Inclusion in Netflix Original U.S.
Scripted Series & Films
Dr. Stacy L. Smith, Dr. Katherine Pieper, Sam Wheeler & Katherine Neffwith assistance from

Ariana Case, Terrell Shaffer, Zoe Moore & Karla Hernandez

EXECUTIVE SUMMARY

April 2023

INCLUSION IN NETFLIX ORIGINAL U.S.
SCRIPTED FILMS & SERIESUSC ANNENBERG INCLUSION INITIATIVE@Inclusionists#1 GENDER IS NOT A PROBLEM IN MAJOR ROLES AT NETFLIX
Girls and women as leads/co leads across Netflix films & series, 2018-2021
FILM

SERIES

55%

55%

OF FILMS FEATURED
GIRLS OR WOMEN AS
LEADS/CO LEADSOF SERIES FEATURED
GIRLS OR WOMEN AS
LEADS/CO LEADS

64.6% (2021)
58.6% (2020)
50.9% (2019)46.4% (2018)56.6% (2021)
54.8% (2020)
57.7% (2019)50.6% (2018)

55% OF FILMS & SERIES HAD
GIRLS/WOMEN AS LEADS/CO LEADSPROPORTIONAL REPRESENTATION OF GIRLS & WOMEN IN MAIN CAST ROLES

38.9%

48.9%

48%

46.4%
50

41.1%

40.9%

46.7% 46.9%

NETFLIX40SCRIPTED SERIESHAS APPROACHEDPROPORTIONALREPRESENTATIONACROSS THE LAST
4 YEARS.

30

20

10

0

2018

2019
Film

2020

2021

SeriesPage 2

#2 GENDER IMBALANCE EXISTS IN SOME NETFLIX CONTENT
Percentage of Netflix films & series that met or exceeded proportional gender representation
FILM

SERIESOVERALL

31.3%

36.7%

34.2%

OF FILMS PORTRAYEDA GENDER-BALANCEDSTORYOF SERIES PORTRAYEDA GENDER-BALANCED
STORYOF FILMS & SERIESPORTRAYED A
GENDER-BALANCED
STORY

FILM

SERIESOVERALL

2018

26.1%

2020

37.9%

2019

31.6%

2021

30.8%

2018

32.5%

2019

33%

2020

40.6%

2018

29.5%

2020

39.3%

2021

45.3%

2019

32.5%

2021

37.3%

INVISIBILITY PERSISTS FOR GIRLS & WOMEN OF COLOR IN NETFLIX CONTENTWhite
6

Latina

Black

Asian

AI/AN

NH/PI

NUMBER OF FILMS MISSING GIRLS/WOMEN FROM EACH GROUP
43
36
64
18
62

MENA

Multi

63

39

96.9%

60%

100

80

60

40

9.2%

20

66.2%

27.7%

55.4%

98.5%

95.4%

0

NUMBER OF SERIES MISSING GIRLS/WOMEN FROM EACH GROUP
3

30

7

20

53

52

48

30

5.7%

56.6%

13.2%

37.7%

100%

98.1%

90.6%

56.6%

100

80

60

40

20

0

AI/AN=American Indian/Alaska Native; NH/PI=Native Hawaiian/Pacific Islander; MENA=Middle Eastern/North African; Multi=Multiracial/Multiethnic

Page 3#3 NETFLIX SHOWS TOP MOVIES HOW TO HIRE WOMEN
Women directors of Netflix and Top-Grossing films, 2018-21
26.9%

25%

30

20.7%

25

16.7%

20

10.7%

15

15%

12.7%

4.5%

10

5

0

2018

2019

2020

Netflix Film Directors

2021

Top-Grossing Film Directors

WOMEN IN KEY CREATIVE POSITIONS ACROSS NETFLIX SERIES & INDUSTRY-WIDE

38.1% WOMEN CREATOR

OF SERIES IN 2021 HAD A

26.9%

of series in 2018 had
a woman creator

32.2%

of series in 2019 had
a woman creator

25.2%

of series in 2020 had
a woman creator

33%

of creators
industry-wide
were women

Data on industry-wide show creators are from the UCLA Hollywood Diversity Report and cover the 2020-21 season.

WOMEN PRODUCERS AND WRITERS ACROSS NETFLIX SERIES & INDUSTRY-WIDE% OF WOMEN

2018

2019

2020

2021

NETFLIXWRITERS

30.6%

41.3%

39.6%

41.1%

INDUSTRY-WIDEWRITERS

25%

35%

36%

34%

NETFLIXPRODUCERS

33.3%

39.6%

38.6%

38.3%

INDUSTRY-WIDEPRODUCERS

40%

40%

Page 439%

INDUSTRY

42%

WOMEN DIRECTORS ACROSS NETFLIX SERIES & INDUSTRY-WIDE
38.1%
40

35

25.1% 25.4%

30

30%

31%

34.2%

36.7%

38%

25

20

15

10

5

2019

0

2018

2020

Netflix Women Series Directors

2021

Industry-Wide Series Directors#4 NETFLIX FILMS AND SERIES FOCUS ON PEOPLE OF COLOR
Percentage of leads/co leads in Netflix content, 2018-21

OVERALL

FILM

SERIES

41.4%

39.7%

40.4%

OF FILMS HAD AN
UNDERREPRESENTED
LEAD/CO LEAD

OF SERIES HAD AN
UNDERREPRESENTED
LEAD/CO LEAD

OF FILMS & SERIES HAD
AN UNDERREPRESENTED
LEAD/CO LEAD

31.9% in 2018
40.4% in 201946.6% in 2020
47.7% in 2021

25.3% in 2018
42.7% in 201946.8% in 2020
47.2% in 2021

28.4% in 2018
41.8% in 201946.7% in 2020
47.5% in 2021

Page 5BOTH FILMS &SERIES SHOWEDA SIGNIFICANT
INCREASE IN
UNDERREPRESENTEDLEADS/CO LEADSBETWEEN
2018 & 2021

#5 PROPORTIONAL REPRESENTATION FOR RACIAL/ETHNIC GROUPS
Underrepresented main cast across Netflix films & series, 2018-21% OF UR
MAIN CAST IN

2018

2019

2020

2021

FILM

32.3%

38.9%

42.3%

40.1%

SERIES

27%

38.4%

39.5%

40.9%

TOTAL

29.4%

38.6%

41%

40.4%

40.7% of the U.S. population identifies with an underrepresented racial/ethnic group

UNDERREPRESENTED SPEAKING CHARACTERS IN NETFLIX FILMS & SERIES

38.5%

41.1%

39.8%

IN FILMIN SERIESOVERALL

NETFLIX REACHED PROPORTIONALREPRESENTATION (40.2%)
IN 2019 AND DID NOT SIGNIFICANTLYDECREASE IN 2020 (38.3%) OR 2021 (38.5%)

UNDERREPRESENTED CHARACTERS
INCREASED FROM 2018 (32%)
TO 2021 (41.1%), JUST ABOVEPROPORTIONAL REPRESENTATIONNETFLIX SIGNIFICANTLYINCREASED THE PERCENTAGE
OF UNDERREPRESENTED CHARACTERS
FROM 2018 (33.6%) TO 2021 (39.8%)

WOMEN OF COLOR INCREASE IN NETFLIX FILM & SERIES CONTENT
NETFLIX FILMS

NETFLIX SERIESLEADS/CO
LEADS

MAIN
CAST

SPEAKING
CHARACTERSLEADS/CO
LEADS

MAIN
CAST

SPEAKING
CHARACTERS

2018

15.9%

11.8%

14.2%

35.4%

13.8%

13.2%

2019

22.8%

17.1%

15.6%

47.9%

19.1%

17.1%

2020

27.6%

17.5%

16%

43.5%

18.2%

19.4%

2021

27.7%

17.9%

16%

54.7%

19.6%

18.4%

Page 6

#6 INCREASES IN INCLUSION FOR UNDERREPRESENTED CREATIVES
Percentage of underrepresented directors across Netflix and top-grossing films, 2018-21
Netflix Films

Top-Grossing Films

30%
23.2%
17.2%

16.7%

2018

20.5%

2019

27.3%
22.4%
17.5%

2020

2021

The percentage of underrepresented writers increased from 13.9% in 2018 to 24.2% in 2020, then declined to 17% in 2021.
There was no change for underrepresented producers over time. 16.2% of producers in 2021 were underrepresented.

