Seeing ourselves Reflections on diversity in Australian TV drama Contents © Screen Australia 2016 ISBN: 978-1-920998-32-5 Introduction 1 Executive summary 2

The text in this report is released subject to PART 1. Setting the scene 6 a Creative Commons BY licence (Licence). 1.1 About this report 6 This means, in summary, that you may reproduce, transmit and distribute the 1.2 The Australian population 7 text, provided that you do not do so for commercial purposes, and provided that PART 2. Benchmarking diversity 8 you attribute the text as extracted from 2.1 Cultural background 10 Seeing Ourselves: Reflections on diversity in Australian TV drama, Screen Australia, 2.2 Disability status 15 2016. You must not alter, transform or build 2.3 Sexual orientation and gender identity 17 upon the text in this publication. Your rights under the Licence are in addition to any fair 2.4 Diversity behind the scenes 19 dealing rights which you have under the Copyright Act 1968 (Cwlth). PART 3. Challenges and opportunities 20 For further terms of the Licence, please 3.1 Commissioning and production 21 see http://creativecommons.org/licenses/ Risky business 21 by-nc-nd/3.0/. You are not licensed to distribute any still photographs or videos Channelling the audience 22 contained in this document without the Who’s pitching diversity? 24 prior permission of Screen Australia. Expanding opportunities online 24 Metropolitan TV ratings data is copyright 3.2 Writing for diversity 25 to OzTAM and Regional TV ratings data is copyright to RegionalTAM. Data may not be Towards authenticity 25 reproduced, published or communicated in Getting diversity into the script 26 whole or part without the prior consent of OzTAM or RegionalTAM. The importance of research and consultation 27 3.3 Casting and performance 28 Cover image: Love Child Barriers to diverse casting 28 The talent pool 29 Who plays what? 30 Researching roles 33

PART 4. International comparisons 34 4.1 Overseas experiences 34 4.2 International benchmarking 37

Appendices 38 Introduction

Underbelly: Infiltration

Whose stories are our criticising the glacial pace of change in the diverse) Australians because there were TV sector. so few ‘avatars’ for them on television. He TV dramas exploring? What declared: “if tonight means anything it's Australia has one of the most culturally that as far as the Australian public, our experiences are their creators diverse populations in the world, with at audience, is concerned, there's absolutely drawing from? What kinds of least 32 per cent from non-Anglo-Celtic no reason why that couldn't change.” characters are we asked to backgrounds. Further, more than one in 10 Australians now identify with diverse TV drama, of course, is not ‘real life’. It identify with? Who is being cast sexual orientation or gender identity; and is developed, commissioned, financed, in roles that seek to capture our just under one in five people report having scripted, cast, directed, edited, imaginations? a disability. programmed and marketed as a carefully constructed product. Any number of The image of Australia that is reflected Commentators are questioning why our decisions along this pathway shape the to us on television has been the subject of TV dramas are not reflecting the diversity final content that reaches our screens. much recent debate, headlined by some that is now such a ubiquitous feature of What is influencing these decisions around impassioned speeches at the television our workplaces, schools, commutes and which stories matter, what audiences industry awards night, the Logies. neighbourhoods, and, for many of us, our want and, indeed, what characters our own family backgrounds. In her 2015 Logies acceptance speech audiences will and can identify with? Aboriginal actor Miranda Tapsell called Is the TV production industry merely This report aims to provide useful for Australia’s screen industry to “put responding to consumer demand and benchmarks for the industry on questions more beautiful people of colour on TV audience expectations? Screen Australia’s of diversity. It also explores some of and connect viewers in ways which 2013 Hearts & Minds study revealed the potential barriers that have limited transcend race and unite us”. The 2016 a perception amongst audiences that change. We know this is an issue that will Logies saw further voices added to mainstream Australian content failed to require an industry-wide approach. The this, including Waleed Aly’s powerful reflect the multicultural reality of urban support for this study across the industry acceptance of his Gold Logie award on life. At the Logies, after winning the has suggested a great willingness to behalf of all the people in the industry popular award, Aly said he felt that his engage with the issues – we seek to carry with “unpronounceable names” and Hall nomination carried the expectations of this enthusiasm and momentum forward. of Fame new entrant Noni Hazelhurst many CALD (culturally and linguistically

1 Executive summary

Television matters Little Lunch because it is so much a part of contemporary daily life, and television drama matters in particular because of its capacity to create emotional connections, insight and identity. It reflects our sense of who we are as a society, and who we might be.

Screen Australia is seeking to establish benchmarks for current levels of diversity in Australian TV drama through analysis of the main characters in five years’ worth of programs. The study also draws on a series of surveys and face-to-face consultations were on screen for a significant proportion set out in the Sex Discrimination Act 1984, to explore the challenges and opportunities of the running time. The average number which was revised to incorporate sexual involved in making TV drama more broadly of characters analysed was eight, orientation, gender identity and intersex representative of Australian society. excluding the serials Home and Away status in 2013. Diversity, by definition, is about (Seven) and Neighbours (Ten) where the How did we do it? multiplicity and means different things average was 36, due to their long-running in different contexts and to different nature (around 117 hours of each screened Each character’s cultural background people. The ultimate aim is that all of the per year) and large ensemble casts. was established using a set of indicators – many and varied voices in the Australian the character’s name, family background, Screen Australia identified the main community have the opportunity to be story elements, language spoken, accent characters using program websites and represented though screen content, and visible attributes. Disability, sexual other publicity materials, and verified regardless of things such as gender, age orientation and gender identity were each list of main cast with the relevant group or where they live. established primarily through story broadcaster. See appendix 3 for a full list elements, as well as visual cues where The research focuses on three aspects of programs analysed. relevant. All character analysis was of diversity: cultural background, Each character was examined to identify verified by the relevant broadcasters. disability status and sexual orientation/ cultural background, disability status and gender identity. See ‘Scope’, page 6, for The cultural backgrounds of the 988 sexual orientation or gender identity. further discussion. actors who played the 1,961 main Four broad classifications were used to roles were also analysed. Each actor’s define cultural background: Australian own country of birth and that of their Benchmarking Indigenous, Anglo-Celtic, European and parents were identified, initially through on-screen diversity non-European. These categories follow direct surveying of the actors, through those established by the Australian Human their agents and through the Media The benchmarking in this study is based Rights Commission1 as appropriate in light Entertainment and Arts Alliance. Where on analysis of 1,961 ‘main’ characters of Australia’s demographic history, and direct responses were not available, from 199 Australian TV dramas broadcast reflecting the main waves of immigration public sources were used including official on public, commercial free-to-air and that have primarily shaped the composition biographies and media quotes. subscription television between 2011 and of Australian society today. 2015. Children’s dramas and comedies Following the lead of the Australian were included, but animations were Identification of disability followed the Human Rights Commission, we have excluded due to the number of non-human definition set out under the Disability erred on the side of counting more characters. Discrimination Act 1992, incorporating cultural diversity than less. Where physical, psychological, intellectual and someone has mixed heritage we have ‘Main’ characters were defined as those sensory limitations, restrictions and favoured counting them as European who appeared in each episode, give or impairments, whether temporary or rather than Anglo-Celtic, or as non- take a small margin. For telemovies and permanent. European rather than European. Again, ensemble shows such as It's a Date they the cultural backgrounds of actors were were the characters with a significant Identification of sexual orientation and checked and verified by the relevant number of speaking lines and/or those who gender identity followed the definitions broadcasters.

2 Executive summary

For more information about The numbers • Characters identified as Indigenous methodological classifications see Australians were comparatively well Overall, the results show that a number ‘Definitions’, page 6. represented, at 5 per cent, compared to of Australia’s minorities and marginalised their proportion of the population (3 per Examples of how this process worked in communities are under-represented in cent). practice help to show how some of the TV drama compared to the population, • Children’s programs and comedy tended distinctions between a character’s and an in particular people of non-European to show a higher level of diversity actor’s cultural background are important backgrounds such as Asian, African amongst main characters than dramas in discussions of how cultural diversity or Middle Eastern, and people with as a whole, and were in particular more is experienced and perceived through TV disabilities. On the other hand Indigenous representative of characters from non- drama, and the incidence of ‘colour-blind’ Australians are well represented on- European backgrounds. casting. screen compared to their proportion of the population. Children’s programs and How does the cultural mix of the actors • Firass Dirani has Lebanese comedies tended to show a higher level of playing these roles compare to the heritage2, so as an actor he diversity than dramas as a whole. Australian population? is categorised as being of non-European background. Cultural diversity • Broadly, the backgrounds of the actors His role as Justin Baynie in taking main roles reflected the categories How does the cultural mix of characters House Husbands (Nine) was categorised of the characters they are playing. compare to Australian population? as non-European, based on the character’s • However, there was a slightly greater surname (which can be considered as • The cultural diversity of the Australian cultural mix amongst the actors, with having Lebanese origin), combined with population is not currently reflected more identified as European (9 per cent) the casting of Dirani in the role. His role in the main characters in TV dramas. and non-European (10 per cent) than as Gary Montebello in The Straits (ABC) People of non-Anglo-Celtic background amongst the characters (6 per cent and is categorised as European based on the were represented in drama programs 7 per cent respectively). This points to a story elements of the program (Gary is the at just over half the rate that they are degree of ‘colour-blind casting’, where orphaned son of a cousin of the English/ present in the population: actors of European or non-European Maltese protagonist, Harry). - 32 per cent of Australians have a first- background have played characters of or second-generation background Anglo-Celtic background. • Don Hany has Hungarian and other than Anglo-Celtic, compared to • Five per cent of actors identified as Iraqi heritage3, so as an actor, only 18 per cent of main characters in Indigenous (matching the number of roles). he is categorised as being of TV dramas from the last five years. non-European background. How many programs incorporated • People from European backgrounds His role as Zane Malik in cultural diversity? such as Greek or Italian, and from East West 101 (SBS), is defined within the non-European backgrounds such as • Overall, 36 per cent of programs had main story as a character of Middle Eastern Asian, African or Middle Eastern, were casts entirely comprising characters of Muslim background and was therefore significantly under-represented: Anglo-Celtic background. categorised as non-European. His roles as - 6 per cent of characters were identified • That also means 64 per cent of programs Chris Havel in Offspring (Ten), Joe Cashin as from European backgrounds, included at least one main character in The Broken Shore (ABC), Adam Bourke compared to 12 per cent of the from a non-Anglo-Celtic background. in Devil’s Dust (ABC) and Bishop Vincent population • Indigenous characters were Quaid in Devil’s Playground (Foxtel) were - 7 per cent of characters were from non- concentrated in fewer programs than all categorised as Anglo-Celtic, as there European backgrounds, compared to 17 characters from European or non- were no defining features of these roles per cent of the population. European backgrounds. that identified them otherwise. • Jonathan LaPaglia Cultural backgrounds of characters, and the actors who played them, has Italian and Dutch in Australian TV drama, compared to the Australian population heritage4, so as an actor, he is categorised as being Anglo-Celtic European Non-European Indigenous of European background. Population 67% 12% 17% 3% His role as Greek-Australian Hector in The Slap (ABC) was categorised as TV drama European. And his role as Doctor Patrick 82% 6% 7% 5% McNaughton in Love Child (Nine) was characters categorised as Anglo-Celtic. Actors playing 76% 9% 10% 5% For further discussion of the combination of characters these two measures of cultural background 0 20 40 60 80 100 – analysis of actors and characters – see Based on 1,961 main/recurring characters and the actors who played them across 199 TV drama programs broadcast ‘Benchmarking diversity’ page 8. 2011 to 2015. Australian population based on 2011 Census of Population and Housing.

