In a captivating preview for the upcoming season of “The Bachelorette,” we witness a young woman on a heartfelt journey to find love, tears streaming down her face. Charity Lawson, the fifth Black lead in the “Bachelor” franchise, exclaims, “I can’t wait to inspire little girls who look like me and show them that being in a position like this is possible.” Over the past two decades, the beloved reality dating show has failed to reflect the diversity of modern America. Instead, it has consistently chosen contestants who cater to its predominantly white, young, straight, Christian audience.
The 20th season of ABC’s “The Bachelorette,” which premiered in June, features Charity Lawson, a child and family therapist from Columbus, Georgia, and a runner-up on “The Bachelor” Season 27. As an alumna of Auburn University, Lawson is the fourth Black woman to take the helm on “The Bachelorette.” She follows in the footsteps of Rachel Lindsay, the franchise’s first Black lead, who appeared on the show in 2017. Other notable biracial contestants who have led the franchise include Tayshia Adams, the Season 16 Bachelorette who is Black and Latina, Matt James, the first Black Bachelor, and Michelle Young, James’ runner-up pick, who starred in “The Bachelorette” Season 18. Both James and Young have a Black father and a white mother.
For years, fans of the show, collectively known as Bachelor Nation, have been urging the franchise to diversify its leads and contestants. They have called for better representation in terms of race, body type, and religious background, among other factors. In response to these demands, the Bachelor Diversity Campaign was formed in 2020 to advocate for these changes. Sadly, the production team behind “The Bachelor” has made minimal lasting changes.
In 2021, amid the supposed “racial reckoning” that affected various industries, several issues within the “Bachelor” franchise came to light. Rachel Lindsay departed from the franchise after a heated discussion with host Chris Harrison and years of pushing for better representation. Matt James himself called out the show’s race problem, which was an unprecedented move from a lead. Following these incidents, Jodi Baskerville became the franchise’s first Black executive producer, an attempt to address the issues at hand. Longtime host Chris Harrison also stepped down that year after the backlash from James’ season. Subsequently, in March 2023, Mike Fleiss, the creator of “The Bachelor,” left after an investigation into racial discrimination.
While there may be more Black contestants on the show now compared to earlier seasons, the franchise still falls short and fails to provide adequate support for its Black leads. In addition, these leads often face online vitriol and are expected to educate others about racial issues. As a knee-jerk reaction to these shortcomings in diversity, the franchise often reverts to its default formula of having a white lead to please its core audience, as seen in the seasons featuring Clayton Echard and Zach Shallcross. This insistence on maintaining a predominantly white cast becomes disheartening for Black viewers who long for more representation. As a result, they turn to other reality dating shows that have made meaningful efforts to prioritize diversity. It begs the question: Can a successful Black dating series be created for network television without having to fight for inclusion?
For Justine Kay, the reason she began watching “The Bachelor” was Rachel Lindsay becoming the first Black lead. Natasha Scott-Reichel, on the other hand, had been a viewer of the show since its inception, but it was merely a guilty pleasure. Lindsay’s season inspired the two co-creators of the popular podcast “2 Black Girls, 1 Rose” to fill a gap in the “Bachelor” podcast space. Their intention was to connect with viewers of color and specifically Black women who watched the franchise. However, along the way, they discovered a community of women, regardless of race, who were interested in having more nuanced conversations about the show. The podcast has since expanded to cover general TV recaps and analysis of other modern dating and relationship shows.
Scott-Reichel emphasizes that a successful reality dating series should not only have and support Black contestants, but also ensure a casting process that selects genuine, emotionally secure individuals. She points to OWN’s “Ready To Love” as an example. The show focuses on matching successful Black singles in their thirties and forties, resulting in a cast of more mature contestants who are ready to bring their authentic selves and find a partner. Additionally, Scott-Reichel praises “Ready To Love” for its authentic portrayal of Black people seeking romance, a testament to intentional casting efforts.
While shows like “Ready To Love” and TV One’s new show “The One” represent Black love in reality television, they often have limited visibility due to their airing on cable networks or being bundled with subscriptions to platforms like Hulu and YouTube TV. However, Kay and Scott-Reichel believe that a successful all-Black dating show should not only have appropriate casting but also be culturally relevant to the community it represents. They suggest a series featuring members of historically Black Greek fraternities and sororities searching for love, as this would build off a concept deeply rooted in Black culture. They point to shows like Netflix’s “Indian Matchmaking” and “Jewish Matchmaking” as examples of successful series that highlight cultural practices in dating.
In conclusion, while the “Bachelor” franchise may have made small progress in diversifying its cast, it still fails in providing adequate support for its Black leads. Black viewers, tired of the repetitive contestant archetype that predominantly features white individuals, have sought out other reality dating shows that prioritize diversity. Creating a successful Black dating series requires appropriate casting, emotionally secure contestants, and cultural relevance. Shows like “Ready To Love” exemplify this by showcasing authentic Black love stories. However, it is crucial for such shows to gain broader visibility beyond cable networks to reach a wider audience. The television landscape is ripe for a truly inclusive and celebratory representation of Black love in reality television.
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