UNDERREPRESENTED KEY CREATIVES ACROSS NETFLIX SERIESCREATORSPRODUCERSWRITERSDIRECTORS

2018

7.6%

12.9%

13.9%

19.6%

2019

15.9%

16.9%

20.3%

21.2%

2020

12.6%

15.1%

19.3%

26.5%

2021

21.4%

18.6%

27.6%

31.4%

vs. 33.5% of writers
industry-wide
in 2021vs. 34.5% of directors
industry-wide
in 2021vs. 21.8% of creators
industry-wide
in 2021

Page 7

DIRECTOR RACE/ETHNICITY AND GENDER ACROSS NETFLIX SERIES, 2018-21

White
Men

White
Women

UR
Men

UR
Women

2018

61%

19.4%

13.9%

5.6%

2019

54.9%

23.9%

15.2%

6.1%

2020

48.8%

24.7%

13.1%

13.5%

2021

43.7%

24.9%

19.6%

11.8%

WOMEN OF COLOR AS NETFLIX SERIES CREATORS, 2018-21
9.5%
10

4.8%
5

0

2.5%

2018

2019

IN 2021, EIGHT WOMEN OF COLOR
WORKED AS NETFLIX SERIES CREATORS
5 WERE BLACK,
1 WAS HISPANIC/LATINA,
1 WAS ASIAN, AND
1 WAS MULTIRACIAL

3.9%

2020

2021

#7 RACIAL/ETHNIC REPRESENTATION OF SPECIFIC GROUPS VARIES
Percentage of Netflix film & series with a Black lead/co lead, 2021

39%
OF PROGRAMS HAD
A BLACK LEAD/
CO LEAD IN 2021

26.2%

54.7%

OF FILMSFEATURED A BLACK
LEAD/CO LEAD IN 2021

OF SERIESFEATURED A BLACK
LEAD/CO LEAD IN 2021

vs. 20.3% offilms in 2018vs. 45.6% ofseries in 2018

Page 8BLACK CREATIVES BEHIND THE SCENES IN NETFLIX CONTENT IN 2021
DIRECTORSWRITERSPRODUCERS

7.5%

5.7%

8.8%

16.3%

13.7%

7.5%

SERIESSERIESSERIES

FILM

FILM

FILM

BLACK SERIESCREATORS WERE
MORE LIKELY TO
FEATURE BLACK MAIN
CAST ACTORS ON
SCREENSERIESFILMLEADS/CO LEADS & MAIN CAST BY SPECIFIC RACIAL/ETHNIC GROUP, 2018-21
MEASURESBLACKLATINXASIANLEADS/CO LEADS

24.1%

6.8%

9.2%

MAIN CAST

17.1%

5.8%

9.4%

LEADS/CO LEADS

50.5%

22%

40.2%

MAIN CAST

16.5%

7.3%

7.4%

U.S. POPULATION

13.6%

12%

6.1%

LATINX CREATIVES BEHIND THE SCENES IN NETFLIX FILMS AND SERIES, 2021
FILM

SERIES

4.5% DIRECTORS

2.7% DIRECTORS
3.7% WRITERS
3% PRODUCERS
3.6% CREATORS

1.9% WRITERS
Latinx refers toLatinos not of Spanish originborn in the U.S.
or its territories

2.5% PRODUCERS

Page 9ASIAN LEADS/CO LEADS AND MAIN CAST IN NETFLIX CONTENT, 2021

12.3%

41.5%

OF 2021 NETFLIXFILMS HAD AN ASIAN
LEAD/CO LEAD

OF 2021 NETFLIXSERIES HAD AN ASIAN
LEAD/CO LEAD

THE PERCENTAGE
OF ASIAN LEADS/CO LEADSINCREASEDFROM 2018 TO 2021
ACROSS BOTH

10.9% OF MAIN CASTACTORS IN 2021 NETFLIXFILMS WERE ASIANFILMS & SERIES

8.5% OF MAIN CASTACTORS IN 2021 NETFLIXSERIES WERE ASIANETHNIC IDENTITY OF ASIAN MAIN CAST IN NETFLIX FILM AND SERIES, 2018-21

THERE WERE

15

ASIAN
COMMUNITIESREPRESENTED IN
NETFLIX FILMS & SERIESThe ethnic heritage or descent of Asian
main cast was assessed and includes
individuals of any nationality.

COMMUNITY

FILM

SERIES

Chinese

17%

16.7%

Filipino

11.7%

12.1%

Indian

29.1%

27.6%

Indonesian

4.4%

<1%

Japanese

13.6%

7.5%

Korean

9.7%

17.8%

Laotian0<1%

Nepali0<1%

Pakistani

1.9%

3.4%

Singaporean

<1%

1.1%

Sri Lankan

<1%

1.1%

Taiwanese

1.9%

0

Thai

1%

<1%

Vietnamese

2.4%

2.9%

Multicultural

6.3%

7.5%

Total

10.9%

8.5%

Page 10

#8 NETFLIX SHOWCASES LGBTQ+ LEADS, BUT LACKS MINOR ROLES
Lesbian, Gay, Bisexual & Transgender characters across Netflix films & series, 2018-21
LEADS/CO LEADS

MAIN CASTSPEAKING CHARACTERS

7.7%

5%

2.4%

FROM 2018 TO 2021
NETFLIX SERIES

7.7% (2021)
5.2% (2020)
5.3% (2019)2.9% (2018)

5% (2021)
5.3% (2020)
4.9% (2019)3.8% (2018)

2.4% (2021)
2.1% (2020)
2.1% (2019)1.9% (2018)

CONTENT HAD
SIGNIFICANTLYMORE LGBTQ+LEADS/CO LEADS

35.8%

6.7%

4%

35.8% (2021)
45.6% (2020)
28.9% (2019)19% (2018)

6.7% (2021)
10.3% (2020)
7.4% (2019)4.6% (2018)

4% (2021)
4.8% (2020)
4.1% (2019)2.5% (2018)#9 CHARACTERS WITH DISABILITIES ARE RARELY DEPICTED
Characters with Disabilities across Netflix content, 2021

MEASURESFILMSERIESCOMPARISONLEADS/CO LEADS

7.7%

0

IN 2019, 15.8% OF NETFLIX FILMS HAD A
LEAD/CO LEAD WITH A DISABILITY

MAIN CAST

1.6%

2%

THERE HAS BEEN NO CHANGE OVER TIMEFOR FILMS OR SERIES.

SPEAKING CHARACTERS

1%

1.2%

1.1% OF ALL CHARACTERS IN FILMS &SERIES HAD A DISABILITY.
MULTI

27.2% OF THE U.S. POPULATION IDENTIFES AS HAVING A DISABILITY

Page 11INCLUSION IN NETFLIX ORIGINAL U.S. SCRIPTED FILMS & SERIESUSC ANNENBERG INCLUSION INITIATIVEEXECUTIVE SUMMARY
The purpose of this research investigation was to provide an update on inclusion in Netflix films and scripted series. To complement ourprevious investigation of content from 2018 (69 fictional films, 80 series) and 2019 (57 fictional films, 100 series), we examined stories
from 2020 (58 fictional films, 64 series) and 2021 (65 fictional films, 53 series). Thus, a total of 546 fictional narratives (249 fictionalfilms, 297 series) were examined for this investigation. These English-language, Netflix original, live-action programs were assessed forseveral inclusion metrics (e.g., gender, race/ethnicity, LGBTQ+, disability).¹ Gender and race/ethnicity were also evaluated for behindthe camera personnel.
Below, the key findings are presented by identity group and by storytelling framework. Only 5 percentage point or higher differenceswere noted as significant. Where possible throughout the report, we provide comparisons to the wider industry using top-grossing films
or episodic content.

