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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 calen-
dar-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 presence
of a female in either of these roles. Put differently, ensemble movies (with three
or more leading characters) were automatically coded as “0” or not featuring a
female 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 ensem-
ble cast. If we were to recalculate the percentage of films with a female lead/co
leads 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.
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 was
used 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 from
https://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.
6. For comparison purposes, we relied on the leads as determined by the UCLA
Hollywood Diversity Report. See https://socialsciences.ucla.edu/wp-con-
tent/uploads/2022/10/UCLA-Hollywood-Diversity-Report-2022-Televi-
sion-10-27-2022.pdf. There are two limitations to using the UCLA findings for
comparison purposes. In that report, leads are “the first credited actor/ perform-
er for a given project’s list of cast members” (p. 66). Put differently, the authors
of 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 car-
ries a story line. Further, the UCLA study does not report the percentage across
all television evaluated. As such, we took the average of three percentages from
broadcast (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 Char-
acters 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://wome-
nintvfilm.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 the
Scenes in Television. Retrieved from https://womenintvfilm.sdsu.edu/wp-con-
tent/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).
11. The number of female characters within each individual program was calcu-
lated to determine whether a film or series was gender balanced. A program was
considered to meet or exceed gender balance if the percentage of female-iden-
tifying 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 the
cast. 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 described
above, 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.
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.
Girls/Women
Underrepresented
Girls/Women of Color
Black/African American
Asian
Latinx
Middle Eastern/North African
American Indian/Alaska Native
Native Hawaiian/Pacific Islander
LGBTQ+
Characters with Disabilities
THRESHOLD PER GROUP
GROUP POPULATION
LEADS
THRESHOLD
50.5%
40.7%
20%
13.6%
6.1%
12%
1.1%
1.3%
<1%
10%
27.2%
50%
40%
20%
13%
6%
12%
1.1%
1%
1%
10%
10%