In February, Kathryn Shattuck penned a listing of 14 TV shows that broke ground with gay and transgender characters in The New York Times, intending to depict the progress the LGBTQ community has made in becoming more visible in popular culture.  The article, admittedly limited in scope, cites such programs as Ellen, Queer As Folk, and Orange Is The New Black, all true milestones in the inclusion of gays, lesbians, and transgender people on the small screen.  Each entry on Ms. Shattuck’s list is, as she points out, a defining moment in “a turbulent 45-year trajectory from television movies to single episodes involving secondary players to fully fleshed-out characters central to a show’s story line.”  However, even among these important developments in our community’s long march towards equality, Ms. Shattuck has rendered one nearly iconic LGBT TV series conspicuous, by its absence from the story.  That would be Noah's Arc, which was a great gathering of “firsts” in its casting, theme, and delivery.  Conceived and developed by Patrik-Ian Polk, an accomplished screenwriter, producer and director whose career has been defined by his devotion to the stories of Black gay characters, Noah’s Arc made an immediate and lasting impact upon all who were fortunate enough to watch it on LOGO.