PART THREE click for PART TWO
So what can be done? How can it change?
Well for starters, casting directors can hire a more diverse cast of actors. The LGBTQ+ discrimination in the work force is truly a large factor of the problem.
Second, the writers of TV shows could include storylines that relate more to the lives of the LGBTQ+ characters. They could write them in to be in the main characters. Writers can show that a character’s sexuality does not have to be the biggest drama and topic of discussion. It could simply be just part of their character and that is all. Move on.
And third, it is a network issue. The broadcasting channel networks need to critically look at their progress and where they need to be in terms of shows with LGBTQ+ characters. In Lisa De Moraes’ article, “GLAAD TV Report: Fox First Broadcast Network To Rate ‘Excellent’ Grade,” the author discusses the networks and the grade that they received from GLAAD (the Gay & Lesbian Alliance Against Defamation. A U.S. non-governmental media monitoring organization founded by the LGBT community in the media.) She writes that this year’s report shows that,
“ABC, CW, FX, HBO, MTV, and Showtime received a grade of ‘Good’. NBC fell to ‘Adequate’, joining CBS, TLC, TNT and USA.”
These networks limit what they broadcast on their channels. The article goes on to note that
“CBS came in last receiving a ‘Failing’ grade among the broadcast networks in LGBT-inclusive hours (27%) which is a slight decrease from last year (28%). As in years past, the majority of its LGBT-inclusive hours (53%) came from unscripted or reality programming such as The Amazing Race and Big Brother. Near the bottom, A&E was again next to last with just 8% of its programming containing LGBT impressions, which is a slight increase from last year’s 6%. A&E’s showing was, however, significantly better than that of History network, GLAAD said. That network aired approximately 362.5 hours of original programming, none of which featured a single LGBT impression that GLAAD could identify.”
Clearly, the networks’ content needs to be re-evaluated and altered to reach all audiences.
Click for PART FOUR