story comes from a TV show dedicated to that theme. Sometimes, it’s a single episode or a lone character who changes everything and ushers in a new age of representation. My So-Called Life would be axed by ABC before its influence and merit were considered, and it remains one of the most influential teenage TV dramas ever to be cancelled after a single season.

The bravery and innovation at the heart of My So-Called Life were vast. However, it was a young Hispanic-Black character named Rickie Vasquez (played by Wilson Cruz) and a single Christmas episode, ‘So-called Angels,’ that would take LGBTQIA+ representation and storytelling in a brave new direction within teenage drama, changing the landscape of young adult TV forever. 

15. EUPHORIA (HBO)

Created by Sam Levinson and lauded for its bold storytelling, striking visuals, and unflinching exploration of complex issues, Euphoria has become a cultural touchstone in contemporary television. The show delves deep into the lives of a group of high school students as they grapple with identity, trauma, addiction, relationships, and the pressures of growing up in the digital age. Through its raw honesty and artistic innovation, Euphoria has helped to redefine the teen drama genre.

Rue (Zendaya) is a recovering teenage drug addict who serves as both the protagonist and narrator of the series, guiding viewers through her tumultuous journey of self-destruction and recovery. Rue’s struggles with addiction, mental health, and identity form the emotional core of the show, offering an unvarnished and deeply empathetic portrayal of substance abuse and its ripple effects on relationships and family. At the same time, each fully-formed character offers a distinct and compelling perspective on the challenges of adolescence, from Jules Vaughn’s (Hunter Schafer) transgender journey to Nate Jacobs’ (Jacob Elordi) toxicity and hyper-masculine destruction.

16. SKINS (CHANNEL 4)

Channel 4’s groundbreaking teen drama Skins, created by Bryan Elsley and Jamie Brittain, really doesn’t get the attention or praise it deserves. Debuting on the new E4 in 2007, Skins’ unapologetic portrayal of the trials and tribulations of adolescence set the template for shows like Euphoria. Over its seven seasons, following three different groups of friends in Bristol, Skins redefined the teen drama genre and became a cultural phenomenon while introducing us to Dev Patel, Nicholas Hoult, Jack O’Connell and Kaya Scodelario, to name just a few.

Skins was notable for tackling difficult and often taboo subjects. Mental health, addiction, sexuality, eating disorders, and grief are all explored with an unflinching honesty that is rare in teen-focused media. While the show’s frank depictions of these issues sparked controversy, they also earned praise for shedding light on the challenges faced by young people in a way that felt genuine and unvarnished.

The show’s creators worked with young writers to ensure that the stories reflected the real experiences and voices of its target audience, lending authenticity that set it apart from more sanitised portrayals of teenage life.

17. TALES OF THE CITY (PBS/CHANNEL 4)

It may seem quaint and gentle now, but the 1993 Channel 4 and PBS drama, based on Armistad Maupin’s fictitious Barbary Lane, was unlike anything else on TV in the early ’90s.

Tales of the City would celebrate and reflect a time before AIDS brought a newly emerging ‘70s sexual liberation to an end. As a result, there is a wistful beauty to Maupin’s story and an undercurrent of sadness at what was lost. Yet, simultaneously, Tales of the City is joyous, bright and bold, a true trailblazer in every sense of the word.

In the United States, it sparked debate about defunding PBS, and the public service broadcaster quickly withdrew the show despite its strong ratings.

18. POSE (FX)

Pose isn’t just a groundbreaking exploration of 1980s New York ball culture; it’s the TV show that finally places gay, queer, and trans people of colour centre stage.

Created by the TV legends Ryan Murphy, Brad Falchuk, and Steven Canals, Pose isn’t afraid to reflect, dissect, and explore the diverse experiences of New York’s marginalised communities, from the arrival of AIDS to the trans fight for representation, youth homelessness, and sex work.

In many ways, Murphy, Falchuk, and Canals’ show is a dramatic reinterpretation and exploration of the 1990 documentary “Paris Is Burning.” But it’s also a stunning love letter to the power of art and activism.    

