How We Grade

The Mediaversity grade does NOT just reflect the technical aspects of a show or film. Cinematography, writing, soundtrack, editing? That’s what every other review site is for. Instead, Mediaversity examines the social context surrounding a program and grades how inclusive it is. In fact, something can be a critically acclaimed but if it isn’t inclusive, it will score low at Mediaversity. And if that bothers you, you’re probably in the wrong place.

Our scoring system prioritizes intersectionality. While deep social impact for specific groups is crucial in the ongoing fight for onscreen (and behind-the-lens) representation, culture magazines are already fantastic sources for those types of discussions. Instead, Mediaversity takes the macro view and measures how well a TV show or film presents different and overlapping identities.

The Context

To give context, we list the gender, ethnicity, nationality, LGBTQ, and disability status of show/film creators and reviewers alike. Understanding that emojis leave very (very) little room for nuance, we still see net value in giving an offscreen snapshot as a way to set the stage for a conversation about representation.

👩 = Female

🧑 = Nonbinary, Agender, Two-Spirit, Genderfluid, Genderqueer

👨 = Male

👩🏾👨🏾🧑🏾 = Black, Afro-Latino, or Multiracial

👩🏽👨🏽🧑🏽 = Latino, South Asian, Southeast Asian, MENA, Native, or Multiracial

👩🏻👨🏻🧑🏻 = East Asian, Southeast Asian, or Multiracial

👩🏼👨🏼🧑🏼 = White, Latino, or Multiracial

🌈 = LGBTQ (publicly)

♿ = Disabled (publicly, including both visible and invisible disabilities)

The Grade

To assign a grade, we add up the category scores, add or deduct bonus points if applicable, then divide by the number of categories—4 for TV shows, 3 for films. No grade inflation here; a C is average, a B is good, and As are only for the outstanding.

A+  (5.0+) — Breaking ground in media representation and generally just kicking ass.

A  (4.70 - 4.99) — Inclusive AF and damned well-made.

A-  (4.40 - 4.69) — Inclusive AF.

B+  (4.10 - 4.39) — Nailed it, just maybe not in all categories.

B  (3.80 - 4.09) — Great job, just maybe not in all categories.

B-  (3.50 - 3.79) — All we ask is that you try, and try you did.

C+  (3.20 - 3.49) — Chilling in that inoffensive groove.

C  (2.90 - 3.19) — Diversity was not a priority.

C-  (2.60 - 2.89) — I spy missteps.

D  (2.00 - 2.59) — These creators don't see race.

F  (1.00 - 1.99) — How was this greenlit?

 

Read on to see how we score each category.

Technical

We include technical merit into the Mediaversity score because attributes like complex characters or fresh storytelling give deeper representation. You can't be truly inclusive if all your characters are flat, for example.

  • 5/5 - Amazing work that’s perfectly paced, with compelling characters, great dialogue, etc.

  • 4/5 - Good work that’s well-paced with decent characters, cinematography, etc.

  • 3/5 - Enjoyable work but largely forgettable

  • 2/5 - Not a great work, clunky pacing or clichéd dialogue

  • 1/5 - Awful work that feels like it was made by an amateur

Gender

We consider the numbers, depth, and positivity of female characters. Nonbinary, genderfluid, Two-Spirit characters are discussed in this section or in LGBTQ, or both—wherever it makes the most sense for that title. Behind-the-lens representation is considered as well. Specifically:

  • 5/5 - This work is centered from a woman’s perspective. Women are the lead protagonists, their characters are complex, and they do not fall into stereotypes

  • 4/5 - Probably passes the Bechdel Test and women get important roles, backstories, and generally do not fall into stereotypes

  • 3/5 - May or may not pass the Bechdel Test and women are only in supporting roles, they have thin backstories, and they may slip into stereotypes

  • 2/5 - Probably fails the Bechdel Test and women are flat characters in minor, stereotypical roles

  • 1/5 - This work is a sausage-fest and when women do exist, they’re offensive stereotypes

Race

We consider the numbers, depth, and positivity of characters of color. Behind-the-lens representation is considered as well. Specifically:

  • 5/5 - This work is centered from a non-white perspective. People of color (POC) are the lead protagonists, their characters are complex, and they do not fall into stereotypes

