MxM News

Nearly a quarter of TV-Y7-rated shows crossed into what it labeled explicit territory, including direct statements about sexual orientation or gender identity and depictions of related behavior. The group argued that this goes well beyond background representation and enters the realm of ideological messaging directed at children who are still years away from adolescence.

A new year-end analysis is raising fresh questions about what major streaming platforms are serving to young audiences, and whether parents are being given an honest picture of that content. According to a report released by Concerned Women for America, more than four in ten children’s programs labeled as suitable for general audiences on Netflix now include LGBTQ-themed material, despite ratings that suggest the shows are appropriate for very young viewers. The group’s review of 2025 programming found that 41 percent of Netflix shows rated TV-G contained what it described as overt gay or transgender content. Even in the TV-Y category, which is meant for children up to age seven, 21 percent of programs included similar material. For slightly older children, the share jumped sharply, with 41 percent of TV-Y7 programs containing LGBTQ themes. Taken together, CWA concluded that roughly one-third of all Netflix programming across the three primary child-rated categories — TV-G, TV-Y, and TV-Y7 — now includes such content.

Hey @netflix, what is going on here? pic.twitter.com/8XXY0neBnE

— Concerned Women for America LAC (@CWforA) December 9, 2025

Beyond simple presence, the report also attempted to measure intensity. Programs were categorized on a scale ranging from “meta” references and implied messaging to “queer-coded” characters and fully explicit content. CWA found that nearly a quarter of TV-Y7-rated shows crossed into what it labeled explicit territory, including direct statements about sexual orientation or gender identity and depictions of related behavior. The group argued that this goes well beyond background representation and enters the realm of ideological messaging directed at children who are still years away from adolescence.

The report also points to a noticeable pattern in reboots and long-running franchises. According to CWA, revived or extended versions of familiar children’s shows often introduce LGBTQ characters or storylines that were absent from the originals. Titles cited include The Magic School Bus, Power Rangers, The Baby-Sitter’s Club, She-Ra, and The Fairly OddParents. CWA said this trend suggests a deliberate choice by creators to reshape legacy brands that parents may trust based on earlier iterations.

To place the shift in a broader cultural context, the report traces the normalization of LGBTQ representation in television back several decades. When Ellen DeGeneres’ character came out on the sitcom Ellen in 1997, it was widely viewed as a watershed moment in entertainment. What once sparked national debate, the group notes, has since become routine — driven in part by sustained pressure from advocacy organizations such as GLAAD, which has tracked and promoted increased representation through its annual “Where We Are on TV” reports. GLAAD’s most recent assessment claimed another year-over-year increase in LGBTQ characters across television.

CWA argues that the implications are different when that momentum is applied to children’s programming. In its view, the growing volume of LGBTQ content aimed at young audiences — coupled with the unapologetic defense of those choices by showrunners and studios — reflects a belief within the industry that children’s entertainment should actively shape cultural attitudes rather than simply entertain. For parents relying on ratings systems to make informed decisions, the group warns, the labels no longer tell the full story.

From the Daily Caller News Foundation

By Bill Flaig And Tom Carter

The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.

Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.

This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.

For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.

David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.

His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.

The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.

Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.

The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.

But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.

There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.

But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.

Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.

In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.

There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.

It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.

For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.

Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF

Learn more at www.InvestConservative.com