Black Gay Actors Who Claim White Gay Stars Get All the “Respectable” Roles

Hollywood has made significant strides in LGBTQ+ representation yet a stark racial divide persists within that progress. Many Black gay actors argue that the most prestigious and nuanced roles are still reserved for white queer performers. These artists contend that while they are often relegated to comedic tropes or sidekicks their white counterparts receive opportunities to play complex heroes. The following list highlights talented individuals who have spoken out about this systemic disparity in the entertainment industry.

Billy Porter

Porter has been one of the most vocal critics regarding the intersectional glass ceiling in Hollywood. He famously pointed out that he had to work for decades to get the acclaim that white queer actors receive almost immediately. The ‘Pose’ star noted that non-Black creators often only envision Black gay men in flamboyant or subservient roles. His success proved he could carry a drama yet he argues the opportunities remain scarce compared to white peers. Porter continues to demand that the industry value Black queer talent as much as their white counterparts.

Tituss Burgess

Burgess gained worldwide fame in ‘Unbreakable Kimmy Schmidt’ yet he has expressed frustration with industry typecasting. He argues that the industry loves the idea of the sassy Black gay friend but rarely greenlights their stories as leads. The actor believes white gay men are allowed to play straight or complex characters while he stays boxed in. His vocal stance highlights the narrow imagination of many casting directors who only see him for comedy. Burgess seeks roles that explore the full humanity of his experience rather than just punchlines.

Colman Domingo

Domingo worked as a journeyman actor for years before achieving leading man status in projects like ‘Rustin’. He has spoken about the difficulty Black queer actors face in being seen as serious romantic leads. The actor emphasized that white gay actors often get the chance to be desirable heartthrobs while Black actors are desexualized or fetishized. His career trajectory highlights the persistence required to break through these racial barriers. Domingo advocates for a landscape where Black queerness is treated with the same dignity as white queerness.

RuPaul

The drag icon has spent his entire career operating outside the traditional Hollywood system because it would not accept him. RuPaul has frequently mentioned that mainstream studios only want Black gay actors when they fit a very specific and safe mold. He created his own empire because he knew the gatekeepers would never offer him the respectable roles given to white stars. His philosophy centers on the idea that Black queer people must build their own platforms to be truly seen. RuPaul remains a testament to succeeding despite the industry ignoring his dramatic potential.

Jeremy Pope

Pope garnered acclaim for his work in ‘The Inspection’ but has been candid about the scarcity of such roles. He has discussed how white gay actors are often afforded the luxury of fluidity in their careers that Black actors are not. The actor notes that he has to fight harder to prove his masculinity and versatility to casting agents. Pope works to choose projects that defy the stereotypical expectations placed on Black queer men. He insists on taking up space in genres that have historically excluded people like him.

Griffin Matthews

Matthews has been explicitly critical of the racism he faced in drama school and the broader theatre industry. He wrote ‘Witness Uganda’ to document his experience of being marginalized while white peers were celebrated. The actor noted that the industry often applauds white saviors while ignoring the actual Black people involved in the stories. He contends that he had to create his own work because the respectable roles were simply not being written for him. Matthews uses his platform to expose the subtle biases that keep Black gay actors in the background.

Karamo Brown

Brown transitioned from reality television to acting and hosting while facing unique challenges. He has spoken about how white gay personalities are often given the benefit of the doubt and more prestigious hosting duties. The ‘Queer Eye’ star works to showcase that Black gay men can be empathetic leaders rather than just comedic relief. He emphasizes that the media often softens white gay men while viewing Black gay men as aggressive or excessive. Brown fights to ensure his community is seen as multifaceted and worthy of respect.

Darryl Stephens

Stephens starred in ‘Noah’s Arc’ which was a groundbreaking show that mainstream Hollywood largely ignored. He has pointed out that while ‘Sex and the City’ or ‘Queer as Folk’ were celebrated the Black gay equivalent was treated as niche. The actor argues that white gay actors in similar shows were catapulted to stardom while his cast struggled for mainstream recognition. He believes this discrepancy proves that Hollywood does not value Black queer stories as universal. Stephens continues to advocate for the legacy and importance of Black gay cinema.

J. August Richards

Richards came out publicly later in his career and spoke about the pressure to remain closeted to protect his livelihood. He observed that white actors could come out and still secure high-profile superhero or dramatic roles. The actor noted that Black men face a steeper penalty for perceived femininity or queerness in the industry. He now accepts roles that allow him to be authentic but acknowledges the gap in opportunities. Richards hopes his honesty paves the way for younger actors to avoid the same suppressive standards.