GENDER
Gender (male-identified/female-identified/non-binary) was evaluated for every speaking character who appeared on screen. We alsopresent information on gender of leads/co leads (e.g., the character(s) driving the action and story)² and main cast/series regulars (e.g.,recurring or major characters).³ The percentage of women working in specific behind-the-camera positions is also discussed.
Leads/Co Leads
In 2021, 61% of all stories evaluated (film and series) featured female leads/co leads, which was substantially above the proportion of
females in the U.S. population (50.5%).⁴ Looking within format, the increase overall in female leads/co leads was largely accounted forby film. The percentage of female protagonists in movies increased 18.2 percentage points from 2018 (46.4%) to 2021 (64.6%). There
was an increase of 6 percentage points from 2018 (50.6%) to 2021 (56.6%) in series.
In 2021, female leads/co leads in Netflix films (64.6%) dramatically outpaced female leads/co leads in top-grossing films (41%).⁵
Focusing on Netflix series data, 56.6% of programs in 2021 were female-led as opposed to 44.8% of leads across the 2020/21 broadcast,
cable, and digital television season.⁶ Based on these findings, Netflix outperformed the competition on this indicator.
Main Cast
The overall percentage of female main cast/series regulars in film and scripted content in 2021 was 46.8%. No differences were observed in 2021 by format (film=46.7%; series=46.9%). However, a significant jump was observed within film by year. Girls and womenaccounted for 38.9% of main cast in 2018 films and 40.9% in 2020 films but 46.7% of the main cast in 2021. There were no differencesin the percentage of female series regulars by year in scripted series (2021=46.9%; 2020=48.9%). It is important to note that only 4
nonbinary characters were series regulars/main cast across the entire sample time frame.
When compared to the wider industry, both Netflix program types held strong. In 2021, Netflix films had girls and women in 46.7% of
main cast roles as opposed to only 35% of major characters in top-grossing films.⁷ Girls and women comprised 46.9% of main cast in
Netflix scripted series, which was on par with the percentage of female major characters (48.9%) in broadcast and streaming series in
2020-21.⁸

Page 12

Speaking Characters
41.4% of speaking or named characters in Netflix 2021 content were girls and women. This overall percentage did not vary by format(film=40.8%, series=42.1%). For film, a 5-percentage point increase in female speaking characters from 2018 (35.8%) to 2021 (40.8%)
was observed. No difference was revealed for series. Beyond main cast/series regulars (n=4), only two additional speaking or named
character across the entire 4-year sample were coded as nonbinary.
How did Netflix compare with the broader entertainment ecosystem of female-identified speaking characters? Netflix films
have had slightly more female-identified speaking characters than the wider industry, with 2021 being a standout year (Netflix=40.8%;
TG=32.9%).⁹ Meanwhile, scripted series have remained slightly behind but not significantly different from their industry peers(Netflix=42.1%; industry=45%).¹⁰
37.3% of the 118 Netflix films and series analyzed in 2021 met or exceeded proportional representation of females in the U.S. population(50.5%).¹¹ Series (45.3%) had a significantly higher percentage of gender-balanced stories than did film (30.8%). Only series demonstrated a meaningful change from 2018 (32.5%) to 2021 (45.3%). In terms of invisibility, only 1 of the 546 stories evaluated across 4
years of Netflix content did not depict at least one female speaking or named character.
To summarize, over half of Netflix films and series depicted female-identified leads/co leads consistently at or above U.S. population
norms. Since 2018, the percentage of females in the main cast and speaking characters for film has increased significantly, demonstrating a commitment to match their series counterparts. In series, however, a substantial increase in the percentage of gender-balanced
stories was observed.
Behind the Camera: Film
In 2021, 26.9% of the 67 directors in the movie sample were women. While the percentage of women directors increased from 2020
(16.7%), there has been little change when compared to 2018 (25%).¹² Netflix films consistently featured a higher percentage of women
directors than those top films released at the box office. In 2021, the percentage of women directors of Netflix films (26.9%) was 14.2
percentage points higher than top-grossing films (12.7%).¹³
33% of screenwriters were women in 2021. 2021 was the strongest year for women writers, increasing 5.5 percentage points from 2018(27.5%). Netflix films had more women screenwriters than top-grossing fare in 2021 when 33% of Netflix film writers were womencompared to 17.1% of writers in 2021’s top-grossing movies.¹⁴
In 2021, a total of 241 producers were credited across 65 movies and only 29% were women. Since 2018, no differences have emergedby year. Netflix films featured more women producers (29%) than did top-grossing films (22.6%) in 2021 and across all 4 years
evaluated.¹⁵
Films in 2021 with at least one woman director attached had significantly more girls and women on screen as leads/co leads (79.3% vs.
54.9%), main cast (54% vs. 43.5%), and speaking characters (43.8% vs. 39.7%) than did those films without at least one woman director
attached. This trend continued when we focused on women screenwriters but to a lesser extent with women producers.¹⁶
Behind the Camera: Series
In 2021, over a third of series creators were women (38.1%) which was a substantial increase from 2018 (26.9%). Netflix has outpaced
the industry in putting women show creators behind the scenes in its 2021 series (industry=33%).¹⁷
Men (63.3%) were more likely to be credited as a director of an episode of a Netflix series in 2021 than were women (36.7%). When
compared to 2018 (25.1%), there was a significant increase of 11.6 percentage points for women directors in 2021. Netflix has not beendifferent from overall industry patterns in employing women directors across the entire sample time frame.²⁰
41.1% of screenwriters were female in 2021. There was a substantial increase when compared to 2018 (30.6%). Netflix (41.1%) was
significantly above the industry norm (34%) in terms of hiring women writers in 2021, as well as in 2018 and 2019.¹⁹

Page 13

Of the 530 producers identified in 2021 series, 38.3% were women. While this was a meaningful increase from 2018 (33.3%), womenin the producer role have not changed significantly since 2019 (39.6%). Overall, Netflix was on par with the industry in three of thefour years evaluated.¹⁸
Scripted series with at least one woman creator featured more female series regulars and speaking characters than those shows withouta woman creator.²¹ More than half (55.9%) of series regulars were female when a woman creator was present, versus only 38% of series
regulars with solely male creators. When it comes to on-screen speaking characters, we found that female show creators ensured that
47.7% of these roles were filled by girls and women. In comparison, male show creators depicted girls and women on screen in only
35.9% of all speaking roles.
Overall, this section reveals the value Netflix places on storytelling by women. Particularly for directors, writers, and series creators, Netflix has shown an increase in the percentage of women working behind the camera. The presence of women behindthe camera in these roles has clearly been one reason for the percentage of women in on-screen roles as well.

RACE/ETHNICITY
The race/ethnicity of every speaking character was assessed using a definition that aligns with U.S. Census categories.²² Below, we
present data on characters from underrepresented racial/ethnic groups. The full report as well as later sections of the executive
summary provide data on characters from specific racial/ethnic groups.
Leads/Co Leads
47.5% of Netflix’s 2021 stories had an underrepresented lead/co lead, which did not differ for film (47.7%) or series (47.2%).²³ The
percentage of underrepresented leads/co leads was significantly above the U.S. population estimate (40.7%).²⁴ Over the past four years,
Netflix has demonstrated a 19.1 percentage point increase in the number of underrepresented leads/co leads in all scripted content(2018=28.4%; 2021=47.5%). In film, the number of protagonists of color has increased from 2018 (31.9%) to 2021 (47.7%). In series, there
was a gain of 21.9 percentage points from 2018 (25.3%) to 2021 (47.2%).
Not only is Netflix above demographic norms according to the U.S. Census, they have also outpaced top-grossing movies in the percentage of stories showcasing protagonists of color. In 2021 specifically, Netflix films (47.7%) had significantly more underrepresented leads/
co leads than top movies (32%).²⁵ Netflix also significantly outperformed the wider industry in its series. In 2021, 47.2% of Netflix
series showcased underrepresented leads/co leads compared to 34.9% industry-wide.²⁶
Main Cast/Series Regulars
Overall, 40.4% of the main cast/series regulars in 2021 were from an underrepresented racial/ethnic group, which is a substantial increase from 2018 (29.4%). Notably, the greatest increase can be seen from 2018 (29.4%) to 2019 (38.6%) while subsequent years haveshown more modest gains. In 2020 and 2021, Netflix main cast achieved proportional representation with the U.S. population(2021=40.4%; 2020=41%).
There was no difference in the percentage of underrepresented main cast characters by format in 2021 (film= 40.1%; series=40.9%).
However, across 4 years, the percentage of underrepresented main cast increased significantly across both formats. Slightly less than
one-third (32.3%) of main cast characters were underrepresented in 2018 films compared to 40.1% in 2021. Series followed a similar
pattern, with an increase of 13.9 percentage points since 2018, from 27% to 40.9%.
All Speaking Characters
Overall, 39.8% of all speaking characters in 2021 were from underrepresented racial/ethnic groups. This is consistent with U.S. Census
figures (40.7%).²⁷ From 2018 (33.6%) to 2021 (39.8%), the percentage of underrepresented speaking characters in Netflix films and series increased by 6.2 percentage points. No difference over time was observed for film. The percentage of underrepresented charactersin Netflix movies (38.5%) in 2021 was not different from top-grossing films the same year (39.7%).²⁸ Series, however, had significantly
more underrepresented characters in 2021 (41.1%) than in 2018 (32%). Netflix gains are similar to an overall upward industry trajectory for underrepresented characters in episodic series.²⁹

