New UCLA Diversity Report Shows Streaming Films Are Reversing Progress for Women and POC

If it feels like the things you’ve been watching on streaming have been less diverse lately, you’re right.

In a year where the biggest and most talked-about streaming movie was KPop Demon Hunters, UCLA has released the streaming-focused segment of its Hollywood Diversity Report that shows diversity is down.

The findings indicate that the push for inclusion in direct-to-streaming films didn’t just slow down; it took a massive nosedive and set us back years.

Let’s look at the numbers.

The Streaming Slump

For years, streamers feltl ike they had a lower barrier to entry and a more global appetite. That led to natural diversity in ideas and casting, and I felt like it paid dividends in the shows and movies we were watching.

But gender and racial diversity have dropped in streaming, and the numbers were kind of shocking.

• Lead Roles: Direct-to-streaming films featuring leads of color dropped from a dominant 51% share down to just 36%.
• Behind the Camera: The share of direct-to-streaming films directed by women is down to 23.6%.
• The Overall Picture: Writers of color and women directors lost critical ground as platforms pivoted toward more conventional, male-dominated ensemble structures and familiar genre formulas.

This data is a clear look at a downturn in Hollywood, where underrepresented voices are now suffering more than before, and with diversity programs also on the decline, there’s no really easy answer for fixing the situation.

To put the latest findings into perspective, here is how the primary metrics stack up:

The Lone Bright Spot: KPop Demon Hunters

Despite the dismal overall trend, the report did highlight Netflix’s breakout mega-hit KPop Demon Hunters.

That was the movie we all talked about that seemed to cross cultural boundaries and become a global part of the lexicon. It will get many sequels and offshoots, but since it’s animated, it may take a while to see those debuts.

The unmatched success of KPop Demon Hunters proves that international, highly diverse projects aren’t niche. They can drive global audiences if they’re both good and get made.

We need more of them out there to keep proving this point.

The Bottom Line for Filmmakers

This report is incredibly disheartening to read. But the way to combat these kinds of reports is just to keep telling your stories and work to network and create your own opportunities.

That’s all easier said than done, but the time to make and market yourself is now, especially after we’re seeing all these successful transplacements from YouTube to theatrical, getting big movie deals.

Go out and pave your own road if Hollywood is ignoring you.

If you can prove that your unique perspective taps into an underserved, highly enthusiastic global audience, you can convince them they’re leaving money on the table.

What do you think about the streaming slump? Are you seeing this shift in the types of projects getting bought?

Let’s talk in the comments.