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For marginalized creators who may be shut out from other ways in the door, this discrepancy is felt exponentially. As the recent WGA strike put forth as one of the union’s many talking points, opportunities for learning on the job are falling by the wayside in the new system. When it comes to directing and showrunning, mentorship is the main way emerging talent can gain experience on film and TV sets.

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“ Work in Progress,” “ Los Espookys,” and “ A League of Their Own” are recent examples of beloved queer series that were canceled too soon. On the TV side, even when queer-led projects earn critical acclaim and dedicated followings, it’s rare to get more than two seasons. Trace Lysette served as an executive producer on her new film “Monica,” which took over six years to secure funding despite having Patricia Clarkson attached. In an industry that often purports to celebrate difference until it comes to who gets the big bucks, LGBTQ talent often have to work twice as hard to get half as far in Hollywood. As proven by the diabolical gay delights of “ The White Lotus” or the lustfully longing glances in “A Portrait of a Lady on Fire,” it just hits different when we’re in charge. While we’d never dictate what stories creators are allowed to write, the proof is often in the pudding when it comes to queer film and TV.

Just as you study the labels on your food or the sustainability of your clothing, audiences should be informed as to who is behind the camera (and pages) when it comes to queer stories. As LGBTQ characters and stories become the norm - mercifully, no longer an outlier or cause for surprise - it’s more important than ever to check your sources.