TV programming rightly recognize the presence and form of non-heterosexual and non-cisgender characters and stories as a function of commerce that is to say, television production in the United States must primarily be profitable, and whether or how the LGBT+ community is represented by popular entertainment is determined by economic factors. television industry has given way to specific logics in queer scholarship and whether these logics suit conditions found in domestic television cultures. Given that U.S.-focused queer theories of television remain the primary frame of reference to study LGBT+ televisibility in Western Europe, but its domestic small screens comprise a decidedly different institutional context, it is at this time necessary to synthetically assess how the U.S. focus, queer television in Western Europe has yet to be comprehensively documented in scholarly sources, and Western European queer television studies hardly constitute an emancipated practice. TV culture, and research into representations of sexual and gender diversity in Western European, Asian, and Latin American programming has only recently found traction. Queer TV studies have until now focused predominantly on U.S.
