Diversity Media Report 2025. Gender, ethnicity, physical appearance: Italian media still struggle to address diversity.

News , linked to serious news events and wars , is the tool chosen by Italians, compared to films, TV series, radio, and podcasts, to develop awareness of issues such as diversity and inclusion . But at the same time, despite having seen changes in the analysis over the past 10 years, communication through news programs and information programs is still too often tied to stereotypes , which can even annoy listeners.

The vulnerable groups are those she discusses with a prevalence of stereotypes and narratives of crisis: the non-Italian is a migrant, a poor person, rarely portrayed in their everyday context. The same goes for disability , ranging from triumphalistic tones, for example when Paralympic athletes are involved, to pitying ones, relating to "human cases." Physical appearance is no better: Italian society struggles to accept fat or non-conforming bodies. Everything concerning women, then, has to do with femicide or stereotypical narratives.

In short, explains the Diversity Foundation , which analyzes narrative phenomena and promotes media awards on these topics, whether it's the moral shock provoked by gruesome news stories or the more placid narrative transport typical of TV series, which create empathy with characters, encouraging them to accept their diversity, the narrative of contemporary Italian society needs greater authenticity to break free from the white-centric, male-patriarchal, and ableist gaze.

The interesting analysis carried out through the Diversity Media Report – Impact also highlights which news stories, films and TV series, according to Italians, have raised awareness on issues such as domestic violence , the role of women, LGBTQ people and also authentic stories of families and young people. If femicides of Giulia Tramontano and Giulia Cecchettin have raised awareness of the problem of male violence against women, which is part of the social construct and not a private matter. At the same time, films like Cortellesi's "C'è ancora domani" (There's Still Tomorrow), series like Modern Family or Mare fuori (The Sea Outside), are raising collective awareness of other issues, such as LGBTQ+ families and young people who end up in prison while still minors. We haven't returned to the neorealism of post-war cinema, but we are returning to reality.

Over the past ten years, 58% of the public has reported increased awareness of diversity and inclusion issues.

Over the last ten years, the Italian public conversation on the issues of Diversity & Inclusion has become more intense (62% of the population thinks it is being talked about more), with a significant impact on the evolution of the collective imagination: 58% of Italians say they are more aware of social and inclusive issues than ten years ago, with greater awareness among young people (66%), among women (63%), and among those who have been more exposed to informational content (67%) and films and TV series (73%). Among women (63%), a significant correlation is indicated between greater media consumption and a growing awareness of the issues of Gender and Gender Identity, Ethnicity , Disability , LGBTQ +, Age and Generations, and Physical Appearance .

Research shows that exposure to multimedia content, series, news or TV programs translates into greater openness towards inclusive social issues

The decisive drivers of reflection are first and foremost major news stories (56%) and political-cultural debate (47%) conveyed by the news , confirming the power of the media agenda in placing sensitive issues at the centre of the public stage . Cinema (31%), series (27%) and TV programmes (29%) also play a full part in this process – especially among young people aged 18-34 – and do so more than, for example, personal relationships (24%), books (13%) and songs (8%), demonstrating the power and responsibility of mainstream media in building a culture of shared inclusion.

These are some of the findings from the “ Diversity Media Research Report 2025 ” by the Diversity Foundation, carried out with the support of H&M and presented at the Foreign Press Association in Italy in Rome, on the occasion of the 10th anniversary of the Diversity Media Awards , the event that for 10 years has rewarded media content and personalities that have stood out for their accurate and valorizing representation of people and the issues of diversity, equity and inclusion.

This year's research, conducted for the first time through the "Diversity Media Report – Impact" analysis, conducted in collaboration with 2B Research and conducted on a representative sample of the population, explored the transformative power of Italian media over the past 10 years in fostering awareness, reflection, and openness regarding social and inclusive issues, as well as people's opinions on the quality of treatment of underrepresented issues and people in various media formats.

From the analysis of the four most widespread media areas – Information , Cinema , Series and TV Programmes – a strong primacy emerges for Information, especially on major news events, in generating reflection (72%), followed by films (60%), TV series (56%) and TV programmes (50%).