3 Executive summary

What types of roles? Characters with disability in TV drama compared to the Australian population • There’s evidence that we’ve moved beyond much of the stereotyping of With a disability No disability minority cultural groups of the past, as examples of all occupational categories Population 18% 82% were present across characters of all cultural backgrounds. TV drama 4% 96% Disability status characters

How does the number of characters with 0 20 40 60 80 100 disability compare to the Australian Based on 1,961 main/recurring characters across 199 TV drama programs broadcast 2011 to 2015. Australian population population? based on Australian Bureau of Statistics, Disability, Ageing and Carers, Australia: Summary of Findings, 2012 • Disability is very much under- LGBTQI characters in TV drama compared to the Australian population represented in TV drama compared to the Australian population. LGBTQI Others • 18 per cent of Australians are estimated to have a disability. By comparison only 4 Population 11% 89% per cent of main characters in Australian TV dramas were identifiably characters TV drama with a disability. 5% 95% • It should be noted that, like cultural characters backgrounds, disabilities in the 0 20 40 60 80 100 population – and therefore amongst Based on 1,961 main/recurring characters across 199 TV drama programs broadcast 2011 to 2015. Australian population characters – may not necessarily be based on Department of Health, Australian Government, National Lesbian, Gay, Bisexual, Transgender and Intersex (LGBTI) Ageing and Aged Care Strategy (2012). apparent. However, our study focussed on main characters where these orientation, sex or gender identity. Commissioning and characteristics generally appeared on- By comparison, only 5 per cent of production screen in some way. Given that the rate of characters were identifiably LGBTQI. disability in the population increases with Ideally there would be: • It should be noted that, just as a age, the low representation of disability character could have a cultural • Opportunities for broadcasters to on-screen may also reflect a focus on background or disability that isn’t commission programs from a wide range characters in younger age groups. immediately obvious, a character’s of creatives of different backgrounds. How many programs included sexual orientation, sex or gender identity • A diversity of backgrounds among disability? is not always evident. However, our study decision-makers as well as producers, focussed on main characters where directors and writers. • 10 per cent of the programs included at these characteristics generally appeared • Capacity within the market to develop and least one character with disability among on-screen in some way. showcase a wide range of talent, both on- the main characters. screen and behind the scenes. • For the titles that had main characters How many programs included LGBTQI • A better understanding of how with disability, those characters characters? audiences of different backgrounds see accounted for between 4 per cent and • 27 per cent of programs included at least themselves and find relevance in TV 38 per cent of the program’s main one LGBTQI character among the main drama characters and stories, and how characters. characters. to harness the appetite for diversity in TV Sexual orientation and • Most programs that had LGBTQI main content. gender identity characters had only one. • Recognition of the potential for diverse content to engage large (and sometimes How does the number of characters of untapped) audiences. diverse sexual orientation and gender Challenges and identity compare to the Australian Challenges population? opportunities • TV drama is expensive to make, so it’s A series of surveys and face-to-face • LGBTQI – lesbian, gay, bisexual, trans, difficult to take risks with new and consultations drew on views and queer (or questioning) and intersex – different programs. experiences from both sides of the characters are under-represented in • Audience appetites have driven TV drama camera to explore the challenges and TV drama compared to the Australian towards a reduced volume of high-cost, opportunities involved in making TV population. short-run shows, so there are fewer drama that reflects the diversity of • Up to 11 per cent of Australians are opportunities to experiment with new and Australia today. estimated to be of diverse sexual different programs.

4 Executive summary

• There’s a commercial imperative to Casting and performance Opportunities focus on audience size, and a To facilitate casting for diversity, ideally • Decision-makers and drama perception that Australian ‘niche’ there would be: commissioners are open to incorporating audiences are not large enough in greater diversity in their TV drama themselves to warrant programs • Enough diverse talent to stimulate the slates – not just because it’s the ‘right’ produced ‘for’ them. creation of characters, including lead thing to do, but because they recognise • There are some perceptions that cast – with minority actors as ‘bankable’ that diversity opens up opportunities to audiences and the market have a low as any other actor, once established. engage audiences with a vast range of tolerance for diversity, especially when • A talent pool deep and mature enough interesting characters and storylines. they perceive it to be ‘worthy’. (and a production environment open • There are examples of successful • On the other hand, audiences who don’t enough) to enable characters with a programs across all networks that find content that’s relevant to them may scripted background to be played mostly both ‘normalise’ and provide authentic move away from broadcast television to by actors of the same background. insights into many of our minority or online or multichannel options. • Actors from diverse backgrounds able marginalised communities. • Real or perceived broadcaster resistance to freely audition for and be cast in any • There’s growing evidence of a ‘diversity to diversity may be preventing diverse role where ethnicity or minority status is dividend’, with domestic examples and content coming through the door in the not specified. international studies establishing the first place. • A production environment that success of programs that have found accommodates research, consultation Writing for diversity new ways to engage with diversity. and support for diversity. • The commercial value of diversity To facilitate writing for diversity, ideally Challenges is already being recognised in the there would be: advertising sector. • Attracting performers of diverse • A range of stories that provide insights • Online content, with its low costs, background to grow the talent pool, when into diverse communities and life low barriers to entry and capacity there are few role models – you ‘can’t be experiences, as well as those that to aggregate niche audiences what you can’t see’. ‘normalise’ diversity by including it more internationally, shows the potential • Ensuring those in the industry have incidentally. power of niche or special interest content opportunities to demonstrate talent and • Authenticity as the basis for all to reach large audiences. maintain and improve their craft skills. characters and stories. • Authentic stories and characters can • Respecting and supporting authenticity in • Opportunities for writers with personal inspire mainstream audiences to identify casting characters of diverse background. experience of the cultures and issues with ‘heroes’ of diverse background, as • Overcoming assumptions of default portrayed. viewers of diverse background identify casting as Anglo-Celtic and without • Effective collaboration through with conventional protagonists. In this disability. partnerships and consultation with way on-screen diversity not only has the • Limited scope for research and communities. potential to engage audiences, it can also consultation to ensure authentic • A greater level of comfort and generate connection and empathy, and performances. confidence around incorporating shift perceptions of ‘otherness’. diversity into scripts. More work to do… Challenges This study commenced toward the end Indigenous futuristic drama Cleverman • Getting the balance right around who can of 2015, when conversations about on- screened on the ABC. And The Secret and should write which stories. screen diversity, both in Australia and Daughter, a drama led by Indigenous • Building realistic diversity into storylines overseas, were building and attracting actor/singer Jessica Mauboy, is where relevant, and keeping an open increasing levels of attention. scheduled for broadcast on Network mind about character backgrounds to Seven later this year. encourage diverse casting. The benchmarks published here cover • Having confidence that scripted diversity programs broadcast up until the end of So the industry is already moving toward will not fall away as projects move to 2015. Since then, we have seen some a greater embracing of diversity in TV casting and production. high-profile examples of diversity in drama and an understanding that, when • Ensuring proper collaboration and local TV drama – in January, The Family done well, diversity can deliver resonant consultation to avoid tokenism and Law, a comedy about a dysfunctional stories and commercial value. However, stereotyping. Chinese-Australian family, screened the data reminds us that while there are • Recognising network concerns about risk on SBS; in February Here Come the strong examples across all Australian without self-censoring; meeting them Habibs, a comedy about a Lebanese broadcasters of programs that draw head on to pitch and create audience- migrant family moving to an affluent on, reflect and ‘normalise’ many of our engaging drama that naturally reflects neighbourhood, premiered on the marginalised communities, they are still Australian diversity. Nine Network; and in June the the exception rather than the rule.

