The images we consume shape how we see the world. They have the power to challenge toxic narratives or reinforce them, and to lift the burden of a lie or double its weight. By hiring diverse teams, brands and agencies can draw on a wider range of knowledge to tell inclusive stories that represent real audiences and reflect the world as it is.

The purpose of this report is to assess gender and race/ethnicity of artists, songwriters, and producersacross the 900 most popular songs from 2012 to 2020, based on the Billboard Year-End Hot 100 Chart. We also evaluated Grammy nominations by gender and race/ethnicity across 5 categories: Record of the Year, Album of the Year, Song of the Year, Best New Artist, and Producer of the Year. The key findings are presented below, focusing on differences of 5 percentage points or greater.

The purpose of this paper was to overview inclusion on screen (i.e., gender, race/ethnicity, LGBTQ, disability) and behind the camera (i.e., directors, writers, producers) across live action Netflix U.S. original fictional films and scripted series.1 The sample included 126 movies and 180 scripted series released by the entertainment company during the 2018 and 2019 calendar years. Below, the results are presented by inclusion indicator (i.e., gender, race/ethnicity, LGBTQ, disability).2 On certain measures, the inclusion profile of Netflix films and series was evaluated over time (2018 vs. 2019) and against industry metrics. Throughout the paper, only differences of 5 percentage points ...

This study examines representations of Black women and girls in entertainment media in 2019. Much of the existing research on race and gender in entertainment media analyzes representations of women and Black people as two distinct groups, but far less is known about the intersectional depictions of Black girls and women in Hollywood. It is important to note that the number of Black female characters in film and TV is too small to examine Black women and girls separately, so the analysis is combined throughout this report.

LOS ANGELES – Nearly a third of TV episodes in the 2019-20 season were helmed by directors of color, and more than a third were directed by women the Directors Guild of America announced today in its latest Episodic Television Director Inclusion Report. While the shares of episodes directed by women and African Americans reached new highs, Latinos and women of color continued to be severely underrepresented despite their sizable and growing presence in the population, and employment of Asian Americans remained flat. With respect to the pipeline of first-time TV directors, the report found that some ongoing obstacles remained.

The British Consulate General in New York partnered with the Geena Davis Institute for Gender in Media to conduct the first systematic assessment of the role media plays in this persistent STEM gender gap. In this report, we examine representations of STEM characters in the top UK children’s film, television, and streaming content. Media are influential in shaping the values and career paths of young viewers. Understanding what messages girls, boys, and gender non-conforming kids are getting about STEM in their favorite TV shows is key to understanding whether this powerful medium is encouraging or discouraging girls from pursuing STEM.

The Where We Are on TV report analyzes the overall diversity of primetime scripted series regulars on broadcast networks and looks at the number of LGBTQ characters on cable networks and streaming services for the 2020-2021 TV season.

The Celluloid Ceiling has tracked women’s employment on top grossing films for the last 23 years. It is the longest-running and most comprehensive study of women’s behind-thescenes employment in film available. Due to the interruption caused by COVID-19 in theatrical box office grosses, this year’s study monitors women’s employment on the top 100 and 250 U.S. films of 2020. (Previous years also included an analysis of the top 500 films.)...