Those who interpret the relationship as overtly homosexual note that the novel states that Charles had been "in search of love in those days" when he first met Sebastian, and quote his finding "that low door in the wall [...] which opened on an enclosed and enchanted garden" (an allusion to Alice's Adventures in Wonderland by Lewis Carroll). The phrase "our naughtiness [was] high on the catalogue of grave sins" is also seen as a suggestion that their relationship is homosexual, because this is a mortal sin in Roman Catholic dogma.  Attention has also been drawn to the fact that Charles impatiently awaits Sebastian's letters, and the suggestion in the novel that one of the reasons Charles is later in love with Julia is her physical similarity to Sebastian. 
But I have to award this category to The Wire for the sheer breadth of its achievements. Near the end of its run, as it struggled and succeeded at recalling and polishing characters and subplots dating back five seasons, sometimes hauling out people you’d nearly forgotten about and giving them one last lovely grace note, the magnitude of its achievement became undeniable. At its most magisterial, the show felt like the dramatic version of a journalism-school test in which students close their eyes, open up a phone book to a random page, call whatever person their finger randomly landed on, and try to tell their life story in 500 words or less. Simon’s crew did this over and over and over for five seasons, with black and white characters, rich and poor people, civilians and cops and criminals, teachers and politicians, state senators and grieving mothers: hell, everybody.