5 Part 1. Setting the scene TV remains one of our most ubiquitous forms of media. According to recent media consumption studies, Australians watch an average of three hours every day, mostly within seven days of broadcast.6 And TV drama, with its capacity for generating emotional connections, reactions and insights, offers tremendous opportunities for building cohesion and understanding across Australia’s diverse communities. The Slap • a series of surveys seeking the views • where possible, provide comparability 1.1 About this and experiences of: to international and previous Australian report - actors and actor’s agents analysis. - casting directors Until now, there has been little Definitions - screen practitioners with disability comprehensive evidence to inform - the credited writers, producers and ‘Main’ characters were defined as those discussions of diversity on TV. Harvey directors of the 199 programs in the who appeared in each episode, give or May’s Broadcast in Colour: Cultural benchmarking analysis take a small margin. For telemovies and Diversity and Television Programming in • face-to-face consultations with the ensemble shows like It's a Date they were Four Countries for the Australian Film drama departments at all of the the characters with a significant number Commission found in 1999 that 23 per broadcasters, industry associations, of speaking lines and/or those who were cent of actors in sustaining roles were training institutions, community arts on screen for a significant proportion of from culturally diverse backgrounds – up organisations and advocacy groups. the running time. The average number of from an estimated 2 per cent in 1992. A characters analysed was eight, excluding 2001 update then found that 26 per cent of See appendices for more details on the serials Home and Away (Seven) and actors had culturally diverse backgrounds. methodologies. Neighbours (Ten) where the average These increases were found to be Scope was 36, due to their long-running nature significantly enabled by second-generation (around 117 hours of each screened per immigrants taking up acting as a career, One of the biggest challenges was settling year) and large ensemble casts. although there were no sustaining roles on the appropriate parameters within for actors of Asian backgrounds. The 1999 which to measure and analyse diversity in In TV drama, diverse backgrounds and study included two Indigenous actors a coherent way, when the ultimate aim is experiences may be incorporated through (Aaron Pederson and Heath Bergerson) that all of the many and varied voices in the the stories, the characters or the actors, compared to none in 1992. Australian community have the opportunity or any combination of these, and we have to be represented though screen content. attempted to incorporate all of these In embarking upon this new research, Diversity, by definition, is about multiplicity elements into the research. Screen Australia has sought to: and means different things in different Categorisation of actors and characters • benchmark the current level of diversity contexts and to different people. drew on definitions supported and in Australian TV drama, through analysis In deciding on the attributes to be promoted by advocacy groups and the of the main or recurring characters and analysed, we have aimed to: Australian Human Rights Commission. the actors playing them in 199 Australian • address the main areas of concern See page 8 for more information about TV dramas (those that had their first regarding under-representation in categorisation methodology. Due to broadcast on commercial free-to-air, Australian screen content; subjectivity around the application of public or subscription television between • use the most encompassing and recent these definitions, there may be cases 2011 and 2015); definitions that are supported and where the background of a character • explore the challenges and opportunities promoted by the relevant advocacy or actor is unknown or has been mis- involved in making TV drama more groups and by the Australian Human categorised. All reasonable efforts have representative of the diversity of Rights Commission; been taken to minimise such cases. Australian society through:

6 part 1. SETTING THE SCENE

Cultural background Sexual orientation and gender had at least one parent born overseas.8 identity For this study, data on overseas countries Four categories have been used throughout of birth from the 2006 and 2011 Census this report to capture cultural diversity. The term LGBTQI is used in this report has been mapped according to the These categories are those used by the to encompass people of diverse gender categories used for the TV drama analysis, Australian Human Rights Commission and/or sexual orientation. LGBTQI refers i.e. Anglo-Celtic, non-English-speaking in its Leading for Change report (July to lesbian, gay, bisexual, trans, queer (or European and non-European (see at left). 2016). As the Commission noted in that questioning) and/or intersex. report, “It is not suggested that these The proportion of Australians of non- Definitions follow those set out in the Sex categories are the only ones that can be Anglo-Celtic background has been Discrimination Act 1984, which was revised used. We use them because they reflect, growing, reaching around a third of the to incorporate sexual orientation, gender if only roughly, the cultural mix introduced population in 2011. The growth has been identity and intersex status in 2013. to Australian society in historical terms driven by an increase in people of non- (British colonisation, post-Second-World European background. War mass immigration from Europe, and Disability status non-European immigration following the 1.2 The Australian end of the White Australia policy).” population According to the Australian Bureau of Statistics,9 in 2015 there were 4.3 million • Anglo-Celtic: Those of Anglo-Celtic This section summarises the available Australians with disability, or 18.3 per cent heritage, based on country of birth of data on diversity across the population. of the total population. the person and both of their parents, These measures are used as the basis for where this is known; otherwise based on Sexual orientation and evaluating the results reported throughout specified criteria. gender identity this report. For example, people of English, Irish, In 2012, the Department of Health and Scottish, Welsh heritage from Australia, Cultural background Ageing estimated that Australians of the UK, Ireland, North America, New According to the 2011 Census of diverse sexual orientation, sex or gender Zealand or South Africa. Population and Housing, 48 per cent of identity may account for up to 11 per cent • European: Those with a background Australians were either born overseas or of the Australian population.10 from non-English-speaking European countries, based on country of birth Figure 1. Aspects of diversity in the Australian population of the person or at least one of their parents, where this is known; otherwise Cultural background:* Anglo-Celtic European Non-European Indigenous based on specified criteria. For example, people of French, Greek, Italian, Swedish heritage. 2006 71% 12% 14% 2% • Non-European: Those with a background from countries outside Europe, excluding those of Anglo-Celtic 2011 67% 12% 17% 3% background from the US, UK, Canada, New Zealand and Australia; based on 0 20 40 60 80 100 country of birth of the person or at least one of their parents, where this is known; Disability status:† With a disability No disability otherwise based on specified criteria. For example, people of Indian, Chinese, Middle Eastern heritage. 2015 18% 82% • Indigenous: Any Australians who identify as Aboriginal or Torres Strait 0 20 40 60 80 100 Islander. Sexual orientation/gender identity:‡ LGBTQI Others Disability 2012 11% 89% The definition of disability in this report (estimate) follows that set out under the Disability Discrimination Act 1992.7 It incorporates 0 20 40 60 80 100 physical, psychological, intellectual and * Screen Australia analysis of Australian Bureau of Statistics (ABS) data; excludes people where cultural sensory limitations, restrictions and background was not stated - 10 per cent in 2006 and 8 per cent in 2011. impairments, and covers temporary, † ABS, Disability, Ageing and Carers, Australia: First Results, 2015, Cat no. 4430.0 10.001 ‡ Department of Health and Ageing, National Lesbian, Gay, Bisexual, Transgender and Intersex (LGBTI) permanent, past and future disabilities as Ageing and Aged Care Strategy, 2012 well as those imputed on an individual.

7 Part 2. Benchmarking diversity This research started with a simple question: how diverse is Australian TV drama? While that sounds like a straightforward exercise of quantifying and analysing, it’s wrapped around a whole range of highly subjective issues including perception, personal identification and individual experience of the world. The last research published on cultural diversity on television, Harvey May’s Broadcast in Colour, focused on the cultural heritage of actors cast in seven commercial Australian TV dramas of the time. Today, Australia is even more diverse Winners & Losers (Seven) features Sophie Wong, a and complex in its social structures, conversations around diversity and character of Chinese heritage, played by Melanie Vallejo. inclusivity have progressed, broadened and amplified, and TV drama has changed attributes of the actor playing the role, and whether there was evidence of significantly in terms of structure, which can be more revealing in some stereotyping, we also looked at the subject matter, distribution, audience cases than others. For example, an actor occupational status of main and recurring engagement and industrial environment. of Danish or French background may not characters, classified into 11 groups. So the measures required to inform the be identifiable as being of that heritage Background of the actors conversation around on-screen diversity if he or she performs with an Australian today need to be broader than just a focus accent, whereas an actor of African or Analysing the background or attributes on the actors. Asian heritage may be visibly recognisable of the actors playing these characters as such. Although fewer characters may addresses the issue from an industrial In order to address as many current end up being categorised this way as perspective, exploring access to casting concerns as possible, we chose a ‘European’, the results would still broadly opportunities for all performers, as well combination of measures in analysing on- align with audience perceptions of on- as the audience’s access to a full range of screen diversity. screen diversity, which is the point of this faces, bodies and voices on-screen. Character attributes aspect of the analysis. Each actor’s own country of birth and Analysing the background or attributes of To explore something about the types that of their parents were identified, the characters from TV drama programs of characters depicted on our screens, primarily through direct surveying of the provides information squarely from the actors, through their agents and through audience perspective, gauging the range the Media Entertainment and Arts of stories and character perspectives Alliance. Where direct responses were experienced through these programs. not available, public sources were used including official biographies and media Characters were categorised based on a quotes. Actors were not asked to identify set of indicators – story elements, visible in terms of disability or sexual orientation. attributes, and, in the case of cultural We sought personal views and experiences background, name, family, language in relation to these issues through surveys. spoken and accent – with the results confirmed by the relevant broadcasters. Actors playing characters Such an approach means that where In the case of cultural diversity, the there were no indicative story elements, combination of these two measures – a character’s cultural background was based on analysis of actors and characters Black Comedy identified subjectively through the – takes on board some of the nuance

8 part 2. Benchmarking diversity

around cultural identification, while still resulting in a set of definable benchmarks. It also helps identify cases of ‘colour- blind’ or ‘generic’ casting – where characters of undefined background are cast with actors of diverse backgrounds. Examples of how this process worked in practice help to show how some of the distinctions between a character’s and an actor’s cultural background are important in discussions of how cultural diversity is experienced and perceived through TV drama, and the incidence of ‘colour-blind’ casting. • Firass Dirani has Lebanese heritage11, so as an actor he is categorised as being of non-European background. His role as Justin Baynie in House Husbands (Nine) was categorised as non-European, based on the character’s surname (which can be considered as having Lebanese origin), combined with House Husbands (Nine) None of the measures employed in this the casting of Dirani in the role. His role study is definitive or beyond dispute as Gary Montebello in The Straits (ABC) features the gay character, in relation to individual examples. is categorised as European based on the However, the combination provides story elements of the program (Gary is the Kane (played by Gyton as comprehensive and considered an orphaned son of a cousin of the English/ approach as possible to understanding Maltese protagonist, Harry). Grantley), raising a child the degree to which our TV drama • Don Hany has Hungarian with his partner. content reflects the diversity of and Iraqi heritage12, so as Australia today. an actor, he is categorised Concentration of diverse as being of non-European characters per program background. His role as We also looked at the drama programs Zane Malik in East West 101 (SBS), is themselves, to see how many defined within the story as a character incorporated no main characters from of Middle Eastern Muslim background diverse backgrounds, and whether and was therefore categorised as non- the diverse characters we identified European. His roles as Chris Havel in were concentrated in a few programs Offspring (Ten), Joe Cashin in The Broken or distributed broadly across many Shore (ABC), Adam Bourke in Devil’s Dust programs. (ABC) and Bishop Vincent Quaid in Devil’s Playground (Foxtel) were all categorised This analysis should not be seen as a as Anglo-Celtic, as there were no defining measure of the focus or impact of features of these roles that identified diversity in storylines. In a program them otherwise. such as Mabo, for example, only two of the nine main characters were written as • Jonathan LaPaglia (and cast with) Indigenous Australians. has Italian and Dutch But the story revolved around Torres heritage13, so as an actor, he Strait Islander man Eddie Koiki Mabo and is categorised as being of his successful legal battle to bring about European background. His role native title legislation, so its significance as Greek-Australian Hector in The Slap as a story of Indigenous Australia is (ABC) was categorised as European. And indisputable. And importantly, the his role as Doctor Patrick McNaughton program was produced by an in Love Child (Nine) was categorised as Indigenous team. Anglo-Celtic.

