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Furthermore, fan fiction has become a talent pipeline. Bestselling author Naomi Novik (who writes excellent queer fantasy) was a founder of AO3. Many mainstream romance writers cut their teeth writing Rizzles or SwanQueen fanfic. The community created the content, and now the industry pays them to do it. For a long time, studios feared the "gay tax"—the belief that a movie or show would make less money if it featured queer leads. The data now disproves that. Bottoms was a sleeper hit. The Last of Us is HBO’s second-biggest show ever. Heartstopper (which features a WLW couple in Tara and Darcy) is a global phenomenon for Netflix.

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When they were shown, it was often through a lens of tragedy. Think of The Children’s Hour (1961), where a lesbian’s love leads to suicide. Fast forward to the 1990s and early 2000s—shows like Buffy the Vampire Slayer gave us Willow and Tara, a revolutionary couple for their time, but their arc ended with Tara’s shocking death. The L Word premiered in 2004 as a landmark show for women seeking women, yet it was frequently critiqued for its melodrama, lack of racial diversity, and the revolving door of tragedy. Furthermore, fan fiction has become a talent pipeline