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walks the line between being a procedural and being something else altogether, which’s maybe why despite its evident quality, it’s never garnered the audience it deserves.But the romance between computer hacker Root and sociopathic assassin Shaw deserves recognition here because it has been allowed to proceed and flourish on a show in which gets a love story (aside from the never-consumated sexual/romantic tension between Reese and Joss)., particularly its handling of race and non-Western cultures.But when it comes its treatment of sexual orientation and gender identity, the show really excels.It’s not , but it’s still centered entirely on women, has a queer hearththrob (Frankie Doyle) and a surprising number of queer prison employees.

Plus there’s transgender inmate Maxine, who manages to defy tropes and is accepted as “one of the girls” in a way we see all too rarely with trans characters on television, even prison shows.Root and Shaw get sexual tension when nobody else is even thinking about sex. Every episode where the potential fling between Root and Shaw is explored and literally isn’t flawless in its depiction of queer characters.Season three, for example, set up an unnecessary and troubling conflict between bisexual Anchor Beach principal Monte and a student who said Monte made inappropriate advances at her.Hundreds of Finger Lakes and regional businesses do business with us every month. It’s a franchise that’s been a trailblazer since its initial incarnation in the ’80s, and remains so today.(The result of which was either going to be a predatorial bisexual educator or a young woman lying about assault, neither of which false stereotypes need anymore play on television.) However, The Fosters is the only show in the history of TV to orbit a cast of dramatic teenage storylines around a married lesbian couple.