9 part 2. Benchmarking diversity

2.1 Cultural Figure 2. Cultural backgrounds of main characters in Australian TV drama Background broadcast 2011 to 2015, compared to the Australian population Anglo-Celtic European Non-European Indigenous An estimated 32 per cent of Australians have a cultural background other than Population 67% 12% 17% 3% Anglo-Celtic, as defined for this study (see page 7). However, across the 199 Australian TV drama programs broadcast TV drama 82% 6% 7% 5% over the last five years, only 18 per cent characters of main characters had non-Anglo-Celtic 0 20 40 60 80 100 backgrounds. Based on the identifiable cultural backgrounds of 1,961 main/recurring roles across 199 TV dramas broadcast 2011 to 2015. As Figure 2 shows, people from European backgrounds and from non-European Figure 3. Cultural backgrounds of the actors playing main characters in Australian backgrounds (such as Asian, African or TV drama broadcast 2011 to 2015, compared to the characters they played Middle Eastern), were significantly under- represented, at 6 per cent and 7 per cent Anglo-Celtic European Non-European Indigenous of characters respectively, compared to 12 TV drama 82% 6% 7% 5% per cent and 17 per cent of the population. characters Interestingly, children’s programs and comedy (see page 13) were more Actors playing 76% 9% 10% 5% representative in terms of characters characters from non-European backgrounds than the programs as a whole. 0 20 40 60 80 100 Based on 1,961 main/recurring characters and the actors who played them across across 199 TV drama programs At 5 per cent, Indigenous Australians broadcast 2011 to 2015. Australian population based on 2011 Census of Population and Housing. were comparatively well represented as characters compared to their proportion Indigenous characters were more characters performing physical comedy, of the population (3 per cent). See ‘Long concentrated in fewer programs than three of whom were from China. time coming’, page 12, for a discussion of characters from European or non- Fourteen titles had between a quarter support for Indigenous talent. European backgrounds, as Figure 4 shows. and half of their main cast made up Broadly, the backgrounds of the actors Eight programs had 50 per cent or more of characters with non-European taking main roles reflect the categories Indigenous main characters: 8MMM background, such as children’s drama the characters they are playing. However, Aboriginal Radio, Black Comedy, Gods of Dance Academy (ABC), set in an elite as Figure 3 shows, there is a slightly Wheat Street, Ready For This, The Straits dance school, and East West 101 (SBS), the greater cultural mix amongst the actors, and two series plus the telemovie of fictionalised portrayal of a multicultural with more identified as European (9 per Redfern Now. All of these were made for crime squad in western Sydney. cent) and non-European (10 per cent) than the ABC. Most (56) of the total 75 programs amongst the characters (6 per cent and The rest of the 33 programs with with main characters of non-European 7 per cent respectively). This points to a Indigenous main characters featured background featured only one or a few degree of ‘colour-blind casting’, where only one or a few such characters. such characters. These ranged from actors of European or non-European These included Love Child (Nine, children’s mockumentary Little Lunch background have played characters of Martha Tennant), Offspring (Ten, Cherie (ABC, Melanie), Devil’s Playground (Foxtel, Anglo-Celtic background. See page 31 for Butterfield),The Broken Shore (ABC, Father Matteo), Time of Our Lives (ABC, insights into ‘colour-blind’ casting from Paul Dove and Bobby Walshe), The Code Chai Li Tivolli), Winners & Losers (Seven, our surveys and consultation. (ABC, Tim Simons and Clarence Boyd) and Sophie Wong) as well as Home and Away Five per cent of actors identified as Neighbours (Ten, Nate Kinski). (Seven, Elijah Johnson) and Neighbours Indigenous, matching the number of (Ten, members of the Kapoor family). Five programs had main casts roles, which indicates that Indigenous predominantly from non-European Twelve programs had between a quarter characters have generally been played by backgrounds: Better Man (SBS), based and half of their main cast made up of Indigenous actors. on the true story of Van Nguyen, The characters with European background. Looking at the incidence of cultural Principal (SBS), set in a multicultural boys’ This includes programs such as The Slap diversity in individual programs reveals a high school in south-west Sydney, kung (ABC) based on the book by Christos significant proportion (36 per cent) that had fu comedy Maximum Choppage (ABC), Tsiolkas, which had strong ‘incidental’ main casts entirely made up of Anglo-Celtic Chris Lilley’s mockumentary Jonah from cultural diversity amongst its characters, characters, and many programs with only Tonga (ABC), and the children’s program Danger 5 (SBS) a comedy set in the 1960s one character from another background. Hoopla Doopla! (ABC), which featured six about a group of spies from different

10 part 2: BENCHMARKING DIVERSITY

Figure 4. Distribution of main characters from non-Anglo-Celtic backgrounds across the 199 programs analysed

199 programs 15

Overall… 36% of programs had no 10 341 non-Anglo- non-Anglo-Celtic main Celtic characters characters across 127 5 programs 0

15 83% of programs had 94 Indigenous no Indigenous main 10 main characters characters across 33 programs 5

0

15 62% of programs had no 136 non- 10 non-European main European main characters characters across 5 75 programs 0

15 69% of programs 111 European 10 had no European main main characters characters across 61 programs 5

0 Based on the identifiable cultural backgrounds of 1,961 main/recurring roles across 199 TV dramas broadcast 2011 to 2015. countries on a mission to kill Hitler, and Neighbours (Ten, eg Toadfish Rebecchi), office-based’ and ‘Manual, retail and small Underbelly: Infiltration (Nine), a true-crime Home and Away (Seven, eg Bianca Scott), business’ roles. drama based around Melbourne’s Calabrian Packed to the Rafters (Seven, eg Nick Indigenous characters had proportionally mafia. Karandonis), Offspring (Ten, eg Zara more ‘Leaders’ than the other cultural Perkich) and Rake (ABC, eg Nicole Vargas). Three programs had main casts that were groups, reflecting characters in Redfern half made up of European characters and Character status Now, Mabo, The Broken Shore and The these shows were largely set overseas: Secret River (all ABC). Indigenous The good news is that while there are areas An Accidental Soldier (ABC), the story characters also had the highest proportion of over and under-representation, there of an Australian soldier in WW1 France, of cultural/sporting roles, and of undefined don’t seem to be dominant stereotypes in Mary: The Making of a Princess (Ten), the roles (these are roles that are primarily terms of occupational status. Examples of biography of Australian Mary Donaldson defined by their relationships to other all occupational categories were present marrying into the Danish royal family, and characters rather than their occupations). across all cultural groups. See figure 5. children’s drama In Your Dreams (Seven), The higher results in the ‘Criminal’ about Australian teenage twins spending Anglo-Celtic characters were slightly category for non-Anglo-Celtic characters time with relatives in a German castle. more evident than other groups in ‘Legal’ were most heavily influenced by crime and ‘Medical’ roles, while European and Most of the titles that had main characters thriller The Straits (ABC, for Indigenous non-European characters were more of European background – 46 of the total characters), the Underbelly franchise (Nine, strongly represented in ‘Professional, of 61 – had just one or a few characters for characters of European background) office-based’ occupations. Characters with of European background (ie up to 25 per and Maximum Choppage (ABC, for non- European background were particularly cent of main characters). These included European characters). strongly represented among ‘Professional,

11 Figure 5. Occupational status of characters from each cultural group

Anglo-Celtic European Non-European Indigenous

25 22% 22% 21% 20 18% 16% 15% 15% 15% 15 14% 13% 13% 12% 11%11% 11% 10% 9% 10 8% 8% 8% 8% 8% 7% 7% 7% 6% 6% 5% 4% 5 3% 3% 3% 2% 2% 1% 1% 1% 1% 1% 1% 0 Leader Legal Medical Professional, Manual, retail Cultural and Military Criminal Other Undefined office-based & small business Sporting Programs do not include children’s programs or sketch comedy. Analysis does not include 194 characters where occupational status is not applicable (eg students, children, supernatural characters). ‘Undefined’ refers to roles such as family, friends, neighbours.

Long time coming – behind the increasing visibility of Indigenous screen talent

At the 2011 Census, it was estimated that of Indigenous talent and stories. From created numerous critically acclaimed Indigenous Australians represented 2.5 Indigenous media associations such as short films, documentaries and features. per cent of the Australian population. But CAAMA and Goolarri Media, to federal Several Indigenous actors (such as Indigenous actors playing Indigenous funding agencies the Australian Film Deborah Mailman, Aaron Pederson and characters in Australian TV dramas over Commission (AFC), Film Australia, Film Ernie Dingo) have been working in TV the last five years are represented at Finance Corporation (FFC) and now drama for many years. The blossoming of double that rate, accounting for 5 per Screen Australia, state and territory new Indigenous-led TV dramas in recent cent of all main or recurring characters. screen agencies, the ABC and SBS, years has created opportunities for many Compare this with the results of Harvey and institutions such as AIATSIS and more Indigenous stories and faces to May’s 2002 analysis, which reported no AFTRS. The AFC’s Indigenous Branch, in grace our screens. Indigenous actors on screen in 1992 and particular, played a crucial role. Formed in An important by-product of the only two in 1999 (Aaron Pederson and 1993, it built on the skills base established success of Indigenous-led film and Heath Bergerson). by the Indigenous media organisations television content (see page 23) is that it in the 1980s to provide stepping stone This development hasn’t occurred showcases the star-power of Indigenous programs that involved practical organically. actors, who then go on to be cast in main professional development coupled with roles in mainstream commercial dramas Although there were 33 dramas production funding. – such as Miranda Tapsell’s multi-Logie broadcast between 2011 and 2015 A wealth of Indigenous talent has come Award winning role in Love Child on the that featured at least one Indigenous through those and other organisations and Nine Network. character, most of the characters were concentrated in eight programs – 8MMM Aboriginal Radio, Black Comedy, Gods of Wheat Street, Ready For This, The Straits and two series plus the telemovie of Redfern Now. All of these were made by Indigenous screen practitioners for the ABC, supported by its Indigenous Department, which was established in 2010 to develop and commission an expanded slate of prime-time Indigenous drama and documentary. Many of the Indigenous people involved in making these programs – both behind and in front of the camera – were assisted in their careers by decades of work from The Gods of many individuals and organisations Wheat Street dedicated to supporting the development

