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It was about a year ago that I asked an American friend to sit through a couple of episodes of Queer As Folk, just to see what he'd make of it. I didn't see him for the next eight hours or so, as he insisted on absorbing every frame of all eight episodes of Series One. His response? He could not believe that this had gone out on Network TV, he thought it was one of the best television dramas he'd ever seen, but most importantly he said "This is a show that America really needs, but would never be able to show. Not even on Cable."

We live in fast times. Last year, American cable station Showtime (slogan, appropriately enough, "No limits") commissioned twenty two episodes of Queer As Folk USA. "People kept saying 'Oh no, they'll change it,' but that's the whole fucking point!" said an exasperated Russel T Davies at the time, as he prepared to hand his baby over to the American market. And last month, following a protracted period of unabashed rumour-milling and speculation, Showtime subscribers finally got to decide whether, indeed, America was ready to rim, ready to see non-judgemental recreational drug use, ready to see a schoolboy shooting an untimely wad over a man almost twice his age.

And yes, change may have been necessary, but the real fear was that a show which - in its early episodes at least - entered the public consciousness largely by dint of its shock value would then be subjected to the traditional Disney Veneer treatment which to this day has prevented Ab Fab from receiving any viable treatment stateside. Basically, we just knew they'd go soft-focus on us. We knew they wouldn't have the guts to go the whole way. We knew it just had to be toned down. We knew - as it transpired - diddly squat.

The pre-transmission publicity was furiously high-profile, and even with America's other entertainment event of the year (the one that George Bush Jr just won) running concurrently, Queer As Folk USA was seriously talked-about-television well before a single frame had been seen. Even GLAAD had voiced concerns about stereotyping well before the event. A special Showtime subscription hotline was set up (dial 800-QUEER-AS-FOLK) and every self-respecting gay man in the country had, if not a subscription, then at least a good friend armed with a video-recorder.

On this side of the pond, Queer As Folk caught the mainstream press blind-sided. It arrived out of nowhere, and a nation could only judge by what it saw. In America, however, opinions were formed well before the event, and the general feeling was that this could not be as daring a show as it so dearly wanted to be. Guess again ...

"I think we realised there might be criticism about us doing a whitewash version of the UK show," says Executive Producer, Tony Jonas, "so if anything, we tended to err on the other side. We've actually tried to push it a little further than the British version. Even Joel Schumacher said at one point "I think you guys have gone a little too far here".

So what have they changed? Precious little thus far, if the truth be told. In much the same way that QAF UK was perfect for its audience and perfect for its time, so QAF US hits the same, oh-so-right notes for an American audience who (most importantly) will be approaching this as a new product, rather than as a remake.

So the names are all different. So some of the characters have been allowed greater development, as you'd expect with twenty-two episodes to be made. Melanie and Lindsay, the lesbian couple and mothers of Stuart, sorry, Brian's son are fleshed out (very literally, on occasions) as real characters rather than periforal stunt-lezbos. For what little it may be worth, more of the lead actors are actually gay. Oh, and Nathan (or 'Justin', as he's now known) splashes Liquid Soap onto Stuart (now Brian) rather than hair-conditioner (never let it be said we don't do our research thoroughly here). Oh, and forget Barry Sheene: in this one, Vince (Michael) is getting all masturbatory over Patrick Swayze. "We contacted his representatives to see if we could use a photo of him in the show," chuckles Jonas, "and we got a resounding "No way." They didn't want any association with the project whatsoever."

But essentially, it's the same story, and - within the necessary parameters created by Anglo-US translation - the same people living out a neon-tinged, fabber-than-life existence. Right now, cast and crew are delighted by the response and - quite rightly - indulging in much back-patting over their achievement. But it wasn't always quite so easy. As Jonas recalls, "We found a tremendous hesitance in the creative communities initially. Writers, actors... That came as a surprise. A lot of Hollywood, it seems is still very sceptical, very frightened and possibly very homophobic."

And not just Hollywood, it seems. If you've ever wondered just how much the fashion industry respects its gay customer-base, it's worth knowing (for future shopping reference) that Abercrombie & Fitch, Ann Klein, Casio, Old Navy, Polo, Prada, and Versace all refused to allow product to appear in the show.