  • 4/5 - POC get important roles, backstories, and generally do not fall into stereotypes

  • 3/5 - POC are only in supporting roles, they have thin backstories, and they may slip into stereotypes

  • 2/5 - POC are flat characters in minor, stereotypical roles

  • 1/5 - This work is white AF and if any POC do exist, they’re offensive stereotypes

LGBTQ

This category is scored for TV shows only. Writers choose either this or Disability representation to discuss as a core category, whichever scores higher. For films, or TV shows that do better on portrayals of disability, LGBTQ is factored in through bonus or deduction points.

We consider the numbers, depth, and positivity of LGBTQ characters. Behind-the-lens representation is considered as well. Specifically:

  • 5/5 - LGBTQ characters and their relationships are at the center of this show. Their characters are complex and they do not fall into stereotypes

  • 4/5 - LGBTQ characters get important or supporting roles, backstories, and generally do not fall into stereotypes

  • 3/5 - LGBTQ characters are only in minor roles, they have thin backstories, and they may slip into stereotypes

  • 2/5 - LGBTQ characters are non-existent or flat characters in minor, stereotypical roles

  • 1/5 - This show is cishet AF and if any LGBTQ characters do exist, they’re offensive stereotypes

Disability

This category is scored for TV shows only. Writers choose either this or LGBTQ representation to discuss as a core category, whichever scores higher. For films, or TV shows that do better on portrayals of LGBTQ, disability is factored in through bonus or deduction points.

We consider the numbers, depth, and positivity of disabled characters. Behind-the-lens representation is considered as well. Specifically:

  • 5/5 - Disabled characters and their relationships are at the center of this show. Their characters are complex and they do not fall into stereotypes

  • 4/5 - Disabled characters get important or supporting roles, backstories, and generally do not fall into stereotypes

  • 3/5 - Disabled characters are only in minor roles, they have thin backstories, and they may slip into stereotypes

  • 2/5 - Disabled characters are non-existent or flat characters in minor, stereotypical roles

  • 1/5 - This show is ableist AF and if any disabled characters do exist, they’re offensive stereotypes

Bonus Points/Deductions

Any media that sheds light on an underrepresented group will score points at Mediaversity. Meanwhile, stereotypes will get deductions.

Themes that may score bonus points or deductions include representation of LGBTQ, disability, adults over 50 years old, minority religions, and/or body diversity.

For more details on how we tally these points, see our writers’ handbooks for TV or film reviews.

About Mediaversity

Our mission is to diversify popular media, both onscreen and offscreen. While no story will ever be an exact microcosm of the United States—nor should it be—our reviews strive to be a resource for people who want to think proactively about the media they're watching instead of passively consuming it.

So when we say “diversify”, what does that mean? Let’s look to the real world for pointers:

  • 51% of U.S. residents are women

  • 41% of U.S. residents are people of color

  • 27% of U.S. adults (18+) live with a visible or invisible disability

  • 20% of Gen Z U.S. adults (born between 1997-2004) identify as LGBTQ

  • 7% of U.S. adults (18+) identify as LGBTQ

Until the TV and film industries reflect the true face of our country, Mediaversity will be here calling them out and applauding good work.

Li Lai, founder of Mediaversity Reviews

Li Lai, founder of Mediaversity Reviews

Mediaversity is the passion project of Li Lai, the Sr. Director of Content at Common Sense Media (all views are her own) where she helped create a new "Diverse Representations" rubric and applies it across a back catalog of over 45,000 media reviews. Based in Seattle, she is also a Rotten Tomatoes critic and has been featured in Variety, The Verge, CBC Radio, Chicago Tribune, and other outlets. 

Li is on the advisory board of The Offing magazine and has spoken at venues such as Adweek Europe and with internal teams at Lionsgate, Think with Google, and the Producers Guild of America. Passionate about making entertainment media more inclusive across all channels, her work has won industry recognition by Makers & Shakers Awards, Fast Company's Innovation by Design Awards, WebAwards, London's Design Museum, and more. 

