I don't want to beat a dead horse, so I'm agreeing with the general sense already expressed.
I come to this, though, as a writer, playwright and aspiring filmmaker (whose life was detoured from that long ago ambition by circumstance, finances, my own insecurities and the timesuck that is being a full-time caregiver to children -- see Virginia Woolf's A Room of Her Own for details that I discussed with other women playwrights about 20 years ago when I was active on the Center for International Women Playwrights online discussion boards.
Dramatic fiction is about conflicts, so it is understandable that characterizations of anyone are going to be grounded in characters who are in some way unusual or whose actions are extreme. Especially in the sort of thing that tends to sell best in the US market. Look at a lot of art films from Western Europe, and you'll find some much less overtly conflicted stories, but these are not the stories that sell so well or those that seem to make the big bucks.
There are some great exceptions -- Transamerica, just to name one, was a rare story that included a transwoman dealing with her inner conflicts, managing to be dramatic and also reasonably successful. I love Armistead Maupin's sympathetic depiction of Anna Madrigal in his Tales of the City, which was turned into a pretty good series of miniseries on cable.
But I don't really expect cliches and cheap exploitation to go away in my lifetime. Perhaps, though, Quentin Tarantino will manage to blow it up as he has done to some extent with other forms of exploitation film?
If you haven't already seen it, I'd also recommend listening very closely to Lana Wachowski's speech accepting the most recent Visibility Award from the HRC. It would also be useful to any filmmaker, I think, to look at the other things she's said in the various interviews surrounding the release of Cloud Atlas, and her take on coming out at long last as a transwoman.