12 part 2: BENCHMARKING DIVERSITY

Children’s drama – towards the Figure 6. Cultural backgrounds of main/recurring characters in ‘new normal’ children’s vs adult dramas broadcast 2011 to 2015 Of the 199 Australian drama programs Anglo-Celtic European Non-European Indigenous broadcast between 2011 and 2015, 25 were children’s programs, accounting for 150 of the total 1,961 main or recurring Population 67% 12% 17% 3% characters analysed. Animated programs have been omitted from this analysis TV drama 82% 6% 7% 5% because of the number of non-human (1,961 characters) characters. Children's While children’s programs accounted for programs 75% 5% 13% 7% a small proportion of total programs and (150 characters) characters, they showed a higher level of diversity than programs for adults. Adult programs 83% 6% 6% 5% (1,811 characters) Non-European characters in particular had a higher level of representation 0 20 40 60 80 100 in children’s programs, at 13 per cent Based on 1,811 main/recurring characters across 174 dramas for adults and 150 main/recurring characters across compared to 6 per cent for programs 25 dramas for children broadcast 2011 to 2015. for adults. Thirteen of the 25 children’s programs Figure 7. Cultural backgrounds of main/recurring characters in comedy vs non-comedy dramas broadcast 2011 to 2015 featured main or recurring characters of non-European background: two Anglo-Celtic European Non-European Indigenous seasons of Dance Academy (ABC), The Elephant Princess series 2 (Ten), Population 67% 12% 17% 3% a gURLs wURLd (Nine), Hoopla Doopla (ABC), Lightning Point (Ten), Little Lunch (ABC), two seasons of Mako Mermaids Adult programs 83% 6% 6% 5% (Ten) and two seasons of You’re Skitting (1,811 characters) Me (ABC). Most were visibly recognisable Comedy as being of non-European background, 80% 4% 12% 4% rather than being identified through (428 characters) subject matter or storylines. And nearly all were young characters. Non-comedy (1,383 characters) 83% 6% 6% 5% Encouragingly, this comparatively high level of incidentally diverse casting 0 20 40 60 80 100 of young actors of mainly Asian and Based on 428 main/recurring characters across 48 comedy dramas and 1,383 main/recurring characters across 126 non-comedy dramas broadcast 2011 to 2015. African background presents Australian children with content that is a little more reflective of the reality of the Five per cent of characters were Australian population, in a context where identifiable as being of European non-European heritage is normal and background, the same proportion as unremarkable. It also bodes well for programs for adults. For the children’s increasing the talent pool of actors of dramas, almost all were characters non-European background in Australia, with German backgrounds from the two as long as roles continue to be available seasons of In Your Dreams (Seven), a to the young actors as they move out of gURLs wURLd (Nine) and series 2 of My children’s programs into ‘grown up’ roles. Place (ABC). Seven per cent of main or recurring The higher degree of cultural diversity – at characters in children’s dramas were least in relation to characters of non- Indigenous Australians, higher than European and Indigenous background – the five per cent for adult dramas. They means the programs have more potential appeared in two of the 25 programs – to both reflect children’s own communities My Place series 2 and Ready For This and expand their experiences of the world. (both ABC).

13 part 2: BENCHMARKING DIVERSITY

Comedy – laughing Culture in the foreground – ‘with’ difference insights into diverse cultures and experiences Like children’s drama, comedy programs broadcast between 2011 and 2015 East West 101 had more non-Anglo-Celtic characters amongst the main or recurring characters than other types of drama programs for adults. And also like children’s drama, the main difference related to characters of non-European background, who accounted for 12 per cent of characters in comedy programs compared to 5 per cent in other types of drama. However, comedies contained fewer characters of European and Indigenous backgrounds than other programs. With their specific cultural settings, Maximum Choppage and Jonah from Tonga (both ABC) accounted for around a third of all non-European characters across the 51 comedy titles. There were Although the majority of dramas Indigenous talent on both sides of the also many comedies that included one that feature non-Anglo-Celtic camera. It garnered high audiences, or two characters of non-European characters included them as ‘normal’ was critically acclaimed and won many background, such as At Home with Julia, or unremarkable in the communities awards. The program is considered This Is Littleton, Utopia and Please Like of their stories, there are some strong ground-breaking in bringing diverse Me on the ABC, and Danger 5 series 2, examples of programs that have representations of Indigenous culture Housos and Swift and Shift Couriers series broken new ground in exploring stories to a wide audience, including some 2 on SBS. Comedian Ronny Chieng, who actively focused on Australia’s rich previously unseen and strongly positive has an Asian background, featured in six cultural diversity. sides of Indigenous communities. comedies across the five years: Problems East West 101 (SBS) was a fictionalised The Principal (SBS) was set in a violent (ABC), two seasons of It’s a Date (ABC), portrayal of an actual multicultural and difficult boys’ high school in This is Littleton (ABC), Kinne (Seven) and crime squad of detectives based Sydney’s south-west, with students Stories I Want to Tell You in Person (ABC). in Sydney's western suburbs. The of Lebanese, Syrian, Polynesian, Indigenous Australian characters critically acclaimed and award- African, Asian and Anglo-Australian accounted for 4 per cent of main or winning drama ran for three seasons, backgrounds, including recently arrived recurring characters in comedies, compared and was developed with extensive refugees from war zones in the Middle to 5 per cent for other types of dramas. research (two members of the crime East and Africa. The central character Two programs accounted for the majority: squad acted as script consultants). Its was the new school principal, Matt 8MMM Aboriginal Radio and Black Comedy central character, Zane Malik (played Bashir (played by Alex Dimitriades), a (both ABC). Three other comedies included by Don Hany), was a Muslim detective second-generation Lebanese Christian Indigenous characters: Angry Boys, It’s a struggling to balance his role as a and a former student of the school. Date series 2 and Outland (all ABC). police officer with his connections to his While the students jostled and bristled culture and his community. The program with each other, their families, teachers, Characters of European background explored the post-9/11 world and the local community and the police, accounted for 4 per cent of comedy issues of crime and law enforcement in Bashir worked to reform the way the characters, a smaller proportion than multicultural Western Sydney through school dealt with the recurring conflicts, non-comedy. In both comedies and other the eyes of Malik. based on his firm belief that every kid types of dramas, characters of European deserves a chance. background tended to be included in Redfern Now (ABC) was the first drama programs with a mix of other characters, series written, directed and produced Challenges: rather than in stories specifically focused by Indigenous Australians. Comprising • Who should tell these stories? see on European heritage. A few exceptions two six-part series and a final telemovie, ‘Towards authenticity’, page 25 include the comedy Danger 5 (SBS) each episode told a separate story and non-comedies The Slap (ABC) and centred on the inner city lives of • Do viewers want to see such stories? Underbelly: Infiltration (Nine). predominantly Indigenous Australian see ‘Channelling the audience’ page 22, families. Redfern Now showcased and ‘The diversity dividend’ page 23.

14 part 2: BENCHMARKING DIVERSITY

2.2 Disability status Figure 8. Representation of people with disability among main/recurring characters in TV drama programs broadcast 2011 to 2015, compared to the According to the Australian Bureau of Australian population (2012) Statistics, 18.3 per cent of Australians (around one in five) had a disability in With a disability No disability 2012.14 Population 18% 82% By comparison only 4 per cent of the 1,961 main characters in Australian TV dramas broadcast between 2011 and 2015 were TV drama 4% 96% identifiably characters with a disability, or characters 71 characters in total. It should be noted 0 20 40 60 80 100 that this analysis did not request personal Based on 1,961 main/recurring characters across 199 TV drama programs broadcast 2011 to 2015. Australian population information about disability from actors; based on Australian Bureau of Statistics, Disability, Ageing and Carers, Australia: Summary of Findings, 2012 rather, it focused on the portrayal of disability on screen. Figure 9. Distribution of main characters with disability across the 199 Given that the rate of disability in the programs analysed population increases with age, the low representation of disability on-screen 199 programs may also reflect a focus on characters in 15 younger age groups. 71 main 90% of programs had Of the 71 characters with disabilities, characters 10 no main characters 25 were considered to have physical or with disability with disability sensory disabilities such as blindness, across 5 paralysis or amputated limbs, while 47 20 programs had psychiatric, neurological, cognitive 0 and/or intellectual disabilities (note that some characters such as Fish Lamb from Cloudstreet on Foxtel had multiple Figure 10. Occupational status of characters with identified disability compared disabilities). 77 per cent of characters with to characters with no disability disabilities were found in Neighbours (Ten) or Home and Away (Seven). With a disability (48 characters) No disability (1,489 characters) The portrayals of disability in the long- 35 running serials largely appear to be built 30 into storylines for dramatic effect and 25 to help drive ongoing storylines, rather 20 than characters with disability being a 17% 18% 16% 15% ‘normal’ part of the program’s world. For 15 13% 14% 13% example, central characters have had 10 8% 8% temporary disabilities such as memory 7% 7% 5 4% loss, blindness, paralysis, and psychosis. 2% 3% 3% 3% 0% 1% 1% 1% Others have had longer-term disability 0 Leader Legal Medical Professional, Manual, retail Cultural & Military Criminal Other Undefined written into their character, such as Susan office-based & small Sporting business Kennedy (played by Jackie Woodburne) on Programs analysed do not include children’s programs or sketch comedy. Analysis does not include 189 characters where Neighbours, who has developed Multiple occupational status is not applicable (eg students, children). ‘Undefined’ refers to roles such as family, friends, neighbours. Sclerosis and Doug Willis (played by Terrence Donovan) also on Neighbours, Other programs provide insights through For the titles that had main characters who has Alzheimer’s. a focus on the experience of disability with disability, those characters Although these characters and stories are through central characters and themes accounted for between four per cent primarily included for dramatic effect, they (see box page 16). and 38 per cent of the program’s main provide the potential to explore real-world characters. Looking at the distribution of experience of disability, both temporary characters by program, 10 per cent of Character status and long-term, with popular characters the 199 drama titles analysed included at for a mainstream television audience, and Compared to characters without disability, least one character with disability among the capacity to remove some of the stigma characters with disability had higher levels the main characters, or 20 programs in and limiting social attitudes towards of representation in the ‘Professional total. disability. or office-based’ and ‘Manual, retail and