Page 14

In 2021, 46.6% of all Netflix content was at or above proportional representation with those identifying with an underrepresented
racial/ethnic group on the U.S. Census. This is a substantial increase from 2018 where only 30.2% of all scripted content reached or
exceeded proportional representation. Notably, in 2020 more than half of Netflix films and series (53.3%) were at proportional representation. Pivoting to focus on each format, there was little difference between film (46.2%) and series (47.2%) in 2021. Over time, bothformats significantly increased the percentage of stories at or above proportional representation.
In terms of invisibility, only 3 stories in 2021 (2.5%) were missing any White characters while 98.3% and 94.9% were without American
Indian/Alaska Native and Native Hawaiian/Pacific Islander characters, respectively. The majority (83.1%) were missing Middle Eastern/
North African characters. Asian characters were absent in just under a third of films and series (29.7%) while Hispanic/Latino characters
were absent in slightly less than half (44.9%) of Netflix stories. Of 118 Netflix stories, 9 stories (7.6%) were missing Black/African American characters.
Summarizing the on-screen findings for race/ethnicity, Netflix has reached proportional representation overall for leads/co
leads, main cast/series regulars, and all speaking characters. Despite these findings, there are still stories where individuals
from specific racial/ethnic groups were missing on screen.
Behind the Camera: Film
Of 67 film directors in 2021, 22.4% were from an underrepresented racial/ethnic group. There were significantly more underrepresented
directors in 2021 (22.4%) than in 2018 (16.7%), although the highest percentage of underrepresented directors occurred in 2020 (30%).
In comparison to top-grossing films, Netflix has had both significantly more (2020: Netflix=30%; TG=17.5%) and significantly less (2018:
Netflix=16.7%; TG=23.2%) underrepresented directors over time.³⁰ However, in 2021, there was no meaningful difference between Netflix (22.4%) and top-grossing movies (27.3%).³¹
Of 106 credited film writers in 2021, 17% were from underrepresented racial/ethnic groups. The percentage of underrepresented writers
did not change from 2018 to 2021, though the high point occurred in 2020 (24.2%). In 2021, there was no difference between the percentage of underrepresented writers of Netflix films (17%) and those of top-grossing movies (21.4%).³²
Of the 240 producers examined across the sample of 2021 films, 16.2% were from underrepresented racial/ethnic groups. The percentage of underrepresented producers in 2021 was not meaningfully different from 2018 (14.7%). Netflix (16.2%) and top-grossing films(17.5%) reached similar levels of underrepresented producers in 2021.³³
Films from 2021 with an underrepresented director attached in 2021 were significantly more likely to feature underrepresented leads/coleads (86.4% vs. 39.7%), underrepresented main cast (75.2% vs. 31.4%), and underrepresented speaking characters (61.9% vs. 30.6%).
The same patterns emerged on these indicators when comparing underrepresented and white writers and producers.³⁴
Behind the Camera: Series
Of 84 series creators in 2021, 21.4% were from an underrepresented racial/ethnic group. There was a substantial increase in underrepresented creators across the four years evaluated (2018=7.6% vs. 2021=21.4%). The broader entertainment industry has also seen an
increase in underrepresented creators over time. Netflix is not significantly different from its industry peers on this measure.³⁵
Across all Netflix series producers in 2021, 18.6% were from an underrepresented racial/ethnic group. There was a meaningful increasefor underrepresented producers over time, with 2021 (18.6%) significantly higher than 2018 (12.9%).
27.6% of writers in 2021 were from an underrepresented racial/ethnic group. Since 2018, there have been significantly more underrepresented Netflix series writers, including an increase from 2020 (19.3%) to 2021 (27.6%). Compared to the wider industry, Netflix has
generally worked with a lower percentage of underrepresented writers during the time period examined.³⁶
Of 510 directors across Netflix 2021 series, 31.4% were from an underrepresented racial/ethnic group. Netflix was on a positive trajectoryin terms of hiring directors of color from 2018 (19.6%) to 2021 (31.4%). DGA data on all episodic directors was used to compare Netflix
to its industry counterparts. From 2019 to 2020, Netflix fell significantly below overall industry figures. However, in 2021, Netflix
was not meaningfully different from the wider industry.³⁷

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When at least one underrepresented creator was attached to a story, it was more likely to feature underrepresented series regulars (79%vs. 32.5%) and underrepresented speaking characters (63.5% vs. 36.1%).
Overall, Netflix demonstrated gains for underrepresented creators, producers, writers, and directors across its series. These gains allowed Netflix to keep pace with larger industry hiring practices, though not outstrip them. For Netflix films, there were increases for
directors while the percentage of underrepresented writers was highest in 2020. In both film and series, underrepresented creatives
were largely responsible for the presence of underrepresented main cast and speaking characters. Given the findings throughout thissection, one remaining question is whether the gains for underrepresented individuals in Netflix content have benefitted bothunderrepresented men and women. In the next section, we shift our focus to examine girls and women of color in Netflix films andseries.

THE INTERSECTION OF RACE/ETHNICITY AND GENDER/WOMEN OF COLOR
In addition to examining gender and underrepresented status independently across Netflix content, it is essential to look at patterns
through a lens of intersectionality. Given the historical underrepresentation and marginalization of women of color, the next section
focuses on underrepresented females across Netflix programs.
Leads/Co Leads
Across all Netflix films and scripted series in 2021, 39.8% depicted underrepresented female leads/co leads. 2021 had significantly
more stories with an underrepresented female lead/co lead than 2018 (26.4%). Underrepresented girls and women as leads/co leads
increased in both film and series.³⁸
Main Cast/Series Regulars
Slightly less than one-third (31.2%) of 1,000 main cast/series regular characters in 2021 were White males, 28.4% were White females,
21.8% were underrepresented males, and 18.6% were underrepresented females. As girls and women of color comprise 20% of the
U.S. population,³⁹ Netflix content in 2021 approached proportional representation. There was no significant difference between film
(17.9%) and series (19.6%) in 2021 in the percentage of underrepresented female main cast characters. Across both formats, there wasan increase in underrepresented female main cast characters from 2018 (12.9%) to 2019 (18.6%). These gains held into 2021. In 2021,
the percentage of underrepresented female main cast in Netflix content aligned with both top-grossing films (Netflix=17.9%;
TG=14.8%) and the wider industry for episodic series (Netflix=19.6%; industry=20%).40
All Speaking Characters
Across all Netflix programs in 2021, 35.5% of speaking characters were White males, 24.7% were White females, 22.6% were underrepresented males, and 17.2% were underrepresented females. There was no change over time in the percentage of underrepresented
female speaking characters.
By format, film (16%) and series (18.4%) in 2021 did not differ in the proportion of underrepresented female speaking characters. Acrossboth films and series, the percentage of underrepresented females approached 20%, or proportional representation to the U.S.
population.⁴¹
In 2021, the percentage of underrepresented female speaking characters in Netflix films (16%) was similar to top-grossing movies(14.6%).⁴2 For Netflix series, there was a significant increase from 2018 (13.2%) to 2021 (18.4%) in the percentage of underrepresented
female speaking characters. Looking to the wider industry, 19.4% of speaking characters in episodic series in 2020/21 were girls/
women of color, which is not different than the percentage in Netflix content.⁴3
In terms of invisibility, nearly all programs in 2021 failed to include American Indian/Alaska Native (99.2%), Native Hawaiian/PacificIslander (96.6%), and Middle Eastern/North African (94.1%) girls and women. Nearly two-thirds were missing Latinas (61.9%), andmore than half of films and series (58.5%) were missing Multiracial/Multiethnic female characters. Slightly less than half (47.5%) ofstories failed to include an Asian female, while 21.2% were missing Black girls/women. Only 7.6% of stories were missing White female