Mrs Guy Ritchie, on the other hand, was sniffing around the project from the word go. "Madonna actually had seen the UK version and wanted to produce it," says Jonas. "At one point we were in talks with her to do a song for the opening titles of the show, but then she wanted to forge a company arrangement whereby she'd be a producer on the show." It couldn't, and didn't happen. "Maybe," chuckles Jonas with undisguised glee, "we can meet her somewhere down the line with something."

But reactionary-jitters and glitsches aside, the project steadily gained wings and finally went airborn on December 3rd. The next day's responses were gratifyingly, and almost universally positive. One writer ventured that there wasn't enough sex in it, announcing "if these characters were heterosexual, this show would be called Friends" (we must have missed the episode where Ross shags Joey in the shower after teaching him the finer points of oral/rectal pleasuring) while on the other hand - and rather delightfully - a heterosexual woman writing for a Boston broadsheet complained that the sex scenes seemed to go on "for hours" (a two-minute knee-trembler might have provided a more graspable reference point, but where, frankly, is the fun in that?).

The Washington Post's TV Critic, Tom Shales, criticised "nervous network executives" for submitting the first several episodes to the Motion Picture Association of America, a move which resulted in Showtime making more than twenty brief edits, but still conceded that "even with trims made, the show is still going to shock some people silly."

But shocks aside, the ever-vulgar matter of bums-on-seats is the one that Showtime has to consider. And given that the first episode provided them with their highest ratings for over three years and the following episode brought in a good 50% over their normal figure, the signs are very good indeed. Tony Jonas is a very happy man. He talks about Queer As Folk UK with unapologetic affection and admiration, but the unanimously favourable response from those British people who've managed to see the US version makes his eyes light up rather beautifully. He knew he'd done something quite remarkable here, but it's clear that he gets the hugest buzz out of the reassurance. And you don't get any higher praise than from the show's original writer, Russel T Davies. "He saw the show and he was on fire! he said, "I'm angry! These are things that I never thought of!" He was so pleased," beams Jonas. Throughout our talk, he mentions (in optimistic but earnest hypotheticals) the possibility of going on to do series three, four and five. And there's no doubt that the cast would all leap at the chance. The way things are going now, it looks like they may well all get that opportunity.

Q+A's

1) Peter Paige (Emmet/Anthony)

Peter. We hear the project didn't enjoy the most supportive of starts. What got you on board?

Oh, there were entire agencies who would not send their clients to audition for this. As soon as I saw the script, I knew that there was a whole person there. I mean, so often Queens in particular are 2-dimensional - you know, composed entirely of humour and self-loathing, and nothing else. And I just didn't want to do that.

What's been the biggest change in the American translation?

The lesbians are far stronger in the American version. I mean, the lesbians in the British version were barely there. it was like 'Here girls, hold the baby,' then 'Bye!'.

What kind of response have you had from the gay community?

When I've spoken to the gay press about the show they've been like 'This is it! I know these people, I've hung out with these people, I've hated some of these people'. This show is meant to be honest. It has a different purpose than just to make people laugh. And you know what? I think it's a pretty damn good reflection of gay life.

This show makes you so publicly gay. Is that a worry for you at all?

I've been out a long long time and I couldn't possibly imagine going back into the closet, especially now that I've done this show. That seems insane to me and it's not a way I've ever chosen to live my life. Will it have professional ramifications? Very possibly, but I'm of the school that says the only rules that apply are the rules you subscribe to yourself, so fuck Ôem. I am an openly gay men, I am not Emmett, I am however coming to love my inner Emmett [laughs], but I have a lot more to offer. You know, if you have a problem with it, fuck you, I don't have the time to deal with it. I just don't.

Straight men can act gay, but they will never be able to dance gay. Discuss.

[Laughs] I have no comment whatsoever on the dancing styles of straight men. I found my castmates to be well-lubricated in the hips and that's basically what it's all about.

They didn't come to you for tips?

The only things I was ever asked questions about were the, er, mechanics of the sex scenes. They were like 'Do they, uh, do they really do that?' And I would say 'Yes. Only harder.' But it was basically about positions and so on. They'd say 'My girlfriend and I never did that,' to which you can only reply 'Maybe it's about time you started.' [laughs]

2) Sharon Gless (Debbie/Hazel)

How did you get involved in this, Sharon?

