This essay addresses the rise in sexual and gender-fluid characters in scripted US television targeting the Gen Z audience (born 1997â2012), based on their moniker as the âqueerestâ generation, with over 20% of younger US and international respondents identifying as LGBTQ in polls, the majority as sexually fluid (bi/pansexual) or non-binary (genderfluid/genderqueer). By analyzing six series (2019â2023) marketed as âauthenticallyâ Gen Z, I argue this shift invests in Gen Zâs âhipâ attitude towards such fluidity the same way Caldwell argues that 1990âs diversification of the televisual audience produced a âprogramming agendaâŠthat cultivates and rewards distinction in ethnic, racial, and class termsâ (2020, p. 376). Caldwellâs (2020) theory of boutique programming, described as âa selective, signature world where artistic sensitivity went hand in hand with social relevance and viewer discriminationâ (p. 164), exposes how these recent series rely on âvisual flourishesâŠand narrative embellishmentsâ (p. 377) but move beyond cinematic techniques by combining palatial settings and extravagant lifestyles with shockingly explicit sexual situations. Caldwellâs (2020, p. 377) assertion that âstardom and gossip defeat the dramatic obligation or need for narrative coherenceâ is reflected in the 21st centuryâs reliance on social media promotions with hypersexual imagery and expensive designer outfits for its high school-age characters and an entertainment media which highlights their âedgy,â âsexy,â âexplicit,â and âprovocativeâ content. Therefore, I argue that, like Caldwell, we should avoid âoverestimat[ing] the political valueâ (2020, p. 376) of these presentations when these non-binary identities are shown as inaccessible, depoliticized, and hypersexualized, which maintains rather than challenges entrenched binary ideals of gender and sexuality.