19. FOUR LIVES (BBC)

Over sixteen months during 2014 and 2015, Stephen Port murdered four gay/bi young men, Anthony Walgate, Gabriel Kovari, Daniel Whitworth, and Jack Taylor. These vibrant, energetic and loving young men were connected by their use of gay dating apps (most notably Grindr) and by the nature of their death and discovery. However, despite the clear links between each murder and ongoing interest in Port, justice and safety were denied by an incompetent, lacklustre and frankly, institutionally homophobic investigation by Barking and Dagenham Police.

Police failures almost certainly led to the deaths of three of the young men following the discovery of Port’s first victim, Anthony. Four Lives fearlessly and methodically unpicks the countless police failures and the pain family and friends were put through as they were forced to become investigators. But even more importantly, Four Lives focuses on the lives of Port’s young victims and the fight of their family and friends to uncover the truth about their murders. The result is an emotional, heart-wrenching and urgent drama that placed the horrors of institutional homophobia under the spotlight for all to see.

I, for one, would love to say things have changed since the Port investigation, and in some ways, they have; the majority of our Police are decent, hard-working and community-minded, placing themselves in harm’s way daily to protect us. But recent scandals involving the Metropolitan Police and the behaviour and actions of some of its officers indicate there is still a journey to be taken in breaking down cultures built on silence, hyper-masculinity and accepted discriminatory banter.

20. PRIME TARGET (APPLE TV)

Edward Brooks (Leo Woodall) is a brilliant, awkward, and warm-hearted young mathematics genius on the verge of an academic breakthrough that could forever change how prime numbers are viewed. Edward believes there is a hidden pattern in prime numbers that could unlock the foundations of modern mathematics, and he is determined to find it through research he has kept from all but his closest colleagues. But Edward’s research on primes is about to place a target on his back.

Created by Steve Thompson (Vienna Blood) and directed by Brady Hood (Great Expectations), Prime Target is a knotty mathematical thriller that has just the right formula to keep you hooked. While at times, the story drifts, especially mid-way through its run of eight episodes, Prime Target does what Apple TV+ does best by offering us an inventive, different and unique political/tech thriller held aloft by fabulous writing and a stunning ensemble cast, including Stephen Rea, Fra Fee, Jason Flemyng and Maanuv Thiara.

Let’s be honest: how many streaming giants would give the green light to an eight-part thriller centred around a socially awkward gay maths genius based at Cambridge University? Thankfully, Apple TV+ + did.

21. RENDEZ-VOUS AVEC DIEGO (DEKKOO)

Lucas Morales’ bittersweet tale of gay love in an online world of secrets and lies is tender, compelling and urgent. Noah (Cédric Gueugnon) is desperate to find a boyfriend and spread his wings as a young gay man. So, after talking with his best friend, he joins a gay dating and hookup app in search of Mr Right.

After more than a few dodgy encounters, he meets Diego, a boy the same age as him who is also just coming to terms with his sexuality. Together, they message daily, sharing everything about themselves as love blossoms. But will Diego have the courage to meet Noah? And does Noah genuinely love Diego or just the idea of his apparent perfection?  

22. SINGLE, OUT (DVD)

Coming out is never straightforward; it’s full of uncertainty, excitement and more than a few horny encounters, but it’s a long overdue step for Adam (Will Hutchins). His best mate, Marco (Ryan Stewart), has known he is gay for a while, and Adam is more than comfortable in his own skin.

Plus, Adam has a new boyfriend, the pansexual Josh (Adam Mountain), who happens to be his brother Clay’s (Steven Christou) best mate. But coming out to family is the easy part; it’s life, love and family relationships that are far more tricky to navigate in Lee Galea’s Aussie gem, Single, Out. 

23. SPECIAL (NETFLIX)

Based on his memoir, “I’m Special: And Other Lies We Tell Ourselves,” Ryan O’Connell plays Ryan Kayes, a gay man with cerebral palsy who lives with his mother, Karen (Jessica Hecht). O’Connell’s comedy delivers considerable value in a series of short, bite-sized episodes. From the interface between his sexuality and his cerebral palsy to parental protection and multiple layers of discrimination, Special isn’t short on discussions. But what makes this even more impressive is the short-form approach and the beautifully timed comedy that holds O’Connell’s show together. Conversations about sexuality and disability are rare, and while it lasted only two seasons, I hope this ‘Special’ slice of TV opens the door to more.

