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8 One can also see Queer As Folk US as a gay version of Sex & The City (Darren Star, HBO, 1998-2004), (.)Ģ While the mise en abyme of a series, often in the form of a film within the series or a TV series within the series, is frequently a symptom of entropy (cases in point: the inset film in The L Word 4 Season 5 or the inset medical soap in Nip/Tuck 5 Season 5), QAF in this respect resembles Heroes (Tim Kring, NBC, 2006-2010), in that its reprising within remediation seems part of its core message and aesthetic originality 6.7 On the essential issue of the ideological reasons for adapting and re-adapting a work – which can a (.).6 QAF ’s inset parody of itself (the soap opera Gay as Blazes, which Brian derides) is quite separate (.).4 The L Word (Ilene Chaiken, Showtime, 2004-2009).This intermediality, while it can be seen as a marketing strategy (the choice of multiplatform storytelling 3), can also be read as a form of centrifugal hypertextuality and as the series’ metatextual image for itself. Because this hate crime is a charged element within the soap opera framework of the series and within its political discourse, it is hardly surprising that it is taken up in a series of inset remediations 2: Brian, Justin’s lover and helpless witness to the attack, is remediated into the superhero Rage and the series itself into the Rage comics, floorshow, and storyboard. 3 See Simone Murray, “Brand Loyalties: Rethinking Content Within Global Corporate Media,” Media Cultu (.)ġ This paper shall examine how recurrence functions diegetically within the series Queer As Folk 1 (Showtime, 2000-2005), and how the reprising of one major event – the gay-bashing of Justin, the cliffhanger Season 1 ends on – structures the narrative.2 Jay David Bolter and Richard Grusin defined the concept of “remediation” in their groundbreaking st (.).Je soutiendrai que la remédiation permet à la série d’articuler des messages subversifs, à la fois en soulignant le message sous-jacent queer dans les grands genres de culture populaire établis (BDs, films d’action et de super-héros) et en soulignant la réussite singulière de la série, au-delà de la création d’un héros de BD gay « out » : la queerification du soap en soi. Cette intermédialité peut être lue comme une forme d’hypertexte et de narration multiplateforme, ainsi que l’image métatextuelle de la série pour elle-même. Comme un élément sensible dans le cadre soap opera de la série et dans son discours politique, cette violence est reprise dans une suite de remédiations (BDs, spectacle théâtral, story-board à un film hollywoodien et des courtes séquences de film animé). Cet article examine comment la récurrence fonctionne dans la diégèse de la série Queer as Folk (Showtime, 2000-2005) et comment des variations sur le même événement - la violence anti-gay vécue par Justin - sont délibérément incorporées au récit.