Far from weakening the series, it allows it to articulate more subversive messages 7, highlighting the queer subtext in established mainstream popular culture genres (comics, action hero films) and obviously reinforcing QAF’s main achievement – the queering of soap itself.
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 (.).
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.
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.