24. WE ARE WHO WE ARE (HBO)

Luca Guadagnino’s ability to immerse his audience in delicate, person-centred stories of identity and vulnerability is renowned; for example, Call Me By Your Name (2018) was a sun-drenched tale of desire and sexual awakening. Here, the journey we took alongside Elio was bittersweet, intoxicating, and sensual as we immersed ourselves in the complex emotions of adolescence and sexuality.

In his first foray into television, Guadagnino brings his trademark person-centred approach to episodic drama with a stunning eight-part coming-of-age story centred on army kids Fraser (Jack Dylan Grazer) and Caitlin Harper (Jordan Kristine Seamón). We Are Who We Are is vivid, poetic, and beautiful, exploring sexuality, love, and gender without social labels.

25. HEARTSTOPPER (NETFLIX)

Heartstopper’s groundbreaking place in LGBTQIA+ drama stems from its embrace of television aimed at young teens aged 11-15.

Based on Alice Oseman’s successful series of graphic novels, Heartstopper never shies away from big topics, including bullying, coming out, friendships and relationships. It tackles these themes through a delicate, honest lens that young viewers can relate to, while offering a safe, secure, and heartwarming space to explore their own experiences through the gentle performances of its young cast, led by Joe Locke and Kit Connor.

This show understands and respects its young teen audience from the first episode to the last, while encouraging family discussions around its key themes and characters.

26. LOVE, VICTOR (DISNEY+)

Building upon the success of Love, Simon in 2018, Love, Victor would challenge stereotypes, explore intersectionality and dive into a series of big relationship themes, from first love to ‘coming out’ and first-time sex. Its characters lit up the screen, from the sensitive yet strong Victor to the geeky and lovable Felix, the fiery but insecure Lake and the loving and sweet Mia.

Throughout its three-season run, Love, Victor proved that gay teen drama had a place in the Disney stable, despite the company’s initial hesitation during its development following the Disney/Fox merger. It’s now up to Disney to build upon the show’s legacy to prove its commitment to LGBTQ+ teens.

27. MARY & GEORGE (SKY)

History is full of remarkable stories; many are so fascinating and rich that when they come along, you can’t help but wonder why they haven’t been adapted for the screen sooner.

In British history, Tudor England (1485–1603) has long been the focus of lavish dramas from Wolf Hall to The Tudors and the upcoming Firebrand. However, with over 1000 years of history, our nation has countless stories to tell, and the House of Stuart, from 1603 to 1714, is one of the most fascinating. The Stuarts ruled a “United” Kingdom for the first time. However, in reality, the kingdom was far from united. Their rule would see the gunpowder plot, Catholic oppression, and a civil war that would lead to the beheading of Charles I, the son of King James.

However, after a brief republic under Oliver Cromwell, Charles II returned to rule a nation with a parliamentary democracy and a monarchy. Two people sat at the heart of King James and Charles I’s court, a mother and son whose names have long been sidelined: Mary & George Villiers.

Mary & George’s remarkable journey would take them from Brooksby, Leicestershire, to the heart of King James’s court in London. While much remains unclear about whether George was indeed King James’ lover and true partner for many years, one thing is clear: Mary was a woman who knew what she wanted and saw her son George’s beauty as an opportunity to achieve it.

Based on Benjamin Woolley’s novel, “The King’s Assassin: The Fatal Affair of George Villiers and James I” DC Moore’s (Killing Eve) adaptation is sumptuous, enthralling, witty and devilishly horny as the exquisite Julianne Moore, the dashing and brilliant Nicholas Galitzine and the masterly Tony Curran lead a truly delectable ensemble in this tale of deceit, love, lies, poisoned prunes, desire and power.

Every second of Mary & George is to be savoured like a fine wine, as it pays homage to the sexuality of The Tudors, the deadly game of cat and mouse in The Favourite, and the political intrigue and gameplay of Wolf Hall. It is, in short, a glorious, proudly queer and fascinating exploration of King James’ court and the events, relationships and deals that would ultimately lead to civil war and the beheading of his son Charles I.

