Heaven forbid Hollyweird actually represent characters in numbers that match demographics in the United States.
With only 3% of the population being homosexual, and the percentage of transgenders being far below even 1% of the population, Hollyweird leftists are in a tizzy because the minuscule minority of LGBT-WTF’s are not dominating roles in movies released in 2018.
Never mind the fact that heterosexuals are the vast majority of the population, with at least 96% of Americans not being LGBT, and the fact that movie attendance fell through the floor over the last few years as the minority was made to appear as far more commonplace than they are in reality. Perhaps they should consider the fact that heterosexuals prefer even fiction to be demographically correct, instead of artificially inflating the number of LGBT’s in movies?
The militant LGBT advocacy group GLAAD whined that the number of Hollywood films featuring LGBTQ characters plummeted nearly 40 percent in 2017 compared to the year prior, after an annual survey of the major movie studios was released.
The group found that just 14 wide releases from the majors, as well as offerings from their indie divisions, were “inclusive” of queer identities in 2017, a drop from 23 films in 2016.
Only 12.8 percent of studio films contained characters who identified as lesbian, gay, bisexual or queer — the lowest percentage of LGBTQ-inclusive major studio releases since GLAAD began tracking in 2012.
One would think they would be thankful, given that is still a 400% increase over their demographic representation within the actual population.
Mentally ill Trans characters were absent entirely from wide releases (though the report does contain praise for the Oscar-winning trans story “A Fantastic Woman,” released by Sony Pictures Classics).
GLAAD CEO Sarah Kate Ellis in a whining introduction to the survey, called the Studio Responsibility Index (SRI),
“On screen, record-breaking films like ‘Black Panther’ and ‘Wonder Woman’ prove that not only does inclusion make for great stories — inclusion is good for the bottom line. It is time for lesbian, gay, bisexual, transgender, and queer stories to be included in this conversation and in this movement.”
Now in its sixth year, the SRI applies a secondary test to the films that rate as inclusive that allows the LGBT community to demonize any movie they don’t see as “inclusive” enough. Called the Vito Russo Test, it’s a set of parameters that vets a given film for the quality of its depiction of queer people (often in mainstream commercial fare, gay people are used as punchlines or provoke anxiety in straight characters).
Universal Pictures got the highest score of any studio, but was still labeled “insufficient,” by the SRI. Of fourteen wide releases. four of the studio’s films made the grade. The highest praise was for Jordan Peele’s “Get Out.”
Paramount received a “poor” rating, with just two inclusive films (Ruby Rose’s character in “XxX: The Return of Xander Cage” being one), along with Lionsgate.
Disney’s eponymous label and portfolio studios Marvel, Lucasfilm and Pixar tied for last place with Sony Pictures — with both studios only releasing one inclusive film and both earning a “poor” rating.
Ellis and leadership from GLAAD hosted a breakfast at the Beverly Hills offices of agency WME on Tuesday morning, where they presented the SRI to industry players. Lena Waithe and TK sat for a panel discussion afterwards to discuss how Hollywood can increase quality representation in film.
Mr Americana, Overpasses News Desk
May 23rd, 2018