Miss Lawrence

Lawrence gained attention in ‘Empire’ and has been a strong advocate for gender-non-conforming representation. The actor criticizes the industry for only using feminine Black gay men as props or fashion accessories. He argues that white actors who don drag or feminine attire are often praised for their bravery while Black actors are mocked. Lawrence demands that characters like his be given depth and storylines beyond their appearance. He pushes for a level of respect that goes beyond token visibility.

Nicco Annan

Annan broke barriers with his role in ‘P-Valley’ by portraying a masculine and complex non-binary character. He has discussed how the industry often fails to understand the duality of Black queer existence. The actor feels that white queer characters are allowed to contain multitudes while Black characters are flattened. He highlights the importance of showing Black gay men who are respected in their communities rather than ostracized. Annan challenges the writers to create roles that reflect the true diversity of the Black experience.

Johnny Sibilly

Sibilly has appeared in ‘Hacks’ and ‘Queer as Folk’ while vocalizing the need for better representation. He has mentioned that he often walks into audition rooms where he is the only person of color competing for a generic role. The actor believes that white gay actors are the default for “open” casting calls unless the character is specified as Black. He argues that this default setting keeps Black actors fighting for scraps. Sibilly uses social media to highlight these inequities with humor and honesty.

Nathan Lee Graham

Graham famously played a stylist in ‘Zoolander’ and has seen the industry evolve slowly. He has noted that the “sassy Black creative” is a trope that white audiences consume comfortably without offering those actors lead roles. The actor points out that he was doing the work years ago that white actors are now winning awards for mimicking. He believes the industry respects the aesthetic of Black queerness but not the people behind it. Graham stands as a pioneer who demands credit for the culture he helped shape.

Dyllón Burnside

Burnside starred in ‘Pose’ and has spoken about the limitations placed on Black male sexuality on screen. He argues that white gay romance is often depicted as tender and pure while Black gay romance is hypersexualized or hidden. The actor seeks roles that allow Black men to be vulnerable and soft without negative connotations. He believes the “respectable” domestic storylines are rarely given to Black queer couples. Burnside actively chooses projects that challenge these narrow narrative constraints.

Keiynan Lonsdale

Lonsdale appeared in ‘Love, Simon’ and has been open about his journey with fluidity and acceptance. He has criticized the industry for wanting him to pick a lane rather than embracing his full identity. The actor observes that white stars are often celebrated for being experimental while Black actors are labeled confused. He advocates for a Hollywood where Black performers can be just as eclectic and undefined as their white peers. Lonsdale refuses to compromise his expression for the sake of industry comfort.

Philemon Chambers

Chambers made history with ‘Single All The Way’ as a Black lead in a holiday rom-com. He has discussed how rare it is to see a Black gay man as the object of affection in a family-friendly movie. The actor points out that these “respectable” and wholesome roles have historically been the domain of white actors like Jonathan Bennett. He hopes his performance opens the door for more Black joy on screen. Chambers believes that representation in lighthearted genres is just as political as serious drama.

Jaboukie Young-White

Young-White uses his comedy to dissect the racial biases of the entertainment industry. He has joked and spoken seriously about how white gay comedians are given late-night hosting gigs while Black queer comics are writers. The actor argues that the “face” of gay comedy in America is still overwhelmingly white and safe. He pushes boundaries to show that Black queer humor is universal and deserving of the main stage. Young-White refuses to tone down his perspective to appease white executives.

Justice Smith

Smith has starred in major blockbusters and came out as queer amidst his rising fame. He has touched upon the nuance of being a Black biracial queer man and the specific boxes Hollywood tries to put him in. The actor notices that white actors in his demographic are often allowed to play the “boy next door” more easily. He strives to take roles that normalize Black queerness in fantasy and adventure genres. Smith represents a new generation refusing to be sidelined in favor of white protagonists.

Jeremy O. Harris

Harris is a playwright and actor who wrote ‘Slave Play’ to directly confront these issues. He vocally challenges the theatre and film establishment for prioritizing white comfort over Black truth. The artist argues that “respectable” plays and roles are often just code for stories that do not make white liberals uncomfortable. He demands that Black queer bodies be centered in narratives that are raw and uncompromising. Harris has become a polarizing but essential figure in demanding equity.

Bryan Terrell Clark

Clark has performed on Broadway and television and speaks on the intersection of faith and sexuality. He has noted that redemption arcs and complex moral storylines are frequently given to white gay characters. The actor argues that Black gay characters are often tragic figures or comic relief rather than fully realized humans. He believes that the “respectable” role is one that allows for growth and mistakes. Clark advocates for storytelling that grants Black queer men the grace to be imperfect.

Please share your thoughts on these actors and their perspectives in the comments.