15 part 2: BENCHMARKING DIVERSITY

small business’ categories. In the ‘Other’ “I feel passionately about this, not only because category, five of the six characters with disability were unemployed or retired. I'm a struggling actor with a disability, but also They appeared much less often than because the more disabled actors we have on our other characters in ‘Legal’ and ‘Medical’ roles, and there were no characters with screens, the greater impact we can have on people disabilities in roles as ‘Leaders’. Ernie Johnson, an army veteran with PTSD in with disabilities in our society. … If there had been Redfern Now (ABC) was the sole ‘Military’ character. more positive depictions of people with disability in Almost a third of all characters with the media when I acquired my disability as an 11 year disabilities were students, and so were not included in the analysis. Twenty-one old, I believe I wouldn't have struggled with my self- of these 23 characters appeared in Home worth as a disabled person as much.” and Away (Seven) and Neighbours (Ten), and experienced a range of physical and Daniel Monks, actor, writer, producer mental disabilities – some temporary, some recurring, and some permanent.

Insights into disability through central characters and themes

Although Fish is unable to communicate The character of ‘Mum’ in Please Like Me verbally, he communicates directly with on ABC (played by Debra Lawrance) has the audience as narrator of the mini- bipolar disorder and attempted suicide series. Dogs of War, the final episode of twice over the first two seasons of the Redfern Now series 2 (ABC) explored show. The program has earned praise the experience of post-traumatic stress from mental health professionals for disorder through the character of tackling these serious issues in a realistic Ernie (played by Ernie Dingo), a retired yet engaging way. The creator and main Army drill sergeant, whose screams actor in the show, Josh Thomas, has during the night from recurring dreams spoken publicly about wanting to expose of his time in the Vietnam War cause audiences to issues of mental health tension in his community. which are prevalent but rarely discussed: "This is a good thing for people to get a In the political thriller The Code series practice experiencing. You will probably 1 (ABC), Ashley Zuckerman plays a meet somebody who has attempted computer hacker, Jesse Banks, who has suicide, and it's hard to understand." autism spectrum disorder. While socially While the character is loosely based on challenged, Jesse has channelled his his own mother, who also has mental talents into mastering the online world. Please illness, Thomas has underlined the Zuckerman has spoken publicly about Like Me extensive levels of research the writers researching the role of Jesse, with the undertook, and the fact that Please Like A small number of TV drama programs help of ASteen, a support group for Me presents only one of many possible broadcast between 2011 and 2015 teenagers with high-functioning autism. portrayals of a complex issue. incorporated disability through central "There was often talk about characters or in-depth themes. the commitment to processes, the Challenges: inability to deal with change, the pursuit In the mini-series, Cloudstreet (Foxtel), • Who should tell these stories? see of their own desires. All the research based on Tim Winton’s acclaimed ‘Towards authenticity’, page 25 made me understand why Jesse can be novel, a near-drowning as a child left so manipulative at times, why he can be • Do viewers want to see such stories? Fish Lamb (played by Hugo Johnstone- so dogged, why he can be so unnerved see ‘Channelling the audience’ page 22, Burt) with severe mental impairment and scared." and ‘The diversity dividend’ page 23. and the capacity to experience visions.

16 part 2: BENCHMARKING DIVERSITY

2.3 Sexual orientation Figure 11. Representation of LGBTQI characters in TV drama programs and gender identity broadcast 2011 to 2015, compared to the Australian population The Department of Health estimates LGBTQI Others that 11 per cent of Australians are of diverse sexual orientation, sex or gender Population 11% 89% identity.17 By comparison, only 5 per cent of characters were identifiably LGBTQI, or 88 characters in total. TV drama characters 5% 95% Looking at the spread of characters per program, 27 per cent of the 199 dramas 0 20 40 60 80 100 Based on 1,961 main/recurring characters across 199 TV drama programs broadcast 2011 to 2015. Australian population broadcast between 2011 and 2015 based on Australian Bureau of Statistics, Disability, Ageing and Carers, Australia: Summary of Findings, 2012 included at least one LGBTQI character among the main characters, or 53 Figure 12. Distribution of LGBTQI main characters across the 199 programs programs in total. LGBTQI characters analysed comprise 62 male characters and 26 female characters (including two 199 programs transsexual/transgender). No characters 10 were identified as intersex. 88 LGBTQI 8 73% of programs In one program (Outland, ABC), the had no LGBTQI main main 6 entire main cast was made up of LGBTQI characters characters characters, but most (34 programs) had across 4 53 programs only one LGBTQI main character. 2 It should be noted that just as a 0 character could have a cultural background or disability that isn’t Figure 13. Occupational status of characters identified as LGBTQI immediately obvious, a character’s sexual orientation, sex or gender identity is LGBTQI (75 characters*) Others (1,462 characters) not always evident. However, our study 35 focussed on main characters where these characteristics generally appeared on- 30 screen in some way. 25 23%

Character status 20 18% 16% 14% 15% 15% LGBTQI characters were strongly 15 13% 11% 11% 10% represented in the medical occupations, 10 7% 7% 7% largely due to two recurring roles: nurses 5% 5% 5 4% 3% 4% 4% Aidan Foster in Neighbours and Kim 2% 2% 0% 1% 0% 0 Akerholt in Offspring (both Ten). Leader Legal Medical Professional, Manual, retail Cultural & Military Criminal Other Undefined office-based & small Sporting Around a quarter of the analysed LGBTQI business Programs analysed do not include children’s programs or sketch comedy. Analysis does not include 189 characters where roles fell into the ‘Manual, retail and occupational status is not applicable (eg students, children). ‘Undefined’ refers to roles such as family, friends, neighbours. small business’ category, including small businessman Kane and firefighter Tom from House Husbands (Nine) as well as LGBTQI characters in ‘Legal’ occupations Scotty Boland, Nate Kinski and Steph only represented 4 per cent of roles, Scully from Neighbours (Ten). compared to 13 per cent for non-LGBTQI characters. They included Janet King in Eleven per cent of LGBTQI characters Crownies and Janet King (both ABC) and were classified into ‘Cultural and sporting’ Stella Dagostino in Rush (Ten). occupations, four per cent more than non-LGBTQI characters. Characters from Carlotta (ABC) made up five of the nine roles in this category, with Peter Allen and Gregory Connell from Peter Allen: Not the Boy Next Door (Seven) also featuring.

17 Towards ‘normalisation’ and understanding

Janet King

Amongst the programs analysed, responses to homosexuality in 1950s all networks featured examples of Australia. According to writer Bevan characters whose LGBTQI status is Lee, it was supported by research into incidental rather than pivotal to the the lives of gay men and women in the storyline, and characterised as everyday 50s and interviews with senior members and unremarkable. These include Kane of the gay community. (played by Gytton Grantley) in House Carlotta (ABC) depicted the life story Husbands (Nine), Kim (played by Alicia of well-known performer and celebrity Gardner) in Offspring (Ten), Jonathan Carol Spencer (known professionally (played by Damian Bodie) in Winners as Carlotta), who was born male and & Losers (Seven), Franky (played by underwent gender re-assignment in the Nicole da Silva) in Wentworth (Foxtel), 1970s. The biographical drama shone and characters from Ready For This and a light on the world of cabaret and drag Dance Academy (ABC). queens in Sydney from the early 1960s, Both public broadcasters featured and Carlotta’s role in helping to shift programs headlined by a character who attitudes and promote understanding of was incidentally, rather than pivotally, transgender. LGBTQI – Janet King on the ABC and Please Like Me (ABC) navigated the The Principal on SBS. Wonderland (Ten) process of a young man coming out, explored the idea that sexuality is not and facing other difficult life challenges a gay/straight dichotomy through the associated with the first decade of character of Carlos (played by Glenn adulthood, with honesty, humour and McMillan), who did not see his previous empathy. The program’s resonance with experience with men as a barrier to his its audience was evidenced through growing relationship with Grace (played strong social media engagement and by Brooke Satchwell). returning seasons. Strong, authentic storytelling through Challenges: TV drama has also provided insights into the lives of LGBTQI Australians. A • Authenticity in storytelling, see Place to Call Home (Seven/Foxtel), for page 25 example, highlighted the attitudes and • Casting issues, see page 28

18 part 2: BENCHMARKING DIVERSITY

2.4 Diversity Figure 14. Cultural background of people working in screen production behind the scenes and television, 2011 Anglo-Celtic European Non-European Indigenous This section summarises the available data on diversity levels amongst the people working behind the camera – All industries 67% 13% 18% 2% broadly across the screen production and television industries and more specifically Screen 73% 15% 11% 1% those who have key creative roles in production/TV bringing TV drama to our screens. 0 20 40 60 80 100 Employment in the screen Source: Screen Australia analysis of ABS Census of Population and Housing 2011 industries According to the 2011 Census of Figure 15. Languages spoken at home among people working in screen Population and Housing, the screen production and television, 2011, compared to the Australian population production and television industries18 employ a lower proportion of people of Not defined / English only European languages Non-European languages not stated non-European background compared to the total Australian workforce. Australian 6% 76% 7% 11% population People working across the screen industries are also less likely than the People 1% 88% 6% 5% general population to speak a language working in screen other than English at home, according to industries 0 20 40 60 80 100 the 2011 Census. Source: Screen Australia analysis of ABS Census of Population and Housing 2011. Less than one per cent of the population Key creative roles speak Australian Indigenous languages at home. Screen Australia regularly analyses Figure 16. Indigenous key creatives credited on Australian TV drama the number of active writers, producers 2010/11-2014/15 and directors making Australian drama and documentary content. 5% Personal information about country of 8 (4%) 4% birth and country of parents’ birth is 3% 13 (3%) not comprehensively collected from 3% 5 (2%) Australian screen practitioners, so it’s 2% not possible to profile the cultural mix 1% amongst the people who have been bringing TV drama to our screens. 0% In the Australian As producers As directors As writers However, we are able to report figures for population Indigenous representation. Source: Screen Australia analysis of credits for Australia TV drama titles shot between July 2010 and June 2015. Indigenous directors and writers participate in TV drama production at a similar or higher rate than they appear in the Australian population (3 per cent in 2011). But Indigenous producers are under-represented.