The femicides of Giulia Cecchettin and Giulia Tramontano are the news events of the last 10 years that have led to the greatest increase in people's awareness (cited by 38% of those interviewed), followed by the war in Ukraine (35%), the war in Gaza (28%) and the migrant emergency in Lampedusa (16%).

Young people aged 18-34 are more impacted by major global battles (such as Black Lives Matter ) and debates on civil rights (DDL Zan) than older generations, while women pay more attention than men to women's issues (#Mee Too, Not One Less).

In Italy, people believe that information has the ability to generate reflection, but only 40% believe that issues of diversity are treated correctly.

The primacy of information in generating reflection – due to the " moral shock " that major news stories trigger, especially in older generations – is not, however, matched by an equally positive assessment of the quality of its treatment of these issues: 40% of people believe that Italian news does not address diversity and inclusion issues respectfully and fairly, and this percentage rises to 50% among those who follow the news daily, a sign of a critical sensitivity that grows with exposure.

These data are also confirmed by the " Diversity Media Report – Information," the analysis conducted annually by the Diversity Foundation and the Pavia Observatory on the representation of diversity in Italian news programs. Looking at trends over the last five years (2018-2023), the need for news programs to seek a more complex and nuanced narrative of society emerges, one that is more representative of its stories and people.

How and to what extent are LGBTQ+, foreign, and disabled populations represented? Diversity Media Report's response

Indeed , in an Italian context where – just to cite a few examples – 10% of the population declares itself to belong to the LGBT+ community, over 20 % of people have some form of disability (cognitive, motor, sensory, intellectual) and 9 % of people are foreign residents (not counting Italians of non-Caucasian ethnicity), the treatment of diversity in the news appears inadequate and misleading.

Disability is covered in only 1.1% of all news stories, and is dominated by heroic narratives (Paralympics), inspirational narratives (stories of serious accidents, such as Alex Zanardi and Manuel Bortuzzo), and pious narratives (fragility, illness, medical issues). When ethnicity is mentioned, it is only in reference to wars (18.5%), migration and racial issues (22%), and violent crimes (11.6%). Gender is covered in only 8.2% of all news stories, and of these, over 40% are stories about violent crimes ( femicides ). LGBT+ issues and people are virtually absent from the Italian media agenda, accounting for 0.4% of all news.

Returning to the DMR - IMPACT research, films and TV series are perceived by the population as the media that deal with social and inclusive issues in the most respectful and correct way (by 84 and 82% of the sample respectively), followed by TV programmes (73%) and this perception increases with increasing exposure.

Their power to generate reflection rests not so much on the "moral shock" typical of news stories, but on the mechanism of " narrative transport ": emotional immersion reduces defensive barriers and makes attitudes and beliefs more permeable, especially among young people. At the same time, serialized representation , extended over multiple seasons, fosters the construction of parasocial relationships with the characters (or with the hosts , in the case of TV programs) and can amplify dynamics of identification and belonging, thanks also to the indirect contact the audience gains with different groups and people, sometimes far from their daily lives, with a self-perpetuating effect on prejudices.

"There's Still Tomorrow" is the film that, for Italian audiences, has been able to generate the most reflections (19%) over the last 10 years by addressing patriarchy and women's rights, followed by " Bohemian Rhapsody " for its representation of LGBTQ+ identity (15%) and "Perfect Strangers" for its questioning of relationships and prejudices (13%). While titles with a realistic connotation prevail among older people (55+) (“ I Captain ”, in addition to the aforementioned “There's Still Tomorrow”), younger people are more struck by the fantastical and expressive register of titles like “ Barbie ”, while among women, there is a growing attention for titles on feminine and inclusive themes (“ Hidden Figures” , “My Brother Chases Dinosaurs”).

"Doc – nelle tue mani" (12%), "My Brilliant Friend" (11%), and "Mare Fuori" (10%) are the TV series most cited by viewers as reflecting on transversal and intersectional issues. Among young people, the transformative impact of series with a strong ironic tone such as "Sex Education" (16%) and " Modern Family" (9%) is growing, while "Gomorrah" particularly resonates with men (14%) and older people (12%).