28. VISIBLE: OUT ON TELEVISION (APPLE TV)

While this Apple TV+ documentary is firmly rooted in US TV history, there are links to the British experience as we are taken from the days when homosexuality was viewed with disdain to the first flawed steps in representation.

The journey starts in the 1960s with the Army–McCarthy hearings, where state obsession with communism and the enemy within encouraged institutionalised oppression throughout American society. Here, we explore the hidden LGBTQ+ figures in television who gently pushed boundaries and challenged public perception. However, it was not until the 1970s, with shows like All in the Family and the groundbreaking An American Family, that LGBTQ+ lives began to appear on mainstream TV.

As we enter the 80s and 90s with One Life to Live, The Golden Girls, and Will & Grace, Visible offers a nuanced exploration of their impact in paving the way for modern dramas such as Ryan Murphy’s Pose.

Featuring a wealth of conversations with LGBTQ+ celebrities and straight allies, including Ellen DeGeneres, Armistead Maupin, Caitlyn Jenner, Ryan Phillippe, and Oprah Winfrey, the interviews and stories resonate deeply. From the bravery of actor Wilson Cruz, who came out before his role in the groundbreaking My So-Called Life, to the discussions on gender identity and the 50s story of Christine Jorgensen, these are the foundation stones of LGBTQ+ equality on screen in the US. 

Visible is a documentary made with the utmost love and respect for all who have fought to ensure representation, never dismissing how hard the battle has been or the challenges that remain.

29. OZ (HBO)

OZ was the opening chapter in long-form drama at HBO, and like any good book, it was a chapter that left you desperate for more. Many will argue that OZ set the template for modern TV drama and invented many patterns and beats we are now accustomed to in all binge-worthy TV. Less discussed is OZ’s revolutionary role in LGBTQ+ representation.

Oswald State Penitentiary wasn’t afraid of showing us male nudity, gay sex and homophobic violence; its narrative was laced with grit, social commentary, and unflinching drama from the first episode. And while bathed in stereotypes we now largely reject, OZ would bring gay sex and love into the living rooms of a new generation and chip away at the 80s and early 90s barriers of censorship.

30. WRECK (BBC)

Ryan J. Brown’s screenplay is as sharp as a knife about to be plunged into an unsuspecting victim, as he explores hierarchy, corporate greed, grisly murder, desire, and mystery, first on a killer cruise ship and then at a wellness camp that is anything but. Wreck’s devilishly brilliant, proudly queer slasher horror roots pay homage to Midsommer, Scream, I Know What You Did Last Summer, Ready or Not, and Friday the 13th while finding a uniqueness that makes this one hell of an enjoyable romp.

With Oscar Kennedy channelling his inner Jessie Walsh and a stunning ensemble cast, Wreck is dark, fun, queer and delightfully twisted.

31. GLEE (FOX)

When discussing Ryan Murphy’s Glee today, conversations often and understandably turn to the events off-screen, from Cory Monteith’s drug overdose at age 31 in 2015 to Mark Salling’s conviction for child pornography and subsequent suicide.

We must not dismiss these dark events, but it is equally essential to reflect on and celebrate Glee’s social impact on a whole generation of young LGBTQ+ people. Glee rarely gets the credit it deserves for its influence on mainstream music or its ability to place kids who had been ignored for years centre stage.

For a whole generation of kids, whether gay, bisexual or straight, Glee made it cool to be different, trendy to be musical and damn right sexy to sing. For many LGBTQ+ young people, it was the first time they saw a loving gay relationship on screen and the first time they saw themselves reflected positively. Glee took the High School Musical phenomenon and painted it in rainbow colours; there’s no doubt in my mind that William McKinley High School changed TV forever.

32. BIG BOYS (CHANNEL 4)

Throughout series one, two and three of the outstanding Big Boys, Jack Rooke beautifully balances effervescent comedy with discussions on childhood trauma, loss, friendship, identity, mental health and anxiety, joining the likes of Alan Bennett, Jonathan Harvey, and Lisa McGee in lacing sublime comedy with heartfelt emotion.

