That the film industry has largely relegated queer content to middle- and highbrow dramas may not be surprising - these forms are most amenable to redemptive progress narratives that promise to absolve the industry’s ongoing exclusions - but this outcome should not be blamed on queer filmmakers themselves. TEN YEARS after the massive success of Brokeback Mountain, Hollywood films centering on gay characters and themes have become unremarkable. This fall, the release of the gay dramas Stonewall, Freeheld, The Danish Girl, and Carol, all within roughly two months of each other, has aroused barely any comment.