Arts & Entertainment

GLAAD report shows LGBTQ inclusion on television at record high

Published

7 years ago

November 7, 2019

GLAAD President and CEO Sarah Kate Ellis at today’s presentation (Image courtesy GLAAD)

The mood was light and spirits were high at the offices of United Talent Agency in Beverly Hills this morning, as GLAAD held the presentation of its “Where We Are On TV” report for 2019-2020

The report was authored by GLAAD Director of Entertainment Research and Analysis Megan Townsend, who told the gathered crowd of journalists and industry professionals that the percentage of regular LGBTQ characters on broadcast television reached an all-time high in 2019 – exceeding last year’s challenge by the organization to reach 10 percent inclusion on primetime scripted series by 2020.

According to the report’s findings, networks met and exceeded this call in just one year, with a record-high percentage of LGBTQ series regulars on broadcast television at 10.2% of all series regulars. This number is up from last year’s 8.8% – which was at that time the record high – and is the highest percentage since GLAAD expanded to count all broadcast series regulars 15 years ago.

In addition, for the first time in this report’s history, there were more women than men among regular and recurring broadcast TV characters, with women making up 53 percent and men 47 percent.

The report also found that racial diversity of LGBTQ characters on broadcast and cable had increased significantly.

Out of the 120 LGBTQ regular and recurring characters on broadcast, 62 (52%) are people of color, a two percent increase from last year amounting to six more characters. It’s the second year in a row where LGBTQ people of color have outnumbered white LGBTQ people on broadcast, which is the only platform to hit the goal of having at least half of LGBTQ characters be characters of color.

On cable, out of 215 LGBTQ characters counted, 103 (48%) are people of color, which is an increase of two percentage points from last year.

Streaming television saw a decrease, with 63 (41%) people of color out of a total of 153 LGBTQ characters – seven points down from last year’s report.

Across all platforms tracked, representation numbers are up on several other fronts. The total number of transgender characters has increased to 38 from last year’s 26; bisexual+ characters posted a slight increase in characters though a one percentage point drop overall; and there are nine characters with HIV/AIDS, up from seven last year.

In addition, the report found a record-high percentage of Latinx series regulars (up from 8% to 9%), a record-tying number of black series regulars (held steady at 22%), and a record-tying number of Asian Pacific Islander series regulars (held steady at 8%) across broadcast television.

Noah Reid and Dan Levy in “Schitt’s Creek,” one of many shows highlighted in GLAAD’s report on LGBTQ inclusion (Image courtesy PopTV)

Following the presentation of the report’s findings there was a panel discussion led by Deadline’s Dino-Ray Ramos, with participants including GLAAD President & CEO Sarah Kate Ellis, UTA partner and television talent agent Jacob Fenton, comedian/actress Sabrina Jalees (“Carol’s Second Act”), Gloria Calderón Kellett (executive producer, showrunner, director, and actor, “One Day at a Time”), actress Nicole Maines (Supergirl), Marja-Lewis Ryan (executive producer and showrunner, “The L Word: Generation Q”), and actor Brian Michael Smith (“The L Word: Generation Q,” “Queen Sugar,” “9-1-1: Lone Star”). The conversation overall emphasized the encouraging progress indicated by the report, while reinforcing the importance of equal representation across the spectrum of LGBTQ experience and acknowledging the positive impact felt by the increasing inclusion of LGBTQ voices among the teams creating television content.

“However,” noted Townsend in a statement, “there is still work to be done.”

“On cable TV,” she said, “just three networks account for 44 percent of all LGBTQ representation on primetime scripted series. Similarly, programming from four dedicated producers and creators who prioritize inclusion, Greg Berlanti, Lena Waithe, Ryan Murphy, and Shonda Rhimes, accounts for 14 percent of total LGBTQ characters across broadcast, cable, and streaming originals. We hope to see all networks follow their lead, and work towards reflecting the reality of their audience and the culture.”

Ellis summed up the findings by saying, “Last year, GLAAD called on the television industry to increase the number of LGBTQ characters and more accurately reflect the world we live in, and they responded by exceeding this challenge. At a time when the cultural climate is growing increasingly divisive, increased representation of LGBTQ stories and characters on television is especially critical to advance LGBTQ acceptance. Shows like ‘Pose,’ ‘Schitt’s Creek,’ ‘Batwoman,’ and ‘Billions’ demonstrate that not only are LGBTQ stories and characters on TV becoming more diverse, but that viewers everywhere continue to respond with extreme positivity.””

She announced that GLAAD will now call on the industry to ensure that 20 percent of series regular characters on primetime scripted broadcast series are LGBTQ by 2025, as well as make sure that half of LGBTQ characters on every platform are people of color within the next two years.

The “Where We Are on TV” report analyzes the overall diversity of primetime scripted series regulars on broadcast networks and assesses the number of LGBTQ characters on cable networks and original scripted streaming series on the services Amazon, Hulu, and Netflix for the 2019-2020 TV season. This marks the 24th year that GLAAD has tracked the presence of LGBTQ characters on television.

You can read the full report here.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

10 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

16 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

2 days ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.