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LGBT group demands even more onscreen ‘representation’


(LifeSiteNews) — On May 6, 2012, Vice President Joe Biden declared his support for same-sex “marriage” on NBC’s Meet the Press. The culture, Biden said, had shifted, and it was time for politicians to follow. “I think Will & Grace did more to educate the American public than almost anything anybody has done so far,” he told David Gregory. “People fear that which is different. Now they’re beginning to understand.”

The mainstreaming of LGBT ideology on the big and small screen was not accidental. In the 2020 five-episode documentary series Visible: Out on Television, a parade of actors, producers, directors, and TV hosts detailed exactly how the movement pushed, in public and in private, to shape the stories that shaped America (and beyond).

As one of the main actors on Queer as Folk, a show that featured explicit depictions of homosexuality, put it, “Television has the power to normalize something that people don’t understand.” Peter Paige of Queer as Folk concurred, explaining, “I firmly believe that television is a weapon to be wielded very thoughtfully.” And so it was. The LGBT movement has owned the entertainment industry for decades, and they are secure enough in their ownership to make documentaries explaining how they pulled it off.

In the past few years, however, they have faced some stiff cultural pushback. In October, Netflix hemorrhaged over $15 billion in a boycott led by Elon Musk over the streaming giant’s relentless pushing of transgender ideology. Disney, America’s most beloved storyteller, has also faced nonstop criticism for pushing LGBT ideology in a wide range of children’s content over the past several years; their growing reputation for “wokeness” has caused several high-profile box office flops and cost the company millions of dollars.

Perhaps the growing cultural battles over LGBT content in entertainment is a factor in a recent report by GLAAD, one of America’s top LGBT groups.

“As GLAAD releases the 20th anniversary edition of its ‘Where We Are on TV’ report, LGBTQ representation appears to be at a pace of two steps forward, three steps back,” Deadline reported. “Despite the 2025 report showing a slight uptick from last year’s 468 to 489 LGBTQ characters across all platforms, that number takes a major blow as more than 200 (41%) of those characters will not return, due to series cancellations, endings or limited series format.”

Their conclusion is surely not meant to be as funny as it sounds: “With 96 (20%) LGBTQ characters on shows that have not yet been renewed, their onscreen fates hang in the balance.” Any moment now, we are going to be told that the axing of online characters will surely lead to real axing if we don’t all do something about it, immediately.

“Television is a powerful medium, because these characters grow and evolve over the years, alongside the audience,” GLAAD stated. “When so many series are only being greenlit for short runs and the seasons themselves are getting shorter, the potential larger impact of these characters disappears. Less than half of the LGBTQ characters counted appear on renewed series, and with their loss comes a loss of possibility for impact that continues for years with an audience, creating social change.”

It is interesting that LGBT groups are now willing to be so admirably open about their aims. Why do they want LGBT characters — and in particular, “trans” characters — on screen? Because this has the potential to create “social change” and have a “larger impact” on the culture. The report cited a particular disappointment that a “large and concerning number” of series’ featuring “trans” characters have been cancelled, including Kaos, 9-1-1: Lone Star, and Clean Slate, among others.

It cannot be emphasized often enough: If you have major streaming platforms like Disney Plus or Netflix, you are granting LGBT activists the ability to broadcast their stories, their ideology, and ultimately their agenda into your home. They are open about this fact. They are hoping that their content will create “social change” within your family. Every Christian should frequently call to mind a joke once made by TV presenter David Frost: “The television is an invention that permits you to be entertained in your living room by people you wouldn’t have in your home.”


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Jonathon’s writings have been translated into more than six languages and in addition to LifeSiteNews, has been published in the National Post, National Review, First Things, The Federalist, The American Conservative, The Stream, the Jewish Independent, the Hamilton Spectator, Reformed Perspective Magazine, and LifeNews, among others. He is a contributing editor to The European Conservative.

His insights have been featured on CTV, Global News, and the CBC, as well as over twenty radio stations. He regularly speaks on a variety of social issues at universities, high schools, churches, and other functions in Canada, the United States, and Europe.

He is the author of The Culture War, Seeing is Believing: Why Our Culture Must Face the Victims of Abortion, Patriots: The Untold Story of Ireland’s Pro-Life Movement, Prairie Lion: The Life and Times of Ted Byfield, and co-author of A Guide to Discussing Assisted Suicide with Blaise Alleyne.

Jonathon serves as the communications director for the Canadian Centre for Bio-Ethical Reform.


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