Netflix Increases Asian Leads, Lags in Latino Roles, Report Finds

A smartphone with the Netflix logo is seen on a keyboard in front of displayed "Streaming service" words in this illustration taken March 24, 2020. REUTERS/Dado Ruvic/File Photo
A smartphone with the Netflix logo is seen on a keyboard in front of displayed "Streaming service" words in this illustration taken March 24, 2020. REUTERS/Dado Ruvic/File Photo
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Netflix Increases Asian Leads, Lags in Latino Roles, Report Finds

A smartphone with the Netflix logo is seen on a keyboard in front of displayed "Streaming service" words in this illustration taken March 24, 2020. REUTERS/Dado Ruvic/File Photo
A smartphone with the Netflix logo is seen on a keyboard in front of displayed "Streaming service" words in this illustration taken March 24, 2020. REUTERS/Dado Ruvic/File Photo

Netflix Inc has increased the number of Asian and women in lead roles, but still lags in representing Latinos, the disabled and women of color, a study by the streaming platform and the University of Southern California (USC) found.

While there have been strides for diversity in Hollywood in recent years, some communities criticize their lack of progress, both on and off screen.

To understand the lack of representation within the industry, Netflix partnered with USC and founder of the Annenberg Inclusion Initiative, Dr. Stacy L. Smith, to analyze the inclusion metrics of the streaming service from 2018 to 2021 based on gender, race/ethnicity, LGBTQ+, and disability.

The study released on Thursday showed opportunities for women in lead roles, directorial roles and key creative roles have improved.

However it also found that Netflix still lacks significant representation of characters with disabilities, gender-balanced storytelling in series, roles for girls and women of color and opportunities for women writers.

Despite 27% of the US population identifying as disabled, only 1.1% of all characters in Netflix films and series have a disability, the study released on Thursday found, according to Reuters.

The study also showed a lack of progress for Latino actors in Netflix films, who accounted for 5.8% of main casts compared to 17.1% for Blacks and 9.4% for Asians, despite Latinos making up 12% of the US population.

Only 1.9% of writers for Netflix films have been Latino, the study said.

Diversity in casting has improved markedly for Asians, with 41.5% of Netflix series having an Asian lead or co-lead in 2021, compared to only making up 4% of leads and co-leads in both films and series in 2018.

There has also been a significant increase in films and series featuring girls and women, rising from 46.4% in film and 50.6% in series in 2018 to 55% for both in 2021.



‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
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‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)

The Walt Disney Co.’s “Mufasa” claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.

The photorealistic “Lion King” prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount’s “Sonic the Hedgehog 3,” which has dominated the past two weekends, wasn’t far behind.

“Sonic 3” stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. “Mufasa’s” running total is slightly less, with $169.2 million.

In third place, Focus Features’ “Nosferatu” remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable.

“Nosferatu,” which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).

No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, “Moana 2,” claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.

The Bob Dylan biopic “A Complete Unknown,” dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in 2019.

A24’s drama “Babygirl," which added 49 locations, held steady at $4.5 million.

Another Thanksgiving leftover, “Wicked,” rounded out the top five. Universal’s movie musical was made available to purchase on VOD on Jan. 31, but still earned another $10.2 million from theaters. The movie is up for several awards at Sunday’s Golden Globes, including nominations for Cynthia Erivo, Ariana Grande, best motion picture musical or comedy and “cinematic and box office achievement,” which last year went to “Barbie.”

Also in theaters this weekend was the IMAX re-release of David Fincher’s 4K restoration of “Seven,” which earned just over $1 million from 200 locations.

The 2025 box office year is already off to a better start than 2024, up around 20% from the same weekend last year.