Among TV programmes, two historic talk shows, “Che tempo che fa” (16%) and “ Propaganda Live” (13%), stand out at the top of the list in terms of their ability to generate reflection, followed by the Paralympics (11%) and an entertainment programme, “Pechino Express” (10%), with talent shows such as “ Italia's Got Talent” and “X Factor Italia” having a significant impact on the 18-34 age target (where they reach 12% of mentions thanks to the emotional strength of the narratives).

This perception of higher quality storytelling is partially confirmed by the "Diversity Media Report – Entertainment" research— conducted annually by the Diversity Foundation in collaboration with the Scientific Committee and a Security Check composed of people from underrepresented categories—which analyzes hundreds of media products across 10 categories (including films, Italian and foreign TV series, TV programs, but also radio, podcasts, kids' series, and digital products), leading to the nominations for the Diversity Media Awards.

This year, the research analyzed not only media products for 2024, but also the evolution of the last 10 years. Indeed, positive developments emerged in Entertainment products, particularly in the treatment of two areas of diversity—LGBT+ and gender —which have achieved more effective, realistic, and less stereotypical storytelling across all formats, especially in TV series and digital content. Foreign TV series, along with digital, remain the most advanced media categories, distinguishing themselves for the variety of themes they address, their narrative depth, and their highly intersectional approach, capable of portraying a complex and multifaceted humanity.

In the Italian panorama, ethnicity, disability and physical appearance are behind in terms of representation

But if we look at the Italian landscape, and especially at mainstream products like TV series and programs, some areas of diversity remain far behind in terms of representation. The treatment of ethnicity has been uncertain and fluctuating over the years, with a prevalence of stereotypes and emergency narratives.

Disability is still treated with pitying and welfare-based approaches , incapable of portraying the normality of life experiences, while physical appearance is the least—and worst—represented area in Italian entertainment, with stigmatizing narratives about fat or non-conforming bodies (whenever they are present). The need for de-stereotyping and genuine engagement with the communities represented, both on- and off-screen, is emerging to finally restore authenticity to the narrative of contemporary Italian society and break free from the white-centric and ableist gaze.

Does the media help change minds in a positive way? Over the past 10 years, people have reported gaining greater awareness thanks to news events, films, TV series, and programs.

It's no coincidence that digital content is one of the categories with the best performance in addressing diversity: these spaces are more inclusive because they are inhabited and constructed by individuals who claim agency, plurality, and self-representation. "The issue to be addressed concerns not only content, but also production chains, decision-making practices, and the logic of access to creative and institutional roles. True transformation requires opening up spaces and roles to those who have been systematically excluded from the opportunity to narrate, choose, direct, and produce," says Francesca Vecchioni, President of the Diversity Foundation.

Interestingly, it's the public itself that demands and seeks out active content capable of shaping a more open horizon of values , both in information and entertainment. According to DMR IMPACT, a full 46% of under-35s consciously select content that speaks to inclusion— while only 9% of the population declares itself "annoyed." These are decidedly positive figures, further reinforced by a clear demand for increasingly higher narrative standards: the audience most exposed to this type of content is capable of recognizing inappropriate treatment and language and penalizes formats perceived as rushed or sensationalistic, demonstrating once again that the quantity of coverage and the quality of the story are by no means synonymous for the public.

The Diversity Media Research Report 2025 is produced by the Diversity ETS Foundation in collaboration with the Pavia Observatory, 2BReasearch, the Diversity Foundation Security Check Committee, composed of Leila Belhadj Mohamed, Paolo Di Lorenzo, Gabe Nero, Susanna Owusu Twumwah, Marina Pierri, and the Foundation's Scientific Committee, composed of: Prof. Roberto Baiocco (La Sapienza University of Rome), Prof. Gloria Dagnino (University of Udine), Prof. Fiorenza Deriu (La Sapienza University of Rome), Prof. Giovanna Vingelli (University of Reggio Calabria).

Francesca Vecchioni with researchers Maria Luisa Bionda, Monia Azzalini, and Marina Cuollo

In 2025, the Diversity Media Awards celebrate their tenth anniversary. Ten years in which they have recognized over 100 film, television, radio, and digital productions, awarded over 30 press prizes , and elected the Personalities and Creators of the Year in each edition . The awards recognize and celebrate the finest Italian cultural production , those capable of accurately and inclusively representing diversity, offering a more authentic account of society.

