Labels can often be helpful for people, and are an important aspect of queer culture. Investigating them and letting people who identify with those labels tell their stories on the screen should be done more. But there’s also something that feels evolved in Murphy’s approach: to create a series that operates without any need to categorise, dissect, or label someone’s sexuality makes everything feel that much more human, inherent, and logical.

In some ways, it feels like queerness may actually be the norm, rather than the exception. Because if everything in our world exists on a spectrum, wouldn’t the capacity for love and attraction be all-encompassing? We’ve codified sex and gender and all of these intimate, nuanced parts of ourselves to coincide with what we feel is the “right” way to perform them, thanks to social cues and inferences that are human-made constructs and not necessarily inherent to our nature, just ingrained over millennia. But because we’ve existed within their confines for so long, it’s all we know and not something often questioned. We decided that human sexuality looks like this, and gender looks like this, and that is that.

The Politician: This Netflix show’s portrayal of sex and identity is already sparking conversation