But the success of Big Boys isn’t all down to Rooke’s exceptional writing; it’s also about the performances that help bring his characters to life in vivid technicolour. Llewellyn and Pointing are outstanding, bouncing off one another while hitting every comedic and emotional note. Watching them tear down the damaging social stereotypes surrounding male friendship, mental health, and love is truly wonderful, deeply emotional and heart-warming, and it’s what makes Big Boys tick.

Add a fantastic ensemble cast, featuring Camille Coduri, Marc Warren, and Harriet Webb, and Big Boys becomes a delightful cocktail of heartfelt emotion, belly laughs, and beauty.

33. SEX EDUCATION (NETFLIX)

Over four fabulous seasons, Laurie Nunn’s beautifully written show helped shape a brand new landscape in teen drama.

Taking inspiration from Skins, Charlie Bartlett, and a range of John Hughes films, Sex Education would combine edgy teen drama with bags of comedy and emotion, blowing the doors off the teen drama genre. From anxieties to first-time sex, sexuality, masturbation, role play, kink and more, no sexual practice was off limits in this devilishly brilliant slice of TV.

However, the real genius lay in Sex Education’s ability to seamlessly integrate its sex talk with a genuine affection for its characters. From the gentle, frustrated and endearing Otis (Asa Butterfield) to the sharp, loving and proud Eric (Ncuti Gatwa) and the spikey, worldly-wise Maeve (Emma Mackey), Sex Education not only understood the fears, apprehensions and questions many teens watching had; it enabled safe, humorous and tender discussions.

Nunn’s comedy-drama is Fast Times at Ridgemont High for millennials, and while it sags a bit toward the end, it has rightly earned its place in TV history.

34. YOUNG ROYALS (NETFLIX)

Long before Red, White & Royal Blue graced our screens, Young Royals was to explore first love through the eyes of Prince Wilhelm, who had just arrived at a prestigious Swedish boarding school called Hillerska.

Far from the day-to-day pressures and media interest in royal life, Wilhelm’s only wish was to avoid the spotlight. But it’s not long before he meets gay scholarship student Simon, a non-boarder who doesn’t fit the image the other boys hold onto at any cost. But their connection is far more than a friendship, as Wilhelm and Simon tentatively touch hands in the dark and gaze into each other’s eyes when nobody is looking. However, love is never straightforward when you are a part of the royal bloodline, and gay love is even more complicated.

Over three seasons on Netflix, Young Royals has captured the imagination and hearts of a whole generation of kids, proving that queer stories about young love are now mainstream.

35. BEING HUMAN (BBC)

Long before we sank our teeth into the divine TV adaptation of Interview with the Vampire, the equally fabulous Being Human had us enthralled with its twisty, funny, emotional and downright beautiful tale of a vampire, a ghost and a werewolf trying to navigate the human world from a shared house in Bristol.

Toby Whithouse’s supernatural comedy/horror placed BBC Three on the map with a cast including the fabulous Aidan Turner, Lenora Crichlow, Russell Tovey, Jason Watkins, Michael Socha, Sinéad Keenan, Annabel Scholey and Damien Molony, to name just a few. Running for five deliciously dark, fun, and always engaging seasons, Being Human remains one of the best shows to have come from BBC Three.

36. WHAT IT FEELS LIKE FOR A GIRL (BBC)

Growing up in Hucknall, Nottinghamshire, Byron (Ellis Howard) is perpetually bullied at school due to their femininity, and their home life isn’t much better. Their dad (Michael Socha) views Byron’s effeminate mannerisms as a curse, actively using words like “bender” to try to “make a man of him”, while their mum, who left Byron as a child, is more interested in her new life than theirs. Only their grandmother offers sanctuary and safety. There is a universality in these experiences that resonates with all young people who grew up knowing they didn’t fit in at school, in their community, or in their family.

These feelings lead many young people to seek escape in any way possible, and often, drinking, drugs, sex, risk, and uncertainty follow. Despite the darkness experienced by Byron during this need to escape and find themself in Nottingham’s bars, clubs, alleyways, toilets and desolate industrial estates, Byron rejects the label of victim and the very idea that their teenage self is vulnerable, hiding behind acerbic wit, and a smile that woos “straight” men, looking for “fresh meat” while granting access to doors that otherwise remain shut at their young age.