Born as a physical event in Milan , also broadcast several times on TV, first on Real Time and later on Rai1, on the occasion of its tenth anniversary the Diversity Media Awards are changing form and inaugurating a new format, hosted by Aurora Ramazzotti, Guglielmo Scilla and Pierluca Mariti.

Francesca Vecchioni with Aurora Ramazzotti

A digital event, a journey into the richness of diversity, told on social media through 10 episodes of an innovative social series - to be released simultaneously on November 28, 2025 - in which Aurora, Guglielmo and Pierluca will celebrate all the nominees of the various categories and announce the winners of the Diversity Media Awards 2025.

As always, the public will decide the winner. Starting October 1st, they will be able to vote online to choose their favorite products and characters at the following link: diversamediaawards.it

Best Italian Film

The Boy in Pink Pants, Eagle Pictures, Weekend Films

Flaminia, Eagle Original Content, Pepito Produzioni, Vision Distribution, Prime Video

The Children's Train, Palomar / Netflix

Don't Tell Me You're Scared, Indyca with Rai Cinema, Neue Bioskop, Tarantula, Bim Produzione

Gloria! Tempesta, tellfilm, Rai Cinema, Rai

Familia, Tramp Limited / Medusa Film

Best Foreign TV Series

Agatha All Along, Disney+

The Second Best Hospital in the Galaxy, Prime Video

The Acolyte, Disney+

Hazbin Hotel, Prime Video

Cheats, Netflix

Madness, Netflix

Best Italian TV Series

Prisma 2, Cross Productions / Prime Video

The Life You Wanted, Banijay Studios Italia / Netflix

Nudes 2, BIM Production – Rai Fiction / RaiPlay

Lidia Poeta's Law 2, Greenland / Netflix

Skam 6, Cross Productions / Netflix

The Art of Joy, Sky Studios, HT Film/Sky

Best Young TV Series

Heartstopper 3, Netflix

Iwájú, Disney+

Ariel Disney Junior, Disney+

The World According to Jessica, Cartoon Network Studios / Warner Bros. Discovery

Leo's World, Brand-Cross – Rai Kids

Lego Friends - New Chapter, The Lego Group

Best TV Program

Splendid Setting, Rai Cultura - ITV Movie / Rai3

Perfection Doesn't Exist, Zoom Production / Prime Video

Fashion - An Italian Revolution, Sky, PanamaFilm, Cinecittà / Sky Documentaries

Comedy Central presents, Paramount+

Families of Italy, Fremantle Italia / La7

PresaDiretta, Rai3

Best Radio Program

5 in conduct, Rai Radio 2

Pinocchio, Radio Deejay

Fatty Furba, Radio Popolare

off topic, Radio 24

Melog, Radio 24

Did you say Waaad?, Radio Deejay

Best Podcast

Every 72 hours, Sky

Milan is the devil, Self-produced

All Men, Self-produced

Sigmund, The Post

Borders, Feltrinelli, and the Giangiacomo Feltrinelli Foundation

I am me, Rai Play Sound

Best Digital Product

Francesca Siano, @Francamente, The Music Industry and the Gender Gap

The Shape of Autism, @theshapeofautism, Disability and the Fight Against Ableism

TÄRA, @tarawave, Palestinian Pill (all episodes)

Lara Lago, @lara_lake, Social Experiment

The Jackal and Aurora Leone, @_the_jackal and @auroraleone, Grandparents' Day

Karma B, @officialkarmab, Were things better once upon a time?

Creator of the Year

Aisha Sarah (@aisha.lyb)

Sofia Fabiani (cucinare_stanca)

Federica Fabrizio (@federippi)

Henry Scorner (@henryscorner)

Djarah Kan (@djarahkan)

Sandro Marenco (sandrino.marenco)

Character of the Year

Francesca Albanese

Gino and Elena Cecchettin

Geppi Cucciari

Rula Jebreal

Marcasciano Purple

Jasmine Paolini