In “Mainstreaming Bisexuality since Orange is the New Black: Crazy Ex-Girlfriend, The Bisexual, and Beyond”, Michelle E. Bloom contends that bisexual erasure, bisexual invisibility, and biphobia remain pervasive in the twenty-first century, and that heterosexuality and homosexuality often subsume bisexuality. Bloom contends that, whether for viewers who may be (re)discovering their own sexuality or for allies (friends, parents, teachers, etc.), bisexual representation in film and television educates the audience about a sexual orientation of which they may be unaware, due to erasure, in life and on the screen; she also suggests that such representation is affirming for viewers already aware of (their) bisexuality; and she argues that the extended narrative form of serial television is the ideal medium for offering in-depth explorations of bisexual stories and narratives. Focusing on the increased presence of bisexual characters within digital streaming services following the hugely popular series Orange is the New Black, which represented a number of bisexual characters in an unsatisfactory manner, Bloom argues that there has been a shift in bisexual representations towards naming and affirming bisexual identities in streaming shows such as Crazy Ex-Girlfriend, The Bisexual, and Heartstopper. Finally, Bloom contends that the sexual orientation utopia in Broad City gestures toward a future in which bisexuality no longer needs to be named because, like monosexualities, attraction to multiple genders is not stigmatised.