LGBTQ representation on television has climbed again, but GLAAD’s latest Where We Are on TV study finds that progress remains fragile. The report counts 489 LGBTQ characters across scripted US broadcast, cable and streaming series, while cancellations and show endings threaten to erase many of the stories audiences have come to value.

LGBTQ characters on TV are up, but still below their peak

GLAAD counted 489 LGBTQ characters in scripted US primetime television for the latest study year, a substantial rise from the 47 recorded in its first edition. The increase follows two years of decline, but the total remains well below the record set in 2021-22. (GLAAD’s Where We Are on TV report)

That gap matters. A bigger number is welcome, but representation can still feel precarious when shows disappear before their characters have room to grow. For viewers, losing a series can mean losing a rare chance to see queer lives portrayed with warmth, complexity and staying power. (GLAAD’s executive summary)

Cancellations put dozens of stories at risk

The report says more than 200 characters counted this year, or 41 per cent, won’t return because their series have been cancelled, have ended or were limited series. GLAAD points to titles including Heartstopper, Harlem and Elite among the shows that won’t continue. (GLAAD’s president’s letter)

The concern is especially sharp for trans representation. GLAAD says the number of transgender characters rose slightly from the previous year, yet only four appear in series officially renewed for another season. The report also names 9-1-1: Lone Star, Kaos and Clean Slate among transgender-inclusive series that have ended or been cancelled. (GLAAD’s gender-representation report)

Why inclusive TV can matter beyond the screen

GLAAD argues that television stories can influence how people understand LGBTQ communities. Its letter cites research finding that nearly a third of non-LGBTQ American adults say inclusive media has changed their perceptions. That’s a reminder that representation isn’t only about who gets seen; it can also shape conversations beyond the living room. (GLAAD’s president’s letter)

There’s a business case, too. GLAAD reports that 84 million Americans, including more than half of LGBTQ adults and three in ten non-LGBTQ people, say they’re more likely to watch a show with at least one LGBTQ character. Meanwhile, Gallup found that 23 per cent of US adults in Generation Z identify as LGBTQ, a figure that underlines why entertainment companies may want to think beyond short-term audience assumptions. (GLAAD’s executive summary; Gallup)

What viewers can do to support the shows they value

If a series matters to you, watching it through official platforms and recommending it to friends are simple ways to show interest. Sharing thoughtful reviews and joining the conversation around a show can also help build the kind of visible audience buzz that helps programmes travel. These gestures can’t guarantee a renewal, of course, but they make enthusiasm easier to spot. (GLAAD’s executive summary)

For networks and streamers, GLAAD’s message is to back fair, accurate and entertaining LGBTQ stories rather than retreat in response to political pressure. Viewers, meanwhile, can look for characters who are more than a label: people with humour, flaws, relationships and plotlines that feel like part of a full life. (GLAAD’s observations report)

The next chapter depends on more than one breakout hit

GLAAD’s 20th Where We Are on TV study looks back on a long shift in television visibility, from a small count of characters in its earliest edition to hundreds today. But the latest figures show how easily that progress can be reversed when series end and few new stories take their place. (GLAAD’s executive summary)

The challenge now is consistency. One celebrated show can make a real impression, but a healthy television landscape needs a range of LGBTQ characters across genres, platforms and generations. As the industry plans its next slate, keeping those stories on screen could help audiences find the shows they’re ready to champion. (GLAAD’s observations report)

It’s not just about counting characters, but making sure their stories get the chance to continue.

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