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Social Engineers Push LGBTQ, Race Representation to Record Fictitious Levels on TV Shows

PHOTO: The Wrap

The number of gay and bisexual characters featured in American television programs will reach peak levels during 2021-2022, according to research by the Gay & Lesbian Alliance Against Defamation (GLAAD), a media-monitoring NGO funded by private and corporate grants and donations.

Here are a few key highlights from the report. Keep in mind, however, that these representation statistics don’t take into account those random, one-time, oddly placed homosexual scenes that are becoming so commonplace in prime time broadcasting:

    • Of the 775 series regular characters scheduled to appear on scripted broadcast primetime programming for the 2021-2022 season, 92 characters (11.9 percent) are LGBTQ. There are an additional 49 LGBTQ recurring characters on the platform for a total of 141 LGBTQ characters on broadcast. That’s 18.2% in total.
    • Bisexual+ characters make up 29 percent of all the LGBTQ characters on broadcast, cable and streaming. This is an increase of one percent from last year’s study. This number still heavily favors women, with 124 bi+ women, 50 bi+ men, and nine bi+ non-binary characters.
    • Of all primetime series regulars on broadcast, 50 percent (390 of 775) are characters of color, a four-percentage point increase from the previous year and a new record high for POC [people of color] representation on broadcast.

These are the networks where you will be subjected to this social engineering.

Gallup reported a jump from 4.5% to 5.6% of Americans who identify as lesbian, gay, bisexual, transgender or queer since its last poll in 2017. Gallup’s report reveals that the majority of LGBTQ-identifying Americans — 54.6% — say they are bisexual. Following the majority which identify as bisexual, the poll shows that nearly a quarter of LGBTQ adults — 24.5% — identify as gay, followed by 11.7% as lesbian and 11.3% as transgender.

In cumulative, general social surveys on sexual identity indicate that approximately 2.4% of the U.S. population identifies as homosexual and 3% identify as bisexual. That means the 11.9% representation (only includes regular characters) of LGBTQ characters in American media is 220% greater than among the public.

Read “Gay pressure group demands 1 of 5 prime-time TV characters be LGBT by 2025”

Dorothy encounters ‘accelerating acceptance’

In a pluralistic society, one would expect proportional representation of various groups. Clearly, homosexuals are over-represented and bisexuals are grossly over-represented by broadcast entertainment media. Therefore, one may conclude that there’s an alternative agenda.

In this case, it appears that the agenda is to not only normalize homosexual lifestyles but also to encourage the straight population to engage in bisexual experimentation — in particular, young and impressionable types.

Incredibly, GLAAD and Harris Poll’s “Accelerating Acceptance” study showed that 20% of Americans 18 to 34 – a key demographic for networks and advertisers to court, as well as the age range of many characters – identify as LGBTQ (aka confusexuals). Nearly on in six people (15.9%) among Gen Zs (born 1997-2002) identify as LGBTQ.

In the U.S. National Library of Medicine National Institutes of Health, a 2007 peer-reviewed article in the Journal on Homosexuality called “Gay, Lesbian, and Bisexual Content on Television” made the following critical observation:

According to social cognitive theory (Bandura, 2001), one important way in which television influences viewers is by providing vicarious experiences on which to model beliefs, attitudes, and behavior when real-life experiences are more limited.

A closely related idea is that the media — by depicting sexual scenarios that people might not be able to see anywhere else — provide scripts for enacting various sexual behaviors (Gagnon & Simon, 1973) such as people having sex with a new partner.

Reliance on television shows for sexual scripts and television characters as models for behavior may be particularly strong among youth, who may not have much first-hand experience with sexuality, yet are starting to solidify their sexual identities and become interested in sexual relationships (Chapin, 2000).

In fact, as many as one in five teens reports that “entertainment” is their most important source of sexual information (Gibbs, 1993 as cited in Brown & Steele, 1995).

LBGTQ overrepresentation is even greater in films. A Glaad report showed that 18 percent of studio films in 2018 included an LGBT character, up from 13 percent the previous year. The New York Slimes in 2019 reported that three of the four acting awards for that year’s Oscars were for gay or lesbian roles and noted that the Elton John bio-musical, “Rocketman,” became the first major studio movie to depict gay sex.

The over-representation of people of color (at 50%) in media has reached comical proportions. Blacks make up about 13% of the U.S. population. Eyeball the data on the Super Bowl commercials in the chart below. Blacks garnered 40% representation of the total. Oddly, Hispanics, who make up at least 18% of the U.S. population, barely registered at 2%.

Read “Coronavirus Be Damned! GLAAD-handed Identitarians Are Poised to Crash Super Bowl Parties Nationwide”

3 Comments on Social Engineers Push LGBTQ, Race Representation to Record Fictitious Levels on TV Shows

  1. Remember when people used to say “I don’t care what people do, as long as they do it in their own homes”? Well, now they are “doing it” in your home! See how moral relativism works? As far as re-writing history to promote blacks in historical parts, when you have no history of your own what else can you do but appropriate the history of the evil White people? Turn it all off. Don’t spend time or money on it. Just avoid it like the plague.

  2. Love your posts, Torchy! And you are correct as usual. As for percentages of LGBTQs or PoCs on TV shows/movies/videos and likely even books, now that so many are e-books, being waaayyy out of proportion to actual population percentage data, my own trilogy about a rock band underplays this percentage thing: only one of my six band characters is bisexual (that is, about 17 percent), when the truth is that bisexuality within the world of rock stardom is welll over 50 percent! If it wasn’t for this truth (as true in the 60s-90s as it is today), none of them would have been bisexual!

  3. According to Michael Hoffman’s book, ‘Twilight Language’, we citizens reside in a hypnotic/somnambulant state after 77 years of ‘society as spectacle’ beginning with the 1945 first atomic bomb explosion through the 2020-21 ‘pandemic’ & all ceremonial killings in between. The ‘shock & awe’ spectacle gives way to phony investigations where no justice is served. Time passes, the revelation of the method is exposed & nothing can be done. We carry on knowing that thieves, perverts, killers & tyrants rule the continents. Satan struts his filth in front of the scenes now & we are too dulled by vicarious trauma to counter this ‘intangible enemy’.

    But when there is a Will, there is a Way.

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