Page 16characters.
There were some differences between films and series. A higher percentage of films than series were missing Black, Hispanic/Latino,
Asian, and Middle Eastern/North African female characters.
Overall, Netflix has increased representation of girls and women of color as leads/co leads and main cast since 2018. Gains forunderrepresented female speaking characters were observed in series, though not in film. In addition, across leads/co leads,
main cast, and speaking characters, the proportion of underrepresented females reflects the U.S. population.
Behind the Camera: Film
Beginning with film directors, in 2021, 6% or 4 directors were underrepresented women. Two of these women were Asian and two were
Multiracial. The percentage of underrepresented women directors in Netflix films has not changed over time. Across four years, Netflix
and top-grossing movies had a similar percentage of underrepresented women directors.⁴4
Turning to film writers, 5.7% were underrepresented women in 2021. The percentage of underrepresented women writers in Netflix films
did not change over time. In 2021, 4.6% of top-grossing film writers were women of color, which is comparable to Netflix films in thesame year.⁴5
Across Netflix film producers in 2021, 5.8% were underrepresented women. There was no change for underrepresented women producers over time. As with directors and writers, the percentage of underrepresented women producers in Netflix content in 2021 wassimilar to top-grossing movies (4.6%).46
Behind the Camera: Series
In 2021, 9.5% of series creators were underrepresented women. Five of these women were Black, 1 was Hispanic/Latino, 1 was Asian,and 1 was Multiracial/Multiethnic. The percentage of underrepresented women creators in 2021 was significantly greater than in 2018.
These underrepresented women were affiliated with 7 series in 2021, compared to just 3 series in 2018.
Less than 10% of series producers in 2021 were underrepresented women (7.9%), a percentage which did not vary over time.
13.8% of series writers were underrepresented women in 2021. There was a steady gain from 2018 (8.1%) that culminated in a significant
increase in 2021. In comparison to the broader industry (14.3%), Netflix employed a similar percentage of women of color writers
on its series in 2021.47
Turning to directors in 2021, 11.8% were underrepresented women. The percentage of underrepresented women directors increased
between 2018 and 2021 from 5.6% to 11.8%. However, the high point was reached in 2020 when 13.5% of directors were underrepresented women. As a point of comparison, 13% of directors in the 2020/21 season were underrepresented women, according to the
DGA.48Across 3 of the last 4 years, Netflix has not differed from its industry counterparts when it comes to hiring underrepresented women directors.
In summary, in 2021, women of color working behind the scenes on Netflix series saw significant gains as creators, writers, anddirectors. On the film side, while there was little change at Netflix for women of color, this was also true of the broader film industry.
These changes behind the camera provide an important context for the on screen increases reported earlier for underrepresented females.

SPECIFIC RACIAL/ETHNIC GROUPSIn the previous sections, we explored the overall prevalence of characters from underrepresented racial/ethnic groups. Now, we lookto understand more deeply the prevalence of cast and crew from each specific racial/ethnic group. This allows for comparisons to U.S.
population data—which was used to determine leads/co leads across series—and identifies gaps in representation and employment.

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In the analysis that follows, we examined leads/co leads and main cast actors who were Black/African American (yes, no), Asian (yes,no), Latinx (yes, no), Middle Eastern/North African (yes, no), American Indian/Alaskan Native (yes, no), and Native Hawaiian/PacificIslander (yes, no). Leads/co leads and main cast actors49 who were Multiracial/Multiethnic were recategorized into all groups with which
they identified
Black Cast & Crew. To determine if a program had a Black lead/co lead, we examined whether one or more film protagonists was Blackor whether at least 13% of series regular actors were Black, in line with population data.50 In 2021, 39% of all Netflix films and series
featured a Black lead/co lead, significantly more than the percentage of programs in 2018 (33.8%). In 2021, more than a quarter of films(26.2%) and more than half of series (54.7%) had a Black lead/co lead. These figures represent a meaningful increase from 2018 for bothfilms (20.3%) and series (45.6%).
Turning to series regular/main cast actors, 20.3% of all main cast were Black in 2021. There was no difference over time in the percentage of Black main cast overall. In film, although there was no sustained change over time, Netflix movies in 2020 (25%) had significantly
more Black cast than 2018 (17.9%) or 2021 (19.8%). In series, 21.1% of main cast actors were Black in 2021 compared to 14.8% in 2018,
though 2021 was on par with 2019 (21.8%).
Behind the camera, in 2021, 7.5% of Netflix film directors were Black, as were 5.7% of writers, and 8.8% of producers. There was no
significant change from 2018 to 2021 across any of these positions. However, 2020 was the high-watermark across all four years; films in2020 had significantly more Black directors, writers, and producers (16.7%, 12.1%, and 10.5%, respectively) than movies in 2018 (6.9%,
5%, and 5.2%, respectively).
Turning to Netflix series, 9.5% of creators in 2021 were Black, which was significantly greater than the 2.5% of creators who were Black in
2018. A total of 7.5% of producers in Netflix series were Black, which did not change meaningfully over time. Of all writers in 2021, 13.7%
were Black. This was a sample-wide high point and a significant increase from 2018. Finally, 16.3% of Netflix series directors in 2021 wereBlack, the culmination of a 4-year increase from 2018.
Asian Cast & Crew. Asian lead/co leads were evaluated. This included films with at least one Asian protagonist and series in which
6% or more of the series regulars were Asian. The percentage for series was chosen to align with the percentage of Asians in the U.S.
population.51 Across Netflix films and series in 2021, 25.4% of leads/co leads were Asian. There was no longitudinal change from 2018
to 2021 overall, though for both film (2018=5.8%; 2021=12.3%) and series (2018=35.4%; 2021=41.5%) there was a significant
linear increase.
Looking to main cast trends, 10% of main cast actors in 2021 were Asian. This was not significantly different from 2018. Films (10.9%)
and series (8.5%) were not significantly different from each other, and neither increased significantly from 2018. Across both film andseries, Netflix content has reached proportional representation with the U.S. population (6.1%)52 for Asian main cast actors.
Behind the camera, 6% of directors in 2021 were Asian, as were 5.7% of writers, and 4.2% of producers. The percentage of Asian individuals across each of these positions has not meaningfully increased over time. Turning to series, 6% of creators were Asian in 2021,
as were, 5.4% of producers, 8.2% of writers and 6.1% of directors.
Latinx Cast & Crew. In this section, we report on Latinx cast and crew. For this measure, we began by assessing the presence of Hispanic/Latinos from all racial/ethnic backgrounds. Then, to identify Latinx cast and crew, we focused more narrowly on those who wereborn in the U.S. or its territories, excluding those with Spanish origin and no other Latino identification.
Films had a Latinx lead/co lead when at least one protagonist was Latinx, while series had a Latinx lead/co lead when a minimum of
12% of series regulars were Latinx, which is in line with population metrics for this community.53 In total, 18.6% of Netflix films and seriesin 2021 had Latinx leads/co leads. This is significantly more than in 2018 (6.8%), though less than the high reached in 2020 (20.8%).
For Netflix films, there was linear increase from 2018 (1.4%) to 2021 (10.8%) in the percentage of movies with a Latinx lead/colead. For series, an overall gain occurred from 2018 to 2021. The highest percentage of Netflix series with a Latinx lead/co leadoccurred in 2020 (32.3%).

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Looking to main cast actors, 6.4% of those in this role were Latinx across 2021 Netflix films and series. This figure has not meaningfully
improved since 2018. Given that the percentage of Latinx people in the U.S. is roughly 12%,54 this figure falls below proportional representation. There was no difference between film and series in the percentage of Latinx main cast. Additionally, neither has changed
significantly from 2018 to 2021. Only in series was there any notable increase, from 2018 (3.4%) to 2020 (8.9%).
Behind the camera in film, 4.5% of directors in 2021 were Latinx, as were 1.9% of writers and 2.5% of producers. There has been no
significant improvement for Latinx directors or producers in film since 2018. Across Netflix series, 3.6% of creators were Latinx in 2021.
Similarly, 3% of producers, 3.7% of writers, and 2.7% of directors were Latinx in 2021. There was no change over time across any ofthese above-the-line positions.
Middle Eastern/North African Cast & Crew. A Middle Eastern/North African (MENA) lead/co lead included films with a MENA protagonist and series in which at least 1% of series regulars were MENA. No Netflix films and few series (7.5%) had MENA leads/co leads
in 2021, with no observed change over time.
Turning to main cast, 2.1% of main cast actors in 2021 were MENA, with no change since 2018. The percentage of MENA main cast did
not differ across films (2.6%) or series (1.5%) in 2021, and neither varied over the four years evaluated.
Behind the camera, few MENA creatives worked above the line in 2021 Netflix films. This included 1.5% of directors, 1.9% of writers, andless than 1% of producers. In Netflix series from 2021, 2.4% of series creators, 1.5% of producers, <1% of writers, and 1.6% of directors
were MENA. There has been no increase over time for MENA creatives in Netflix films or series.
American Indian/Alaska Native Cast & Crew. Only 6% of all programs had a lead/co lead that was American Indian/Alaskan Native(AIAN) in 2021.56 By definition, films with an AIAN lead/co lead had at least one AIAN protagonist and series had a minimum of 1% of series regulars who identified with this racial/ethnic group. Overall, 2021 (6%) was not significantly different than 2018 (3.4%), and neither
film nor series evidenced an increase over time. Looking to main cast actors, 1.6% were AIAN, on par with the U.S. population.⁵7 As withleads/co leads, there was no difference by program format and no change over time.
Behind the camera, there were no AIAN film directors or writers in 2020 or 2021, and 3 producers (2020=1; 2021=2). In series, no AIAN
creators were responsible for Netflix series, though 1 producer, 2 writers, and 5 directors were affiliated with Netflix content in 2020 and
2021.
Native Hawaiian/Pacific Islander Cast & Crew. Of Netflix films and series in 2021, 2.6% had a Native Hawaiian/Pacific Islander (NHPI)
lead/co lead. This was defined as films with a NHPI protagonist and series in which 1% or more of series regulars were NHPI.⁵8 Overall,
the percentage of NHPI leads/co leads did not change over time or in film. However, the percentage of series with a NHPI lead/co leaddeclined from 2018 (6.3%) to 2021 (0). Only 1% of main cast actors were NHPI, which did not vary by year or by format.
Behind the camera in film, only 2 producers in 2021 were NHPI, with no directors or writers affiliated with this community. In series, all
NHPI creatives appeared in 2020, including 2 directors, 2 writers, and 1 producer.
The results in this section reveal that while Netflix has demonstrated gains for underrepresented characters in its content, thiswas primarily true for ther pecentage of Black main cast, Asian and Latinx leads/co leads. Behind the camera, the largest improvements were seen among Black creatives. Moving forward, the investment and intention that Netflix has made to increase
the prevalence of Black and Asian cast and crew can be extended to other racial/ethnic groups.

