Media representations include the ways in which the media portrays particular groups. When gender is viewed through the lens of media representations, the disparity between male and female gender portrayal is evident. Media, technology, and social media are also used to misrepresent and to underrepresent gender identity. To understand the inequality of gender representation as examined through the media today, one must look at the history of the relationship between the forms of mass communication and their effect on gender perception. One must also recognize the current state of gender inequality in media, including patterns that demonstrate a long history of biased portrayals of gender in today’s society.Women continue to be underrepresented on television and in other media forms compared with men on television and the actual population. The underrepresentation of female characters is particularly profound in drama and action-adventure programming and somewhat less so in situation comedies. A recent analysis of music videos from multiple music television networks found three times as many males as females. Within film rather than television, there was a study conducted that proved that the content analysis of popular G-rated titles and found a 2.57:1 ratio in favor of males. Women are also misrepresented as only having value in the home, as domestic partners. For example, male characters are more likely to be explicitly presented as having a job outside the home than female characters on television. Only 60% of female characters are identified as having an occupation compared with an estimated three-fourths of male characters. That disparity lingers in the most recent analysis of prime-time television programs, as well. Just as women are associated with a home setting more than men, men are connected to the working world more than women on television. This does not accurately reflect the working world for women and works only to dispels the idea that women are as capable as men in the workplace. Even cartoons, and their superheroes or main characters, show an unbalanced proportion of male to female representation. The number of male characters outweighs that of females, and the male characters are deemed more favorable. The number of males outdistanced the number of females 58% to 42% among major characters in the sample of programs that had been labeled as satisfying the social/emotional aspect of the Children’s Television Act analyzed by Barner. Male characters outnumber female characters four to one in traditional adventure cartoons (e.g., Spiderman), two to one in comedy cartoons (e.g., Animaniacs), and 1.5 to one in educational/family cartoons (e.g., The Magic School Bus). Most recently, there has been an unequal distribution of superheroes in preference of males. It is determined that the lopsided male-to-female ratio pervaded all Saturday morning cartoon types. This means that implicit messages about who is privileged with a larger presence on the screen are sent to very young viewers and continue throughout general audience programming, as well.Equal gender representation in the media and cartoons is not the only imbalance. Magazines, for example, tend to present both male and female athletes, models, singers, etc. However, the way in which celebrity men and women are portrayed is different depending on their gender. When describing the depiction of women that has long frustrated the feminist movement. In print advertising and magazines, women are stereotyped as a group in society having a limited “vocabulary of interaction” which encourages “people to think and speak of women primarily in terms of their relationship to men, family, or their sexuality” (Kimmel, 242).The pattern that demonstrates so clearly that there is an overall tendency to overrepresent men compared with women is also consistent across race. A recent analysis found, for example, women comprised 45% of all prime-time television characters of color, whereas men made up the remaining 55%. Both black/African-American female characters and Latino female characters tend to populate situation comedies more frequently than their male counterparts, who enjoy a wider array of roles across other program types. It seems that underrepresentation is both the overall condition for female characters and is exacerbated in particular genres for female characters of color. Another evident pattern is that media presents a narrow definition of attractiveness, emphasizing thinness as an essential component, particularly for females. On television, in the programs that are broadcast and the commercials between them, thinness and a narrow definition of attractiveness are presented as the overwhelming ideal. As evident in this section, content analysis research consistently finds that media characters are thinner than individuals in the actual population, thin characters tend to be portrayed more positively than less thin characters, and the emphasis on attractiveness and physical appearance—particularly for women but also for men—is profound. This message tells viewers what society values, and if the viewer does not fit this definition, the viewer may, therefore, perceive himself/herself as having less value in society. For example, I was finishing up my Christmas shopping in one of my favorite stores-Aerie. As I stepped up to the register at Aerie–the woman working handed me a sticker that read, “The real you is sexy” and informed me about Aerie’s new “Real” campaign. To promote their winter collection, Aerie no longer uses photoshop or supermodels in their advertisements. Instead, the larger-than-life posters on the walls of their stores feature women with bust sizes ranging from B to D, and the photographs have not been retouched. Hearing that made me realize the advertising has long been a realm of the unattainable image, such as–that house is too perfect, that family too happy, that car is too clean, but nowhere has the issue of reality versus image been more prevalent than in fashion and beauty marketing. Seeing that Aerie is marketing the “real’ and ‘untouchable” beauty in women is absolutely amazing and should be something that society should be aiming towards. A simple message like this is advocating a more positive message than any of their other competitors like Victoria Secret. In spite of the fact that sexual orientation stereotyping is an issue for either sex, it is all the more ordinarily referred to as a frustration for us, women. Ads, particularly those that show up in interpersonal interaction destinations, are one such source. Ladies are all the more regularly exhibited in commercials involving cosmetic and domestic products while ads for men focus on cars, business products or investments. Another imperative refinement is that advertisements demonstrate whole figures of ladies and close-up shots for men, which implies that ladies’ bodies are typified, while the pictures of men’s bodies evoke positive affiliations. The outcome is that socially developed sexual orientation parts and connections keep on remaining a widely inclusive component in constraining the portrayal of women in social media. In promoting, guys tend to outnumber females in commercials for all item sorts aside from wellbeing and beauty related and household items (CITE), along these lines building up the relationship of femininity with beauty (and in addition residential roles). Female characters are commonly more youthful than male characters and older ladies are hardly noticeable. gathering that shows up in promoting In children’s TV programs, for example, Nickelodeon and Disney, it has been discovered that there is a strong emphasis on a thin white body as the standard for excellence. We need to incorporate a more extensive standard of beauty in our society, yet it appears that media needs to “implant” our thinking to see only what is considered of value to the marketplace. This does not mean that these standards of beauty are the only ones that exist. They are, unfortunately, the ones being propagated by the media. When the gender roles of the real-life clash with these controlled or even false portrayals, viewers, readers, audiences may opt to change to try to fit the “accepted” role or may rebel against it. These rigid portrayals of gender-specific roles only cause more identity crises in real members of society. They cause real people to question and to raise concerns, too. It is important to be aware of how media operate to produce meanings which reproduce dominant ideologies of gender in digital media news. “Dominant” does not mean “correct” or “true.” The media needs to catch up to the reality of gender roles and how they should be more accurately portrayed on television, on screen, in writing, in media as a whole. There is still room for improvement so that women are not so underrepresented in media, or misrepresented, and therefore undervalued in our society.