Abortion stories on TV are becoming less about the procedure itself and more about the shame surrounding it—and that's a problem. But here's where it gets controversial: while the number of abortion storylines on television has remained steady, with 65 instances this year across shows like The Pitt, Call the Midwife, and even animated comedies like Family Guy, the number of characters actually going through with an abortion has dropped significantly. In 2025, only 37% of characters obtained an abortion, a 14% decline since 2023, according to the Abortion Onscreen report by Advancing New Standards in Reproductive Health.
Take, for example, the character Kristi Wheeler on The Pitt, portrayed by Abby Ryder Fortson, who sought a medication abortion—one of only three such stories out of 65 this year. And this is the part most people miss: while medication abortions account for the majority of abortions in the U.S., TV rarely reflects this reality. Instead, shows often focus on legal obstacles or, worse, reinforce stigma and shame, particularly through religious narratives.
Researcher Steph Herold points out that Hollywood, despite its liberal reputation, still struggles with accurately portraying abortion. “There’s still a lot of stigma,” she says. For instance, only a third of on-screen characters face barriers like cost, childcare, or distance to clinics—issues that 60% of real-life Americans encounter. Additionally, 80% of TV characters seeking abortions are upper or middle class, while in reality, most abortion patients live in poverty.
Here’s a bold question: Why does TV shy away from showing the financial struggles tied to abortion access? Could it be that these stories hit too close to home for audiences? Or is it a reflection of the industry’s discomfort with portraying abortion as a common, often necessary choice?
Another glaring disparity: only 8% of characters seeking abortions on TV are parents, even though most real-life abortion patients already have children. And while TV is starting to better reflect the racial diversity of abortion seekers—with a slight majority of characters being people of color—this is a recent shift. A decade ago, abortion storylines overwhelmingly featured wealthy, white women.
Herold notes that TV doesn’t need to mirror reality perfectly, but the trends are concerning. Fewer characters receive emotional support, and more shows like Chicago Med and 1923 emphasize shame, often tied to religion. This not only misrepresents the diversity of religious beliefs among abortion patients but also perpetuates the idea that religion only opposes abortion, ignoring its potential role in support and decision-making.
But here’s the silver lining: abortion is a deeply personal experience for millions of Americans, whether they’ve had one themselves or supported someone who has. Stories that reflect this diversity could resonate widely—if only Hollywood would tell them.
So, what do you think? Are TV portrayals of abortion helping or harming the conversation? Let us know in the comments—we’d love to hear your take on this complex, often controversial topic.
