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Yes. Animals, monsters, robots and other nonhuman characters in animation are still coded male far more often than female. The imbalance is especially pronounced in screen time and major roles, even as the representation of human women and girls has moved closer to parity. Recent film and children’s-television studies show that “animation” is not one uniform category: the largest gap is among nonhuman characters.
What the latest numbers show
Two large studies, using different samples and methods, point in the same direction. A 2026 UC Berkeley analysis measured screen time in popular animated films, while a Geena Davis Institute report published in 2026 examined new children’s programming from 2025.
| Study | Sample | Finding on nonhuman characters | What it measures |
|---|---|---|---|
| UC Berkeley, 2026 | 224 films that ranked among each year’s top 50 box-office movies from 1937–2025, with detailed emphasis on 1980 onward | Female nonhuman characters received about 25% of total nonhuman screen time | Share of screen time, estimated with computational detection and manual checks |
| Geena Davis Institute, 2026 report on 2025 programming | New children’s television programming | 64.7% male and 35.3% female among animated nonhuman characters | Character counts, not screen-time share |
The percentages cannot be pooled into one estimate because the studies use different media, years, denominators and measures. Together, however, they show a persistent pattern rather than an isolated franchise effect.
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Human and nonhuman characters do not follow the same trend. In the Berkeley paper, overall female representation in animated films broadly tracks live-action representation from 1980 through 2025, but the researchers found a sharp split by character type: human women and girls are much more visible than female animals and creatures.
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The television report found a similar contrast. In its 2025 sample, animated human characters were 53.1% male and 46.9% female. Nonhuman characters were 64.7% male and 35.3% female. Nonhumans made up 51.7% of all characters in new programming, so the category is large enough to shape what children see even when a show also has a balanced human cast.
How the Berkeley film study classified characters
The Berkeley team selected 224 films that appeared among the top 50 movies at the box office in each year from 1937 through 2025. The analysis pays particular attention to films released from 1980 onward, allowing comparisons across several decades of mainstream animation.
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Estimating screen time
Computational models were trained to detect characters and estimate how long they appear on screen. Researchers manually checked the model’s work in 100 films. Screen-time analysis matters because a character can be numerous but nearly silent or barely visible, while a single lead can dominate a film.
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Animated characters do not self-report gender, so the study used voice-actor gender, pronouns, fan-community descriptions and manual review when those signals conflicted. These labels describe how characters are presented and interpreted, not an objective biological property. Characters whose gender is ambiguous or deliberately fluid make the classification less certain.
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Individual films can look very different
A population-level pattern does not predict every movie. The Berkeley report’s examples span the full range:
| Film | Female nonhuman screen time reported | How to read the example |
|---|---|---|
| Frozen | About 13% of total screen time | Female humans are central, but the nonhuman category remains male-skewed. |
| Frozen II | About 1% | A sequel can have a different balance even with the same principal human characters. |
| Moana and its sequel | No female nonhuman screen time in the report’s analysis | A film led by a girl or woman is not automatically balanced among animals and creatures. |
| Raya and the Last Dragon | Nearly 79% of nonhuman screen time | An exception in which female nonhuman characters dominate that category. |
| Inside Out 2 | Nearly 78% of nonhuman screen time | Another exception, showing that the overall trend is not a rule for every title. |
These contrasts are why comparisons should separate human from nonhuman roles and should not use one successful film as a stand-in for the entire medium.
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The longer historical record
Sara C. Hare’s 2017 study examined 150 top-grossing full-length animated films released from 1980 through 2016. Male characters held an overwhelming majority of lead or protagonist, speaking, protagonist-gang and title roles. Hare reported no significant change in the gender balance across that period. The study did find that films with more female authors and screenwriters tended to have more female characters in those roles, linking creative staffing with what appears on screen without proving a simple cause-and-effect relationship.
What “male-coded” means here
“Male” in these datasets generally means a character is presented with male pronouns, a male voice, a name or description understood as male, or another narrative cue. It does not mean that every viewer will interpret the character the same way. A character-count percentage also differs from a screen-time percentage, and neither tells you whether a character is a hero, comic relief, villain or background figure.
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- Cast share: how many characters are classified as male or female.
- Screen-time share: how much of the film’s visible time goes to each group.
- Role importance: whether characters are leads, speaking roles, title characters or auxiliary figures.
- Sample selection: box-office hits and new children’s programs represent particular parts of the market, not every animated production.
Has animation reached gender parity?
Not across all character types. Human representation has improved substantially and can approach parity in some samples, but nonhuman characters remain disproportionately male. Because animals, robots and magical creatures often carry stories, jokes and emotional lessons, their imbalance is a meaningful part of what audiences experience even when a film’s human cast looks balanced.
The evidence establishes a representation gap; it does not establish that the gap causes a specific psychological or social outcome for children. The Berkeley researchers did not test child effects, and the television report likewise describes what appears on screen rather than measuring audience behavior.
What creators can change
The Geena Davis Institute recommends that writers and character designers make gender an active decision when developing animal and creature characters, beginning with leads instead of defaulting to male. In practice, a production can audit its character list before storyboarding, then check who receives dialogue, plot agency, comic authority and sustained screen time.
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- Review human and nonhuman casts separately.
- Check both the number of characters and the time they occupy.
- Identify whether female nonhuman characters are leads or mainly helpers, love interests and background figures.
- Use a range of voices, designs and personalities rather than treating “female” as one visual type.
- Repeat the audit after editing, because a role can shrink substantially during the final cut.
How viewers should compare films
For a fair comparison, record the release period, studio or franchise, human-versus-nonhuman status, lead and speaking roles, and whether the figure is a cast count or a screen-time estimate. Note how gender was inferred, especially for creatures without explicit pronouns. This approach explains why a film such as Raya and the Last Dragon can be an exception without disproving the broader pattern documented across large samples.
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