19 Part 3. Challenges and opportunities

Mabo

This section draws on Opportunities interviews and surveys to As well as the challenges outlined in this is already being recognised in the present views and experiences section, the research identified a range of advertising sector. opportunities that could underpin moves from both sides of the • Online content, with its low costs, to better reflect Australia’s diverse low barriers to entry and capacity camera – actors, agents, communities on screen. to aggregate niche audiences casting directors, writers, • Decision-makers and drama internationally, shows the potential directors and producers – commissioners are open to power of niche or special-interest incorporating greater diversity in their content to reach large audiences. as well as broadcasters, TV drama slates – not just because It also offers opportunities for less industry associations, training it’s the ‘right’ thing to do, but because experienced creatives and performers they recognise that diversity opens up to build their profiles and demonstrate institutions, community opportunities to engage audiences with their talent. a vast range of interesting characters arts organisations and • Authentic stories and characters and storylines. advocacy groups. can inspire mainstream audiences • There are examples of successful to identify with ‘heroes’ of diverse Although the survey data reflects the programs across all networks that background, in the same way that views of the industry practitioners who both ‘normalise’ and provide authentic viewers of diverse background are chose to respond and should not be seen insights into many of our marginalised accustomed to identifying with as representative of the whole sector, communities. conventional Australian protagonists. it contributes valuable insights into the In this way, diversity not only has the • There’s growing evidence of a ‘diversity challenges and barriers to diversity potential to deliver large audiences dividend’, with domestic examples and faced every day by those involved in and commercial returns, it can also international studies establishing the bringing these stories and characters to generate connection and empathy, and success of programs that have found the screen. shift perceptions of ‘otherness’ within new ways to engage with diversity. the Australian the community. • The commercial value of diversity

20 PART 3. Challenges and opportunities

3.1 Commissioning and production One of the writers surveyed for this study summed up her experience this way: “Producers will use every excuse under the sun. From ‘there's no one good enough’ to ‘the network won't have it’ to ‘the experienced star actors can't work with such inexperience’. It makes things too hard. And the biggest one is 'the investors won't invest unless we have a big star' and of course there aren't many big stars from diverse backgrounds. Guess why? Because investors won't invest, networks won't take a risk, producers won't risk pissing off a network.” To facilitate diversity in commissioning and producing content, ideally there have to play to an international audience. would be: A central character in ‘Rest of world’ distribution advances • opportunities for broadcasters to The Code (ABC) is Jesse are making up more than 10 of overall commission programs from experienced drama budgets and it would be incredibly creatives with a range of different Banks, a character difficult to commission shows without backgrounds this financial support. • a diversity of backgrounds among with autism spectrum “Naturally, international distributors decision-makers as well as producers, disorder, played by Ashley are looking for the marketing hook – directors and writers including a stellar cast that can sell a • capacity within the market to develop Zukerman. show into multiple territories; but we and showcase diverse talent, both on- have to balance this with our need to screen and behind the scenes an average of 480 hours per year in the develop culturally and linguistically • a better understanding of how audiences 10 years up to 2010 to just 284 hours in diverse talent on screen. The reality of different backgrounds see themselves 2014/2015 with a five-year average of 317 is that there is a limited ‘CALD’ and find relevance in TV drama hours from 2010 to 2015. base of ‘lead’ Australian talent that characters and stories, and how to This tends to mean that there’s less can sell a show internationally – so harness the appetite for diversity in TV capacity for the networks to take risks on experimentation is a real challenge.” content new writers and lesser-known actors, as • recognition of the potential for diverse Surveyed writers, producers and directors the pressure is greater on each program content to engage large (and sometimes also acknowledged the networks’ to succeed. An unexpected impact of the untapped) audiences. concerns about potential viewer backlash so-called ‘golden age’ of higher-quality TV and poor program performance in Risky business production may be that work is more likely preventing greater diversity on screen. than ever to go to experienced creatives, TV drama is an increasingly high-cost and there are fewer opportunities for new Writer/producer: “Free-to-air networks and high-risk enterprise. With the high talent to be tested out. Regeneration of generally (not always) are nervous production values pioneered by US talent is a broad issue for the networks, about Asian, Indigenous and Muslim networks such as HBO and Netflix but it also limits opportunities to work storylines. Same goes for casting. setting new audience expectations and with people from diverse backgrounds Putting a cast member in a wheelchair trends towards binge viewing, Australian who have not yet proven their bankability. or having a stutter or a mental disability broadcasters are investing higher budgets is a battle, more so if the actor suffers a in shorter-run series. There is also a strong pressure to physical or mental disability.” supplement budgets with international The broadcasters still use Australian sales of marketable content, and stars, Some writers and producers saw this as dramas as major brand-building content that will appeal to global buyers of a particular barrier when working with to market their network and define its content. commercial broadcasters “because local presence, but series runs are getting ultimately, the business side of show shorter so total hours of production Chris Irvine, SBS: “We are in the business business means you have to ‘sell’ an actor have declined in recent years – series of producing distinctive Australian drama based on both their talent and how the and serials production declined from – but more so than ever, these shows

21 PART 3. Challenges and opportunities

audience will respond to them”. It was felt their culture or community. Audiences this was a kind of unconscious racism or of culturally diverse backgrounds, for discrimination, which made it “difficult to example, may be as likely to expect tackle the issue head on”. majority white casts in their television fare as any other group. Viewers from However, other practitioners were quick to non-majority backgrounds, be they praise the support they had received from Vietnamese, queer, living with disability broadcasters they had worked with in or any other form of difference, are likely relation to diverse characters and stories: to be well accustomed to identifying “No challenges from networks,” said with a mainstream protagonist or ‘hero’ one producer. “We've done projects that in television drama. The question is have focused hard to represent mental whether we can imagine mainstream illness, LGBTQI storylines and have been audiences to have the same levels of celebrated for it and encouraged in it.” agility and adaptiveness to also identify Channelling the audience with characters that are different from themselves. The drama that ends up on Australian TV screens is strongly influenced by Many of the commercial network what the creatives and decision-makers decision-makers we spoke to described believe will appeal to an audience, and the commercial imperative to appeal how that audience is defined. The question to a ‘broad audience’. It was difficult to of whether content is considered to be articulate exactly what gives a program ‘for’ diverse groups can have an impact Better Man (SBS) is broad audience appeal, but such a concern throughout the development process. reinforces the perceived need to cast based on the true story well-known actors to headline shows, and While OzTAM ratings provide gender, age to avoid taking risks with unconventional and geographic location breakdowns, of Van Nguyen. stories or characters. information about other forms of towards diversity on Australian screens diversity such as cultural background The charters of the public broadcasters, have changed since 2011, with more than amongst television audiences is not ABC and SBS, contain obligations to a third, including 45 per cent of producers, available. Assumptions about cultural reflect diversity and both were feeling they have changed significantly. background, disability status, sexual established to provide content for ‘all orientation and gender identity in relation The majority (70 per cent) also felt that Australians’. However, even for them, to television audiences may be influencing marketing considerations impact on the there is a sense that the difficulty in conversations about what audiences will level of character diversity and/or casting engaging audiences with challenging relate to, or ‘tolerate’, on-screen. decisions in their Australian TV drama content can weigh heavily. work. Almost half (45 per cent) regard As outlined in section 1.2, the Australian Rick Kalowski, ABC: “People talk about a them to be a primary consideration. population has a high level of diversity. 30 per cent discount in ratings for shows And Australians from all walks of life Given the low levels of diversity reflected featuring diversity.” experience diversity in their families, on screen, these findings suggest there Sally Riley, ABC: “A perception of workplaces and communities. Recent may be perceptions that the audience different or more challenging content social research points to a broad and the market have a low tolerance for can be: ‘our audience isn’t going to watch familiarity and level of comfort with diversity, which may be skewing content that/ it’s a bit heavy.’ The ABC has a huge multiculturalism among Australians, and a away from greater diversity. By contrast, untapped audience – very important for view that they wanted to “do more to learn the people in advertising we spoke to the national broadcaster. Shows like about the customs and heritage of ethnic for this study referenced lost market Black Comedy have done really well in and cultural groups in Australia”.19 opportunities in an industry that was not Western Sydney.” culturally relevant to audiences. Almost all (93 per cent) of the writers, The ABC is developing a greater producers and directors who responded Thang Ngo, Managing Director at awareness of diversity as a strategic to the survey consider their audience to IDENTITY Communications, a priority and SBS is aiming to appeal be diverse. The majority (78 per cent) also multicultural marketing business that is both to communities represented – for felt that audience considerations influence part of IPG Mediabrands: “Commercial example, by subtitling local content such the types of characters and/or casting opportunities are being lost. Diverse as Once Upon a Time in Cabramatta into decisions in their Australian TV drama audiences are increasingly being taken key languages and simulcasting First work. Almost a third (29 per cent) regard seriously as consumers. It’s carving out Contact on NITV along with SBSOne – and them to be a primary influence. another mainstream.” to a broader audience. There was also agreement (80 per cent) Of course audiences’ viewing decisions that audience attitudes and expectations are not necessarily driven solely by

22 PART 3. Challenges and opportunities

The ‘diversity dividend’