LGBTQ
In this section, we examine the prevalence of LGBTQ+-identified characters as leads/co leads, as main cast/series regulars, and overall
speaking characters. Focusing on leads/co leads, we were interested in the percentage of shows that depicted an LGBTQ+ character
driving the plot. For film, a movie was coded as having an LGBTQ+ lead/co lead if either protagonist was part of this community. For series, however, we stipulated that 10% or more of the series regulars had to be coded as LGBTQ+ for a show to qualify. The 10% criterion
was used to reflect population norms of LGBTQ+ individuals living in the U.S.⁵9

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Leads/Co Leads
In 2021, 20.3% of Netflix films and series leads/co leads were LGBTQ+ characters.60 This is less than the percentage in 2020 (25%) but
greater than 2018 (11.5%) or 2019 (20.1%). For film, no changes were observed in LGBTQ+ leads/co leads across the 4-year sample.*
The 5 movies in 2021 accounted for 6 LGBTQ+ characters, with most identifying as female (83.3%) and lesbian (67%). Only 1 of theseleads/co leads was gay and 1 was bisexual. Half of the characters were white and half were multiracial. Only 1 of the six LGBTQ leads/co
leads was a parent.
Pivoting to series, over a third (35.8%) of all programs featured LGBTQ+ characters as 10% or more of series regulars, which was lessthan 2020 (43.5%) but substantially higher than 2019 (28.9%) and 2018 (19%). The 19 shows in 2021 accounted for 25 unique LGBTQ+
characters. Forty-eight percent of the characters were male and 48% were female. One character (4%) was coded as gender nonbinary.
Sixty percent were White, 16% were Black and 16% were Hispanic/Latino. Only 1 LGBTQ+ lead/co lead was Asian and one was multiracial.
Few (16%) of the LGBTQ+ series regulars who were leads/co leads were parents.
Main Cast/Series Regulars
Of all the main cast/series regulars, 5.7% in 2021 were LGBTQ+. No meaningful differences emerged from 2018 to 2021. The highest
percentage of LGBTQ+ main cast/series regulars was observed in 2020 in episodic content (10.3%), but there were no other overtime differences by format. As a point of comparison, 9.1% of primetime broadcast series regulars in the 2020/21 season were LGBTQ+,
according to GLAAD.61
Since there were no differences overall in main cast/series regular representation across film and series, we present the demographic
profile together. Of the LGBTQ+ main cast/series regulars in 2021, 25 were lesbian, 24 were gay, 6 were bisexual and 2 were transgender.
In 2021, the majority of LGBTQ+ main cast/series regulars was female (54.4%, male=43.9%, nonbinary=1.8%). Just over half (50.9%) of
all LGBTQ+ main cast/series regulars were White, with 15.8% Black, 12.3% Hispanic/Latino, 8.8% Asian, 10.5% Multiracial/Multiethnic,
and 1.8% Middle Eastern/North African (0). Six or 10.5% of the LGBTQ+ series regulars/main cast were caregivers or parents.
All Speaking Characters
Out of all speaking or named characters in 2021 Netflix content, 3.2% were LGBTQ+ with no differences observed between film (2.4%)
and series (4%). 2021 did not deviate meaningfully from 2020 or 2018. The majority of LGBTQ+ speaking characters in 2021 were gay(52.8%), 35.4% were lesbian, 8.7% were bisexual, and 3.2% transgender.
Most LGBTQ+ speaking or named characters were male (56.7%). Over forty percent were female (42.5%) and <1% were gender nonbinary. 46.5% of LGBTQ+ speaking characters were White, 22.8% were Black, 11.8% were Multiracial/Multiethnic, 9.4% were Hispanic/
Latino, 7.1% were Asian, and 2.4% were MENA. The vast majority of LGBTQ+ speaking characters were portrayed as adults (59.8%) or
teens (21.3%). Eleven (8.7%) of the 127 LGBTQ+ speaking characters were depicted as parents or caregivers.
In terms of invisibility, more than half of all fictional stories in 2021 (55.1%) were missing the LGBTQ+ community on screen, which is nodifferent from 2020 (58.2%) but significantly lower than 2018 (61.1%). Series decreased significantly in the number and percentage ofshows that erased the LGBTQ+ community on screen from 2018 (56.2%) to 2021 (41.5%). For film, 2021 (66.2%) was lower than 2020
(74.1%) but not different from 2018 (66.7%).
Netflix content has shown some gains when it comes to LGBTQ+ representation over the past four years. This is evident in thefluctuation of leads/co leads and series regulars/main cast, while the percentage of series without an LGBTQ+ character has
declined. However, more than half of films and series did not feature an LGBTQ+ speaking character. Incorporating more characters across series and films is a key way to increase LGBTQ+ representation overall.

CHARACTERS WITH DISABILITIESThis section examines how characters with disabilities were represented in Netflix films and series. The Americans with Disabilities Act(ADA) definition was referenced in our conceptualization of characters with disabilities.62

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Once a character fit the definition, the nature of the disability was then categorized into U.S. Census designations as communicative,
cognitive, and/or physical.63 Below, we describe the prevalence of disabilities among leads/co leads, main cast/series regular characters, and all speaking or named characters.
Leads/Co Leads
In 2021, 4.2% of stories featured a lead/co lead with a disability. Lead/co lead designations were made when the protagonist(s) in a film
or when 27% or more of series regulars within an episodic show had a disability.64 The percentage of leads/co leads in 2021 was nearly
equivalent to that in 2018 (4.1%). Films (7.7%) in 2021 were also similar to 2018 (8.7%), though the high-water mark for movies showcasing a lead/co lead with a disability occurred in 2019 (15.8%). No series in 2021 had a lead/co lead with a disability (i.e., a series in which
27% or more of series regulars were shown with a disability). This was the same as in 2018. Netflix was on pace with top-grossing films(5%) in 2021 in terms of leads/co leads with a disability.65
Main Cast
1.8% of series regulars/main cast in 2021 programming were depicted with a disability which was not different from 2018 (4.4%).
There were similar percentages of main cast characters with disabilities across films (1.6%,) and series (2%), and neither varied overtime. Looking to the broader entertainment industry, GLAAD reports that 3.5% of series regular characters in primetime broadcast wereshown with a disability in the 2020-21 season.66
All Speaking Characters
In 2021, 1.1% of all speaking characters were shown with a disability. This was on par with 2018 (1.9%). Films (1%) and series (1.2%)
featured a similar percentage of characters with disabilities in 2021, with neither evidencing any change over time.
Characters with disabilities were invisible in nearly three-quarters (72%) of films and series in 2021, which was an increase from 2018(55.7%). By format, 75.4% of Netflix movies were without a character with a disability, significantly more than 2018 (66.7%). In series,
two-thirds (67.9%) of series did not have a speaking role for a character with a disability, a jump from 2018 (46.2%).
Characters in 2021 Netflix programming were most likely to experience physical disabilities (60.5%). The percentage of characters withphysical disabilities was higher in film (65%) than in series (56.5%). Examples of characters with physical disabilities included those who
had mobility issues, were missing limbs, or were depicted in a wheelchair. Communicative disabilities were experienced by a quarterof all characters with disabilities (25.6%) and occurred almost equally in film (25%) and series (26.1%). Examples of communicative
disabilities include blind characters, deaf characters, and those experiencing speech issues. Finally, 23.3% of characters with disabilities
had cognitive disabilities. Series (26.1%) were more likely to depict cognitive disabilities than film (20%). Examples of cognitive disabilities include depression, anxiety, Down Syndrome, PTSD, and dyslexia.
In summary, characters with disabilities as leads/co leads, main cast/series regulars, and all speaking characters remained below proportional representation with the U.S. population. Moreover, these percentages have not changed across the four years
examined. The profile of characters with disabilities was also limited; the majority of characters with disabilities had a physicaldisability, and most were still White and male. Looking ahead, this community represents an opportunity for greater inclusionin the future.