I was doing a play in Chicago and a friend of mine got hold of the script and said there was a perfect role for me in it. So he sent it over, I read it, and I went nuts. I thought it was the best thing I'd ever read. And so dangerous. I knew it was going to be surrounded by trouble [laughs]. And I thought, How do I get this? I mean, I hadn't gone for a part since the 70s! I called a friend at Showtime and arranged to meet the producers and, well, we fell in love. I really lucked out that day - i was so worried I wouldn't be their cup of tea, and they'd had one of their blackest days, where no one wanted to touch this project. No one was returning their calls. Then I walked in and said 'OK - what do I have to do? I want this part!'

You undergo quite a transformation as Debbie...

I know. It's very daring. And very fun. Actually, when I came to the show I had this idea that I would change wigs all the time, so I bought fourteen, really crappy wigs with me, but they said 'No, we want the audience to know it's Sharon Gless.' I said 'What? The minute I open my mouth they're going to know it's me!' Oh and Denise Black, who played this part in hte british version has just sent me two hair baubles that she wore. I started crying when they handed them to me - I was so knocked out. This is the sweetest thing. And she said she'd look out for them in the show.

You are going to wear them, aren't you.

Oh absolutely, you bet.

There's a real sense of pride from the cast in what they're doing here.

Absolutely. For my part, I knew that nothing like this had ever been attempted in America. And I don't mean to use the word 'important' in a grand way, but the fact is, it is. You know, when I did Cagney and Lacey, my husband pointed out to me - and this was in the 80s, remember - that women and minorities are always considered to be amusing. So you will see Laverne And Shirley, you will see Lucy and Ethel, and no one has a problem with that, so long as they're doing comedy. But you will never see women carrying a drama. Or blacks. Or Asians. It simply isn't done. And even today in American television, you will only see gays in sitcoms - never in a dramatic series. This is the first time it's happened.

Over here the show shocked initially, then became embraced like any good mainstream drama. How has the US reacted?

Oh we're still in the Titillated Phase [cackles]. It's all very... 'Wow!' But judging from the Internet response, each character is so well rounded that people are already coming to embrace their personal favourites. You know, it's more than just watching people getting laid. It's not just about dick. [laughs] You know, I actually went from filming QAF to doing the Vagina Monologues on stage. I've gone from dick to pussy. [laughs]

You've also effectively qualified as Gay Royalty by being in the show.

Oh I'm honoured. Thankyou! I knew I had a lesbian following on Cagney And Lacey...>

...well now you have the guys as well.

Awww. I'm thrilled. Oh, I'm so pleased.

Are you expecting Midwest fundamentalists to rain hellfire and brimstone on your eternal soul for this?

I think people have been too involved in all the election stuff until now, but there's no way they'll let this slide. And you know what? I'm really looking forward to it! I love a fight.

3) Randy Harrison (Justin/Nathan)

When did you first hear about Queer As Folk?

I'd read a few articles about the UK version maybe about a year ago, but I'd never actually seen it.

And did it occur to you then that you'd be in the US version one day?

It kinda did, actually. [laughs] I know how arrogant that sounds, but I remember reading about it and seeing a picture of Nathan, and thinking 'Hey, I could play that part.' Yeah, it totally occured to me. Seriously it did. Then when I heard they were doing an American version of it, I was like, 'I have to get that audition.'

And yet a lot of people were scared to audition for the show.

My agents were very much in favour of it. I read the first three episodes, I connected with the character, I saw him as a well-rounded 3-dimensional character, and I was excited about being able to portray him.

It broke a lot of new ground in the UK - are you expecting America to be surprised?

I think it will blow America away. It's hard to predict. It'll certainly change television, and hopefully it'll change a few people's thinking. I think it has that power.

In what way?

I mean I've always been out, but I'm hyper-aware of homophobia, and doing this show and suddenly being so publicly and openly gay, I'm very aware of homophobia. Even in myself, sometimes - in my inability to talk about it.

Is it important for high-profile public figures to be out?

I would have said so a little while ago, yes, but lately I understand how hard it probably is for a lot of people to be out. I'm hoping more people will make it, though. I really hope so.

Apparently GLAAD have already expressed concerns that the show's not an accurate representation of gay life.

I don't know what Gay Life is - I couldnt come up with a generalisation for that. I think Queer As Folk portrays a very specific sector of the gay community and how some specific gay men are, but we're not trying to represent anyone here.

Gale [Harold, who plays Brian/'Stuart'] is a straight man. Is he a good kisser?

I don't answer that question. Sorry. [Laughs]. Besides, it's a stunt tongue.