Current Contributors

👨🏽🇺🇸🇨🇷🌈♿ John Manuel Arias is a Costa Rican American poet and fiction writer living in Brooklyn. His debut novel Where There Was Fire is forthcoming from Flatiron Books.

👩🏻🇺🇸 Symphony Barnes is an entertainment, culture, and lifestyle writer, journalist, and critic based in Southern California. Her writing portfolio can be found here.

👩🏻🇺🇸 Elaine Cho is a musician and former bookseller. She's worked for various arts non-profits and loves to travel and shoot film. Her debut adult sci-fi novel Ocean's Godori will be published with Hillman Grad, an imprint of Zando Books.

👨🏾🇺🇸 Robert Daniels is a film critic and founder of 812filmreviews. His writing has been featured in The New York Times, RogerEbert.com, and Polygon, and he is especially drawn to divisive movies (because he craves conflict).

👨🏽🇸🇩🇺🇸🌈 Murtada Elfadl is a culture writer, critic, and podcaster. Originally from Khartoum, Sudan he decided to move to New York City when he got a New Yorker subscription at the age of 15. Many years later, the city remains his favorite place; he just wishes more movies in Arabic played here. He has served on the Narrative Film Jury at NewFest, New York’s LGBTQ Film Festival.

👩🏼🇺🇸🌈 Anni Glissman is an American essayist and freelance writer. She's been published in The Cut, Atlas Obscura, and Take Action and is currently the author of a monthly newsletter on Substack.

👨🏽🇺🇸 Joseph Hillyard is an aspiring writer and amateur film reviewer based out of New York City. He loves period pieces, thrillers, antihero stories and hopes for more films that explore multiracial identity. 

👩🏾🇧🇧🇨🇦♿️ Carolyn Hinds is Barbadian and Canadian Tomatometer-approved film critic, podcaster, and YouTuber. Her work has been published in places like Observer, Shondaland, and Salon, and her podcasts So Here's What Happened!, Carolyn Talks..., and Beyond The Romance can be found on ButWhyThoPodcast.com and other streaming platforms. 

👩🏼🇺🇸 Alicja Johnson is a communications professional and film writer with a penchant for bad jokes. She plays violin in the Washington Metropolitan Philharmonic Orchestra and enjoys getting lost in the woods with her dog. Her deepest wish is to see red-haired characters that actually have freckles on screen.

👩🏾🇺🇸 Monique Jones is an entertainment journalist, blogger, and founder of JUST ADD COLOR, a multicultural pop culture site. Her writing has been featured on Common Sense Media, Ebony.com, Comic Book Resources, Entertainment Weekly's Community Blog, The Miami New Times, and more.

👨🏽🇺🇸🌈♿ Dara Khan is a Seattle-based writer, editor, film critic, and musician. His film writing can be found on Letterboxd.

👨🏻🇺🇸🌈 Andrew Lim is a researcher and a New Yorker, born and raised. When he's not neck-deep in statistics, he enjoys tinkering around with cake recipes, long history books, and languid period pieces.

👩🏻🇨🇳🇺🇸 Weiting Liu is a film critic and film festival programmer dedicated to promoting Asian films and advocating for onscreen diversity. Her writing portfolio can be found here.

👩🏾🇺🇸 Deborah D.E.E.P. Mouton is a poet, playwright, and critic who served as the First Black Poet Laureate of Houston, Texas. This cinephile loves dissecting films that make big statements. Her memoir, Black Chameleon, is forthcoming with Henry Holt & Co.

👩🏽🇮🇳🌈♿ Ishmeet Nagpal is an editor, publishing consultant, and poet. She critiques media through a feminist lens and is passionate about old Bollywood movies. She exists on the intersection of multiple marginalized identities and advocates for an inclusive, peaceful, and kind world.

👩🏼🇺🇸♿ Dana Sloane is an activist and writer who has been fascinated by representation on television for nearly a decade and has spent almost as long telling people she’s going to write a book about it.

👩🏻🇺🇸 Mimi Wong has worked in film and television. She also writes fiction, and is especially passionate about reading and supporting diverse authors.

Want to be on this list? Anyone with at least three published reviews in the last three years gets a blurb! Start now and email your writing portfolio to Li (li@mediaversityreviews.com) to see if we are currently taking on new writers.