Diversity in last year’s streaming films followed the same downward trend as theatrical releases, a new study found, with the percentage of people of color directing, writing and leading films diminishing.
In past years, streaming was considered a more accessible outlet for early-career female or BIPOC filmmakers, which was reflected in data about gender and racial representation. According to Part 2 of UCLA’s 2026 Hollywood Diversity Report, which was released Wednesday and analyzed all of the original English-language films distributed on major streaming platforms in 2025, that trend reversed across every category studied.
The share of streaming films directed by women declined to just over 23%, the lowest it’s been since 2022, when the annual study began analyzing streaming and theatrical films separately. Among those female directors, an overwhelming majority (81%) were allotted budgets below $20 million, while more than a quarter of the films directed by white men exceeded $50 million.
Only about 31% of streaming films last year had BIPOC directors, down 10% since 2024, when the proportion more closely reflected U.S. demographics.
“This is an industry in flux — and in reverse, especially when it comes to diversification,” Darnell Hunt, UCLA’s executive vice chancellor and provost and the report’s co-founder, said in a statement.
“Unfortunately, as we’ve seen with theatrical films, we’re now seeing the impact of this current political climate in very meaningful and concrete ways,” he continued. “As budgets tighten, opportunities for filmmakers of underrepresented backgrounds are always the first to be squeezed out.”
Despite losing ground behind the scenes and in front of the camera, women and people of color continued to drive streaming viewership in 2025, the report found.
The year’s biggest streaming hit, “KPop Demon Hunters,” was also the most-watched original Netflix film of all time, and according to Neilsen ratings, it was most streamed by women in Latinx households, followed by women in Asian and Black households. The report acknowledged the film as a “bright spot” in a disappointing year for diversity.
Michael Tran, a sociologist who co-authored the report, noted that the film’s impact and earnings potential could have been even greater with a theatrical release.
“It was a missed opportunity for theaters,” Tran said. “We’ve tracked how diverse films tend to succeed at the box office, here and abroad. For ‘KPop Demon Hunters,’ we could have been talking about record-breaking box office receipts in addition to topping the ratings.”
When “KPop Demon Hunters” did briefly screen in theaters — for two days last August, with over 1,750 locations domestically and more than 1,150 sold-out screenings — it was the No. 1 movie that weekend, earning about $18 million in ticket sales (though Netflix does not report exact box office figures).
Data from the report also indicated that streaming films with at least somewhat diverse casts tended to outperform in terms of audience and social media engagement.
However, overall cast diversity in streaming films declined in 2025. For the first time since 2022, films with a majority-BIPOC cast did not represent the plurality of streaming titles. Most notably, the percentage of lead actors of color dropped from a high of 51% in 2024 to 36% in 2025.
Report authors called it an “industry-wide chilling effect” reminiscent of a similar decline in diversity among theatrical films in 2024. That said, streaming films continued to star BIPOC leads more often than their theatrical counterparts, the study found.
The overall number of streaming films also declined. While the annual UCLA report typically examines the top 100 original, English-language movies across streaming platforms, this time, there were only 89 for researchers to analyze.
In addition to studying race and gender demographics in the film industry, the report also examined on-camera representations of disability. According to the study, while adults with a disability make up at least 26% of the U.S. population, actors with a known disability represented 6.5% of total streaming movie actors, which is in line with the previous year.
According to the study’s authors, streamers hoping to compete in a fast-paced, globalized market should increase their diversity efforts in light of these results.
“Kids under 18 are already majority BIPOC. There’s no going back if a studio wants to be profitable and relevant to Gen Z and Gen Alpha,” said report co-founder and co-author Ana-Christina Ramón. “Severing all brand loyalty now will only make it more difficult to regain long-term subscribers in the future.”
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