Box Set Binge (Volume 5): 15 out-and-proud TV shows that have helped TV and streaming come out of the closet and celebrate queer life in all its diversity.
1. IN THE FLESH
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.
2. QUEER AS FOLK
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!
3. ORANGES ARE NOT THE ONLY FRUIT
The BBC’s adaptation of Jeanette Winterson’s semi-autobiographical novel, Oranges Are Not the Only Fruit, is a milestone in 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 won the TV BAFTA for Best Drama Series and Best 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.
4. TIPPING THE VELVET
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.
5. ANGELS IN AMERICA
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 as a reflection of 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.
Box Set Binge (Volume 5)
6. THE WHITE LOTUS
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 stand in stark contrast to 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. Proudly queer from the opening episode, The White Lotus has done more than it’s given credit for in swinging open the closet door.
7. DON’T EVER WIPE TEARS WITHOUT GLOVES
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 ever made, set in a landscape of discrimination, death, and heartbreak.
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.
Box Set Binge (Volume 5)
8. MY SO-CALLED LIFE
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 teenage drama in a brave new direction, changing the landscape of young adult TV forever.
9. SKINS
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 young people face 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.
10. TALES OF THE CITY
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.
11. POSE
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.
Box Set Binge (Volume 5)
12. HEARTSTOPPER
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, guided by 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 about its key themes and characters.
13. GLEE
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.
14. THE NAKED CIVIL SERVANT
When discussing groundbreaking queer TV shows, The Naked Civil Servant (1975) may just be the most remarkable of them all. Following a 1968 radio appearance, Quentin Crisp would write his autobiography, never thinking that anyone would likely read it, let alone turn it into a TV film. Therefore, it must have come as quite a shock when Thames Television opted to adapt his novel The Naked Civil Servant for a TV audience. The result was not only one of the important adaptations in queer television history, but one of the most influential.
Portraying Quentin Crisp, a man who refused to hide his identity in an era of prejudice and violence, John Hurt’s unforgettable performance won him a BAFTA for Best Actor, while director Jack Gold won the Academy’s highest commendation, The Desmond Davies Award.
However, credit also belongs to the revolutionary producer Verity Lambert and the creative team at Thames Television, who fought for and made a drama that just five years before wouldn’t have been possible. Hurt’s portrayal of Crisp is charismatic and deeply moving, capturing a truth about so many bravely ‘out’ gay men of the time: humour, wit, and savviness were their shield from hate and oppression in an era where male toxicity killed far too many.
15. BIG BOYS
Throughout series one, two, and three of the outstanding Big Boys, Jack Rooke beautifully balances effervescent comedy with discussions of 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, sexuality 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. This groundbreaking exploration of what it means to be male isnt just one of the best TV comedy-drama antidotes to hyper masculinity ever made.
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