Imagine That: Diversity Is Not Just Access, It's Voice

“When we’re telling stories that are from a singular perspective, we miss the richness of the human experience.” — Ava DuVernay.

Would stories be more interesting on screen if the entire crew behind them were more diverse, drawing on different lived experiences?

Research suggests that more diverse creative teams can produce more original, authentic, and engaging stories by expanding the range of perspectives involved.

However, this only holds when diversity is meaningfully included and supported, rather than superficial.

As Hundschell et al. (2022) argue, “diversity can be a source of competitive advantage that enhances creativity,” because teams drawing on different backgrounds generate more varied and innovative ideas. This debate is reflected in a recent controversy surrounding the BBC’s planned drama about the rape and murder of Sarah Everard.

An open letter signed by 400 female screenwriters expressed frustration that a man was commissioned to write the story, raising questions about authorship and lived experience.

This highlights a broader issue of opportunity: are underrepresented groups being excluded from telling stories that reflect their experiences? A potential solution lies in ensuring that commissioners and production teams actively recruit individuals best positioned to represent narratives authentically.

Diversity, Equity and Inclusion (DEI) initiatives have helped open doors through schemes such as the ITV News Traineeship, MAMA Youth Project, and ScreenSkills. Dedicated DEI roles within organisations are also driving change. However, these efforts are not without challenges.

Those entering through such routes are sometimes labelled “diversity hires,” while others view DEI as a threat to meritocracy. As Kachroo et al. (2026, p.56) note, some colleagues perceive diversity efforts as “woke culture,” overlooking longstanding structural inequalities.

Responsibility for change often falls disproportionately on those already marginalised. Women, Black professionals, and people with a disability frequently take on additional emotional labour to advocate for inclusion while encountering resistance or indifference. As Lenny Henry argues, “DEI as an acronym doesn’t just shorten language—it shrinks meaning” (2026). In many cases, initiatives focus on optics or “box‑ticking” rather than meaningful structural change (Kachroo et al., 2026, p.20).

True progress requires systemic transformation. Although entry-level diversity has improved, progression into mid- and senior-level roles remains limited. Without change at managerial and institutional levels, diversity risks being misunderstood and undervalued.

Indeed, 70% of respondents report insufficient opportunities for career progression (Kachroo et al., 2026, p.21). Organisations must create transparent career pathways and actively support development: “keep them, train them, nurture them.”

Structural barriers also persist in recruitment.

The film and television industry is often described as a “club,” where jobs are filled informally through personal networks rather than open advertisement (Wood et al., 2026, p.20). Greater transparency—through advertising roles on platforms such as ProductionBase or Mandy—and more realistic hiring timelines would improve access.

Finally, working conditions themselves can exclude diverse talent. Long working hours of 10–14-hour days act as a form of gatekeeping, particularly for those with caring responsibilities or disabilities. Flexible arrangements, such as split shifts or hybrid working, could make the industry more accessible.

Ultimately, diversity is not just about access, but voice. Without meaningful inclusion and structural change, the potential for richer, more compelling storytelling remains ‘SAMO’ (Basquiat, 1978).

Caroline Orme

Associate Professor

Senior Lecturer in Editing and Post Production, and Researcher

Bibliography

Wood, H, Mullen, K, Sharma, P and Newsinger, J (2025) Black in focus: Black professionals’ experiences of career progression in the UK TV industry. Birmingham. Birmingham: Aston University. Available at: https://www.aston.ac.uk/sites/default/files/2025-07/Black_in_Focus_report.pdf (Accessed: 16 June 2026)

‘BBC hit by open letter from female screenwriters about Everard drama’ (2026) Cathy Newman Show, Sky News, 27 May 2026. Available at: https://news.sky.com/video/bbc-hit-by-open-letter-from-female-screenwriters-about-everard-drama-13548552 (Accessed: 16 June 2026)Sir Lenny Henry urges media industry to stand together against racism, sexism and inequality (2026) Birmingham City University. Available at: https://www.bcu.ac.uk/news-events/news/sir-lenny-henry-urges-media-industry-to-stand-together (Accessed: 16 June 2026).

Kachroo, R, Tomsett, E, (2026) Breaking: The experience of racially minoritised people working in UK TV newsrooms. Birmingham. Birmingham City University: Sir Lenny Henry Centre for Media Diversity. Available at: https://bcuassets.blob.core.windows.net/docs/csu2026065-lhc-report-breakingv720-2-26-134169395168165495.pdf (Accessed: 10 June 2026).Hundschell, A, Razinskas, S, Backmann, J. and Hoegl, M. (2022) The effects of diversity on creativity: A literature review and synthesis. Applied Psychology, 71(4), pp. 1598–1634.Hundschell, A. et al. (2022) ‘The effects of diversity on creativity: A literature review and synthesis’, Applied Psychology, 71(4), pp. 1598–1634. Available at: https://doi.org/10.1111/apps.12365.