The labels “transgender” or “gender queer” are initially alien to Byron in ’00s Nottingham, yet the feelings associated with the trans experience are not, and these feelings only grow as their sense of confidence and new friendship circles form.

37. FELLOW TRAVELERS (SHOWTIME)

Fellow Travelers isn’t just about our shared community history; it’s a reminder that equality, freedom and hope aren’t offered on a plate; we have to fight for and maintain these freedoms by coming together as a community. We must learn from the past in shaping the future as we uncover a community history that has often been airbrushed away, while also understanding the impact of intergenerational trauma that still haunts us all. 

Fellow Travelers isn’t just a landmark in gay drama, like Angels in America before it; it is a rallying call for something better, as it asks us who and what we want to be and how we combat a society that, all too often, still dictates the opportunities available to us. It is, quite simply, one of the best TV dramas of the past decade.

38. GENTLEMEN JACK (BBC)

Created by Sally Wainwright (Happy Valley), it took a long time to bring Gentleman Jack to the screen. Set in Halifax, West Yorkshire, in 1832, Suranne Jones’ sublime portrayal of Miss Anne Lister, a diarist who is often called “the first modern Lesbian”, is not only utterly captivating but also incredibly fun.

With an ensemble that includes Sophie Rundle, Joe Armstrong, and Gemma Whelan, Gentleman Jack is a 19th-century delight and a beautiful exploration of lesbian love and social oppression at the height of the Industrial Revolution.

39. BEAUTIFUL PEOPLE (BBC)

Reading in 1997, Britain is on the verge of change as Tony Blair sweeps to victory in Jonathan Harvey’s superb sitcom Beautiful People. Here we meet Simon (Luke Ward-Wilkinson), his best friend Kylie (Layton Williams) and the Doonan family, led by his mum Debbie (Olivia Colman) and his dad Andy (Aiden McArdle), and the eccentric and blind Auntie Hayley (Meera Syal).

Beautiful People would run for two seasons on BBC Two from 2008-2009 and was loosely based on the bestselling book by Simon Doonan. Full of raucous humour and exquisite performances and writing, Beautiful People would not only wear its ‘Camp as Christmas’ badge with Pride but reflect on a period in British history full of hope and optimism. In 1997, the dark days of Thatcher were behind us, and Blair’s New Labour offered a light that had felt distant just a few years before. This was especially true for LGBTQ+ communities as New Labour committed to equality reforms that would finally end the Conservative bigotry of the past.

Often forgotten in the mists of TV history, Beautiful People was and still is a joyous celebration of difference, family diversity and cultural change that speaks to every closeted gay kid who longs to break free from their small town home and embrace their gay self. Beautiful People is a celebration of social change, a love letter to family and a hilarious coming-of-age and coming-out comedy that deserves far more praise.

40. INDUSTRY (BBC/HBO)

Industry is the equivalent of The Apprentice on steroids as we enter central London’s banking world post-2008 financial crash.

Industry initially follows a group of graduate interns through their first placement at a fictional ‘big bank,’ where their future careers depend on their performance as they are encouraged to compete for attention. But there is also life beyond the trading room floor, as our young hopefuls deal with the pressures of work, sex, friendships and drugs in seasons that transition from the fiery end of adolescence to the beginning of career-focused young adulthood and beyond. 

Industry isn’t afraid to tackle some big themes, from class-based discrimination to racism, sexism, corruption and self-harm, in a show that unpicks the “go big or go home” mentality of the financial sector. Here, the bright lights of London’s financial district dovetail with a much darker exploration of the slippery ladder to success, as the gloss and glitz of London’s ever-growing skyscrapers are coupled with post-crash politics, greed, and unchangeable trading behaviours.

While Industry is fiction, that doesn’t mean this intoxicating mix of Wall Street and Skins does not reflect some uncomfortable home truths through a haze of drugs, booze and sex. From greed and corruption to the pursuit of wealth and status at any cost, this show highlights the grubbier corners of finance and business, and the drive for wealth and success. So get ready for a wild, unrestrained, bumpy ride through the bright lights of London’s financial powerhouse. It’s bold, abrasive and utterly compelling, and, without a doubt, your next box set binge.