Particularly fond of the acting of Marc Sinoway and lead Ben Baur, but all the cast does fantastic jobs.
The series is for mature audiences as there is some frontal nudity and depictions of sex, but lends to the realness of the show. Very good acting, even by secondary cast members (such as the main character's straight co-worker who he takes underwear shopping in one episode). It is cleverly written, witty and a realistic look at modern gay life in NYC.
I discovered this series recently and watched season one (2012, eight episodes) in a couple of evenings. A must to watch! Hats off to leads Ben Baur and Marc Sinoway for their acting skills. I highly recommend renting both seasons the first season's episodes are 10-14 minutes or so, but cleverly written, well acted and some nice graphic nudity scenes Season two, longer episodes, but more graphic nudity scenes of the hot young male actors. Sit back and relax and let a sexy homo show you how a blow job is done.Lots of male nudity of cute actors in both seasons of Hunting Season. We’re tired of watching you slopping around naked and sweaty on our men and women like a pride of horned up sea lions. You think all Daddy got that night was a peck? I don’t think so. Beauty and the Beast? Sleeping Beauty? I mean that Prince hacked his way through a thorn forest to get to that stereotypical blonde bombshell lying there prostrate in the Tower.
That’s a long time for us gays to have to sit through you straights going down on your chick (um, not do much, thanks) in every fucking movie that’s ever hit the US silver screen since the 1960s with a PG or higher rating. And you can Google they shit-but I guarantee you it’s a lotta years, Mac. How many years have we in the LGBTQI community sat through ENDLESS numbers of graphic sex scenes between straight people in films? I’ll tell you how long: since film began. Sometimes you need to be explicit, sometimes not. In all three cases, no graphic sex would pretty much cancel out of the core of these works. Pasolini depicts the right-wingers’ hypocrisy by showing the extremity of their perversions it’s central to the story. A third example is the late queer Italian director Pier Paolo Pasolini’s *Salò*, about the depraved fascist quasi-state in Italy towards the end of the 2nd World War. Zombie*, starring François Sagat, is about a queer, homeless drifter who might be schizophrenic, and how he moves through LA’s streets and nightscapes, including his sexual experiences, which are graphic and which represent one of his key forms of human contact. To take a US film counterpart, Bruce LaBruce’s film *L.A.
To take one example along the lines of this film, in the novel *In My Room,* the late French writer Guillaume Dustan wrote quite evocatively about a gay man, living with HIV and approaching middle age, had structured his life around going to clubs and having lots of sex, and his descriptions of sex, graphic, deadpan and unsentimental, are central to themes of the novel and to his aesthetic. Sometimes explicit sex and nudity are central to the director’s or screenwriter’s or author’s vision, so it’s necessary.