CONCLUSION
Across four years of evaluation, Netflix has demonstrated that its content continues to move toward greater inclusivity for women, people of color, and the LGBTQ+ community. Given the findings in this report, it is clear that the company has been reflective and intentional
regarding how its content can serve its audience and how its practices can ensure access and opportunity. At a time of industry flux
and transformation, ensuring that these practices continue to be in place will be important to establishing Netflix as a champion forinclusion.

Page 21A few limitations must be noted, as with any research investigation. First, only U.S. original scripted films and series were evaluatedfor this report. Looking to other types of Netflix content (e.g., unscripted, animation) could provide additional insight into where thecompany is showcasing inclusive content beyond one format. Second, across the report we have endeavored to provide industry benchmarking. Differences in methodological approach, a lack of data, and the process of creating single comparison statistics warrant caution in interpretation of some of these metrics. These figures are provided as an estimation for interested readers. Lastly, some methods
and data analytic practices have been updated since our previous study, and figures in this report may vary from those initially reported.
Endnotes provide insight into which analyses may differ and why.
Our future work will continue to explore inclusion in Netflix content. The goal will be to track whether the increases demonstrated inthis study are sustained. Additionally, we will examine if other indicators trend toward proportional representation over time. Finally,
we intend to look beyond fictional content to explore how Netflix reflects its audience over the breadth of its content offerings. This willallow us to understand to what extent one company has represented a variety of communities both on screen and behind the camera.

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FOOTNOTES
1.The methodology for this report mirrors that used by the Annenberg Inclusion
Initiative in its study of Netflix fictional films and series from 2018 and 2019. As in
the previous study, the samples (2020, 2021) were determined by Netflix calendar-year releases of scripted, fictional, live-action content considered an original
to the company. This included films and scripted series, along with TV specials,
which were included in the series sample. Information on the evaluation process,including unitizing and variable reliability can be obtained from the Annenberg
Inclusion Initiative.
2.Only films driven by a lead/co lead were able to be evaluated for the presenceof a female in either of these roles. Put differently, ensemble movies (with threeor more leading characters) were automatically coded as “0” or not featuring afemale lead or co lead. This approach was taken so that we can compare Netflix
findings to leads/co leads in domestic top-grossing box office movies. Across the
4-year sample, only 9 films were defined as ensembles (2=2018, 4=2019, 1=2020,
2=2021). Of these, 5 featured girls and women in 50% or more of the ensemble cast. If we were to recalculate the percentage of films with a female lead/coleads with these movies included, the percentages by year were as follows: 2018(46.4%, n=32), 2019 (56.1%, n=32), 2020 (58.6%, n=34), 2021 (67.7%, n=44).
Throughout the report, we use population metrics to set a threshold for series
leads/co leads. The table below indicates each threshold that was set per group.
Across the sample, a series had a lead from each group if the percentage of series
regulars/main cast reached or exceeded the threshold set. For example, if 40%
of series regulars were from an underrepresented racial/ethnic group, that series
had an underrepresented lead/co lead.

Hollywood Diversity Report. See https://socialsciences.ucla.edu/wp-content/uploads/2022/10/UCLA-Hollywood-Diversity-Report-2022-Television-10-27-2022.pdf. There are two limitations to using the UCLA findings forcomparison purposes. In that report, leads are “the first credited actor/ performer for a given project’s list of cast members” (p. 66). Put differently, the authorsof that report did not actually view the storylines and render a judgment about
inclusion. Given that character order listing on sites like IMDbPro, Variety Insight,
and/or even credits can be influenced by notoriety, contractual agreements, and/or marketing, this approach to measurement is only a crude indicator of who carries a story line. Further, the UCLA study does not report the percentage acrossall television evaluated. As such, we took the average of three percentages frombroadcast (44.3%), cable (49.1%), and digital (40.9%) series.
7. Lauzen, M.M., (2020). It’s a Man’s (Celluloid) World: Portrayals of Female Characters in Top Grossing U.S. Films of 2020. San Diego State University, CA. https://
womenintvfilm.sdsu.edu/wp-content/uploads/2021/04/2020_Its_a_Mans_
World_Report_v2.pdf.
8. Lauzen, M. (2021). Boxed In: Women On Screen and Behind the Scenes on
Broadcast and Streaming Television in 2020/21. Retrieved from: https://womenintvfilm.sdsu.edu/wp-content/uploads/2021/09/2020-21_Boxed_In_Report.
pdf. Lauzen, M. (2020). Boxed In 2019-20: Women On Screen and Behind theScenes in Television. Retrieved from https://womenintvfilm.sdsu.edu/wp-content/uploads/2020/09/2019-2020_Boxed_In_Report.pdf.
9.Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
10. Lauzen (2021), Lauzen (2020).

THRESHOLD PER GROUPPOPULATIONLEADSTHRESHOLD

Girls/Women

50.5%

50%

Underrepresented

40.7%

40%

Girls/Women of Color

20%

20%

Black/African American

13.6%

13%

Asian

6.1%

6%

Latinx12%12%Middle Eastern/North African

1.1%

1.1%

American Indian/Alaska Native

1.3%

1%

Native Hawaiian/Pacific Islander

<1%

1%

LGBTQ+

10%

10%

Characters with Disabilities

27.2%

10%

GROUP

11. The number of female characters within each individual program was calculated to determine whether a film or series was gender balanced. A program wasconsidered to meet or exceed gender balance if the percentage of female-identifying characters or main cast fell within a range of 10% below the U.S. Census
Bureau (2020) statistic of females in the population (50.5%), or up to 100% of thecast. In this case, the range was 45.72% and above.
12. For film, behind-the-camera positions were compiled based on information
available on IMDbPro.com. The gender and race/ethnicity of each individual
was ascertained using the same procedure outlined for main cast, as describedabove, with a notable exception. When possible, confirmation of race/ethnicity
was sought from the individual’s representation (e.g., agents, managers, etc.).
Information obtained from other Annenberg Inclusion Initiative studies was also
used to provide race/ethnicity and gender information for behind-the-camera
personnel.

3. Series regulars were determined using IMDbPro and Variety Insight/Luminate.
Series regulars reflect recurring characters who appear throughout content.
When information was not available via online database, the Netflix platform wasused to identify main cast/series regulars based on the actors listed for each film/
series examined.
4.U.S. Census Bureau (2020). Quick Facts. Retrieved December 03, 2021 fromhttps://www.census.gov/quickfacts/fact/table/US/SEX255219#SEX255219
5.Neff, K., Smith, S.L., & Pieper, K. (2022, March). Inequality across 1,500 popular
films: Examining gender and race/ethnicity of leads/co leads from 2007 to 2021.
Annenberg Inclusion Initiative, Los Angeles, CA.

13. Smith, S.L., Pieper, K., & Khan, A. (2022). Inclusion in the Director’s Chair:
Analysis of Director Gender & Race/Ethnicity Across 1,500 Top Films from 2007
to 2021. Annenberg Inclusion Initiative. https://assets.uscannenberg.org/docs/
aii-inclusion-directors-chair-2022.pdf.
14. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
15. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.

6. For comparison purposes, we relied on the leads as determined by the UCLA

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16. Stories with at least one woman writer had more girls and women than did
those stories without a woman writer attached: leading/co leading roles (71.1% vs.
54.5%), main cast (51.6% vs. 42.6%), and speaking characters (46.1% vs. 37.3%).
When at least one female producer was present we continued to see more onscreen female representation. This was true for leads/co leads (68.8% vs. 50%).
The percentage of main cast and speaking characters who were girls and women
did not differ by producer gender, however.
17. Ramon, A.C., Tran, M., & Hunt, D. (2022). Hollywood Diversity Report 2022:
A New Post Pandemic Normal? Retrieved from: https://socialsciences.ucla.edu/
wp-content/uploads/2022/10/UCLA-Hollywood-Diversity-Report-2022-Television-10-27-2022.pdf. For comparison purposes, the UCLA Hollywood Diversity
Report 2022 was used. We averaged the percentage of female show creators
across broadcast, cable, and digital series.

32. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
33. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
34. Films with an underrepresented writer were associated with more underrepresented leads/co-leads (85.7% vs. 40.5%), main cast members (72.3% vs.
33.7%), and speaking characters (65.8% vs. 31.2%). Netflix films were more likely
to be inclusive in terms of casting when an underrepresented producer was attached (leads/co-leads, 83.3% vs. 31.2%; main cast, 65.4% vs. 28.6%; speaking
characters, 53.7% vs. 30.2%).
35. Ramon, Tran, & Hunt (2022).

18. Comparison data were taken from Lauzen’s Boxed In reports. See https://
womenintvfilm.sdsu.edu/wp-content/uploads/2022/10/2021-22-BoxedIn-Report.pdf
andhttps://womenintvfilm.sdsu.edu/wp-content/uploads/2020/09/2019-2020_Boxed_In_Report.pdf. For 2020/21, only the averages of broadcast and streaming were calculated for comparison purposes. For thethree earlier years, we averaged across broadcast, cable, and streaming.

36. Ramon, Tran, & Hunt (2022).
37. Directors Guild of America reports on the inclusion of underrepresented directors yearly. Percentages retrieved from the following online reports: https://www.dga.org/News/PressReleases/2021/210223-Episodic-Television-Director-Diversity-Report.aspx.

19. Lauzen (2021).
20. Directors Guild of America reports on the inclusion of women directors yearly. Percentages retrieved from the following online reports: https://www.dga.org/News/PressReleases/2021/210223-Episodic-Television-Director-Diversity-Report.aspx.https://www.dga.org/News/PressReleases/2022/220505-Episodic-TV-Inclusion-Report.aspx.https://www.dga.
org/News/PressReleases/2019/191119-Episodic-Television-Director-Diversity-Report.aspx.

38. If films with ensemble casts in which 20% or more of the ensemble characters
were underrepresented women were included in the analysis, the findings wouldchange slightly. In film, the new totals for leads/co leads would be as follows:
2021=29.2%, n=19; 2020=27.6%, n=16; 2019=26.3%, n=15; 2018=15.9%, n=11.
39. U.S. Census (2021).
40. Lauzen (2022); Lauzen (2021).

21. As in our prior report, only the relationship between series creators and thepresence of female main cast and speaking characters was examined. The contributions of directors and producers in series content to on screen casting are
more ambiguous and thus this relationship was not evaluated.

41. U.S. Census (2021).

22. Information on character race/ethnicity is derived from the story plot and incorporates both explicit and implicitly-provided information.

43. Lauzen (2021).

42. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.

44. Smith, Pieper, & Khan (2022).
23. This definition of leads/co leads was employed for series as 40% is in line withthe percentage of underrepresented individuals in the U.S. population. This definition has been updated from our previous report. If films with ensemble casts
in which 40% or more of the ensemble characters were underrepresented were
included in the analysis, the findings would change slightly. In film, the new totals
for leads/co leads would be as follows: 2021=50.8%, n=33; 2020=46.6%, n=27;
2019=45.6%, n=26; 2018=31.9%, n=22.

45. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
46. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
47. Ramon, Tran, & Hunt (2022).

24. U.S. Census (2021).
48. Directors Guild of America reports on the inclusion of underrepresented directors yearly. Percentages retrieved from the following online reports:
https://www.dga.org/News/PressReleases/2021/210223-Episodic-Television-Director-Diversity-Report.aspx.https://www.dga.org/News/PressReleases/2022/220505-Episodic-TV-Inclusion-Report.aspx.https://www.dga.
org/News/PressReleases/2019/191119-Episodic-Television-Director-Diversity-Report.aspx.

25. U.S. Census (2021); Neff, Smith, & Pieper (2022).
26. Ramon, Tran, & Hunt (2022).
27. U.S. Census (2021).
28. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
29. Ramon, Tran, & Hunt (2022).
30. Smith, Pieper & Khan. (2022).

49. This analysis focuses on main cast and lead/co lead actors rather than characters. While characters may provide some information on their racial/ethnic
background, additional detail was available for actors, including identification
with specific racial/ethnic groups, particularly for Latinx identity. Across each racial/ethnic group, the definition of leads/co leads was updated from how it wasdetermined in our previous report.

31. Smith, Pieper & Khan. (2022).

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50. If films with ensemble casts in which 13% or more of the ensemble characters
were Black were included in the analysis, the findings would change slightly. In
film, the new totals for leads/co leads would be as follows: 2021=27.7%, n=18;
2020=27.6%, n=16; 2019=28.1%, n=16; 2018=20.3%, n=14.
51. U.S. Census (2021). If films with ensemble casts in which 6% or more of theensemble characters were Asian were included in the analysis, the findings wouldchange slightly. In film, the new totals for leads/co leads would be as follows:
2021=13.8%, n=9; 2020=10.3%, n=6; 2019=8.8%, n=5; 2018=5.8%, n=4.

million-according-to-human-rights-campaign-foundation-report
60. If films with ensemble casts in which 10% or more of the ensemble characters
were LGBTQ+ were included in the analysis, the findings would change slightly.
In film, the new totals for leads/co leads would be as follows: 2021=12.3%, n=8;
2020=10.3%, n=6; 2019=12.3%, n=7; 2018=7.2%, n=5.
61. GLAAD (2021). Where We Are on TV. Retrieved December 20, 2022 fromhttps://www.glaad.org/sites/default/files/GLAAD%20-%20202021%20
WHERE%20WE%20ARE%20ON%20TV.pdf.

52. U.S. Census (2021).
53. U.S. Census (2021). If films with ensemble casts in which 12% or more of
the ensemble characters were Latinx were included in the analysis, the findings
would change slightly. In film, the new totals for leads/co leads would be as follows: 2021=10.8%, n=7; 2020=8.6%, n=5; 2019=8.8%, n=5; 2018=1.4%, n=1.
54. Noe-Bustamante, L. & Flores, A. (2019, September 16). Facts on Latinos in
the U.S. Pew Research Center. Retrieved December 20, 2022 from: https://www.
pewresearch.org/hispanic/fact-sheet/latinos-in-the-u-s-fact-sheet/
55. If films with ensemble casts in which 1% or more of the ensemble characters
were MENA were included in the analysis, the findings would not change.
56. U.S. Census (2021). If films with ensemble casts in which 1% or more of theensemble characters were American Indian/Alaskan Native were included in theanalysis, the findings would not change.
57. U.S. Census (2021).
58. U.S. Census (2021). If films with ensemble casts in which 1% or more of theensemble characters were Native Hawaiian/Pacific Islander were included in theanalysis, the findings would not change.
59. Powell, L. (2021). We Are Here: LGBTQ+ Adult Population in United States
Reaches At Least 20 Million, According to Human Rights Campaign Foundation
Report. Retrieved December 20, 2022 from https://www.hrc.org/press-releases/
we-are-here-lgbtq-adult-population-in-united-states-reaches-at-least-20-

62. Americans with Disabilities Act (1990). https://www. ada.gov/pubs/adastatute08.htm. The definition of disability can be found in Smith, S.L., Choueiti, M., &Pieper, K. (2016). Inequality in 800 Popular Films: Examining Portrayals of Gender, Race/Ethnicity, LGBT, and Disability from 2007-2015. Annenberg School for
Communication & Journalism. Retrieved from: https://annenberg.usc.edu/sites/
default/files/2017/04/10/MDSCI_Inequality_in_800_Films_FINAL.pdf. Characters with a disability had a condition (based on the function, form, or structureof the character’s mind and/or body), which created a limitation (including interference and/or non-functioning) related to a ’major life activity’ or ‘major bodilyfunction’ for longer than six months.
63. U.S. Census Bureau (2018). Americans with Disabilities: 2014. Retrieved December 20, 2022 from: https://www.census.gov/content/dam/Census/library/publications/2018/demo/p70-152.pdf
64.If films with ensemble casts in which 27.2% or more of the ensemble characters were shown with a disability were included in the analysis, the findings wouldchange slightly. In film, the new totals for leads/co leads would be as follows:
2021=7.7%, n=5; 2020=6.9%, n=4; 2019=17.5%, n=10; 2018=8.7%, n=6.
65. Data are from published and unpublished studies by the Annenberg Inclusion
Initiative.
66. GLAAD (2021).

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