As noted above, there’s a perception amongst some network executives that audiences are less willing to engage with content that they perceive to be ‘worthy’ – content you watch because it’s good for you rather than for entertainment – colloquially known as ‘broccoli TV’. Some of the content built around stories of diversity might be seen this way. However, it’s also acknowledged that the opposite is also true, and there’s a growing case for recognising the ‘diversity dividend’. • Redfern Now (ABC) reached much higher audience levels than anticipated for a program made by, for and about Indigenous Australians. Series 1 Series 1 of Redfern Now (ABC) averaged over averaged over 1.1 million viewers nationally20, showing an embracing 1.1 million viewers nationally. of authentic Indigenous stories by • The Code is also amongst the Many of the top-rating Australian mainstream audiences. highest-selling Australian dramas dramas on free-to-air television in • Black Comedy (ABC) performed internationally in recent years, with 2015 included diversity in characters, exceptionally well on social media sales to the Sundance international actors and/or storylines. Peter Allen: and YouTube. The Indigenous sketch channels, ARTE, the BBC, Danmarks Not the Boy Next Door (Seven), which comedy reached over 6 million people Radio and RUV Iceland. profiled one of Australia’s biggest on Facebook, capturing some often musical stars, who also happened to be • Other internationally high-selling dramas unreachable audiences for the ABC gay, was the no. 2 program, with 2.273 also have diversity at their centre. The – such as teenage boys and people in million viewers; Love Child (Nine), at no. Principal (SBS), set in a multicultural Sydney’s western suburbs. 6 with 1.545 million viewers, featured an boys’ school and featuring strong cultural Indigenous main character; Home and • Please Like Me (ABC) centred on the diversity as well as a gay main character, Away (Seven), no. 9 with 1.351 million story of a young gay man coming made strong sales to Sundance viewers, incorporated storylines around out and also featured strong themes international channels and Netflix, which mental health and physical disability; around mental illness. Before the first will distribute to the rest of the world and House Husbands (Nine), no. 10, with season went to air in Australia, it was in 14 languages. And The Slap (ABC), 1.294 million viewers, featured main picked up by US digital cable channel based on the book by Christos Tsiolkas, actors of Lebanese background and gay Pivot, which launched a social media which had significant ‘incidental’ cultural characters.22 website for viewers to share their diversity amongst its characters, sold personal experiences of issues raised to the BBC, and following that ARTE in While diversity may not have been at in the program, and went on to co- France and Germany and virtually every the centre of all these programs, it was commission the second series with the territory worldwide, including to DirecTV certainly visibly present, and clearly did ABC. Locally, the program generated in the US. not compromise their performance. a high level of online engagement and • And the Australian web series Starting As mentioned on page 22, the compatibility with evolving viewing from … Now, made in response to the advertising industry is seeing the patterns. lack of authentic drama featuring lesbian commercial opportunities, with diverse • Political thriller The Code (ABC), characters on TV, has had over 20 million audiences increasingly recognised as which had a central character with views worldwide. It has been praised by a significant proportion of consumers. autism spectrum disorder, as well as fans for its portrayal of characters who With a proliferation of new platforms and main characters of diverse cultural just happen to be lesbian, dealing with ways to watch, and strong engagement backgrounds, averaged over 1.1 issues of everyday life. with more diverse content on these million viewers nationally.21 It also platforms, the traditional Australian TV Australian TV ratings also show that far engaged with non-traditional viewing drama players are becoming increasingly from turning off, audiences are embracing behaviours, generating high levels of aware of the value of diversity to their programs that incorporate diversity. catch-up viewing. bottom line.

23 PART 3. Challenges and opportunities

Who’s pitching diversity? the 25-39 year olds. We are missing them.” While some writers and producers spoke of broadcaster resistance to stories Online drama can also be more containing diversity, some of the network experimental and take more risks, drama heads claimed that projects that including appealing to more niche reflect diversity aren’t coming through audience groups. their doors in the first place, and suggested Rick Kalowski, ABC: “Niche is ‘catnip this was a result of few people of diverse for diversity’. Niche audiences can be backgrounds coming into the industry. devoted audiences. Please Like Me, for However, there may also be an issue of example, received international acclaim, self-censorship, with writers not including and performed well on iview, especially diversity in a script because they anticipate with younger audiences. It had great it being rejected. Those working closely social media engagement.” with under-represented communities There are downsides to this also described a common perception that The Elephant Princess fragmentation, however. If people commercial TV sector was “not for them” feel Australian television is not and they saw no place for themselves in it. from… Now, for example, has had over catering for them, and switch over to Such sentiments may be sustaining a self- 25 million views worldwide – many in online viewing or multilingual satellite limiting division between worlds. the US – and was able to cross over from channels to find the content they One of the key problems maintaining this YouTube to a commission for SBS2. Some want to watch, this is not just a loss division may be the relative homogeneity of our consultees, particularly those of audience – and ad revenue – for the of the media industries (see ‘Diversity working with CALD creatives, have noted broadcasters. It also means we lose the behind the scenes’ page 18). that younger practitioners of diverse important integrating effect of free-to-air background don’t see network television broadcasting, with its opportunities for Neil Peplow, AFTRS: “CALD practitioners as being ‘for them’ and they prefer the shared conversations and insights into are already trying to prove themselves level of creative control they have online. unfamiliar communities and experiences. against a bias – they have to push harder. The opportunity to generate engagement Pino Migliorino, Cultural Perspectives, Sally Riley, ABC: “We need diverse people with more diverse content was seen as multicultural marketing and on decision-making panels – working particularly pronounced among young communications consultant: “We are as producers, and at funding bodies people, who are turning away from TV now in an era of choice media. Previously and broadcasters. The sense of a content towards online. we had limited choice. NESB homes are ‘great story’ is often ‘I can relate’ and if watching satellite TV. They have moved decision-makers can’t see themselves Travis Cardona, SBS/ NITV: “There is a from cultural consumers to cultural they aren’t going to choose it.” huge appetite for content from young maintainers and it is shifting from an people from minority groups.” Expanding opportunities issue of preference to an issue of identity. online Sally Riley, ABC: “They are finding stuff Unless we start reflecting our diversity, online – especially the younger audience, we will not create an inclusive society.” The low barrier to entry of online production, and its immediate relationship Challenges for content commissioners to audiences, contrast with many of the constraints affecting TV drama. Many • TV drama is expensive to make and warrant programs produced ‘for’ them. online productions are able to reach audience appetites have led to a • There’s a perception that audiences very high audience numbers through reduced volume of higher-cost, shorter- and the market have a low tolerance for aggregated international niche or special- run programs, so there are limited diversity, especially when they perceive interest groups. Some of Australia’s most opportunities to take risks with writers it to be ‘worthy’. successful YouTubers in the comedy space and actors who have not yet proven include names like Natalie Tran, Ronny their bankability. • On the other hand, audiences that Chieng, the Philippou brothers, and Jewish don’t find content that’s relevant • International investors and the South-African Troye Sivan. to them may move away from need for broad audience appeal broadcast television to online or Many people we spoke to suggested tend to prioritise established, multichannel options. that online was much more diverse in well-known actors. terms of practitioners, content and the • Real or perceived broadcaster • There is a commercial imperative to kinds of audiences they can build around resistance to diversity may be focus on audience size, and a perception content that may not be perceived as preventing diverse content coming that Australian ‘niche’ audiences are ‘broad’ enough for network television, at through the door in the first place. not large enough in themselves to least initially. The online series Starting

24 PART 3. Challenges and opportunities

3.2 Writing for diversity Across the industry, there is consensus that a more representative version of Australia will come through both stories that draw on diverse cultures and experiences to create compelling drama, and those that ‘normalise’ diversity with the incidental use of diverse characters in everyday roles. While there are differing views about how these stories should be created, all parties agree – from major networks to community arts organisations – that a ‘tick a box’ approach to writing-in diversity for the sake of it is not the way to create meaningful or engaging content. Everyone agrees with the bottom line that it has to be ‘great drama’. Wentworth (Foxtel) features several actors of Views on how great drama should be diverse cultural backgrounds. created tend to differ depending on part of society can also be communicated • effective collaboration through where you sit in the industry. Drama where a character from a minority cultural partnerships and consultation with can be created about particular background is written into a story that communities communities – and there seems to be a does not revolve around cultural diversity. new appetite for this as a source of new • a greater level of comfort and confidence The character of Sophie Wong in Winners stories – but the extent to which people around incorporating diversity into & Losers (Seven), for example, has a believe they should also be created by scripts. Chinese background, which, although or for those communities appears to differ it helps to inform the characterisation, Towards authenticity across the sector. is entirely incidental to her narrative The perspectives of people who work Stories focusing on diverse communities journey and the story arc of the program. regularly with diverse communities, at can provide insights and enhance Interestingly, the character is played by organisations such as Accessible Arts, understanding. Redfern Now (ABC) is Melanie Vallejo who has Filipino, Spanish ICE, Curiousworks and NITV, tend to one example, set in Indigenous and Ukrainian heritage.24 emphasise the importance of authenticity. communities, made by Indigenous This study focuses on main characters – They see the genuine involvement of filmmakers, with Indigenous actors those that appear in most episodes – as creatives who have personal experience of playing Indigenous characters; or Please they are the dominant characters that the cultures and issues portrayed – who Like Me (ABC), in which writer and star drive audience engagement. But it should get the specifics of the ‘whole story’ – as Josh Thomas presents the somewhat be noted that there is also a role for vital to the credibility and relevance of the autobiographical experiences of a young normalising diversity through the choice of work. man coming out as gay while negotiating guest and background characters. his mother’s mental illness. Shakthi Shakthidharan, Curiousworks: To facilitate writing for diversity, ideally “‘By’ a community is the best business A sense of diversity may also come there would be: model for world-class content – it’s how through more subtly when actors who the market responds. Stories must be are identifiably from a non-Anglo-Celtic • a range of stories that provide insights authentic to communities. Scripts need background are cast in roles that have no into diverse communities and life specificism: a sense that ‘the people who relationship to their own cultural heritage, experiences, as well as those that are writing this, get all of this'.” such as the character of Franky Doyle in ‘normalise’ diversity by including it more Wentworth (Foxtel) played by actor Nicole incidentally Sofya Gollan, Accessible Arts NSW, now da Silva, who has Portuguese heritage.23 development and production executive • authenticity as the basis for all In cases such as this, the audience may at Screen NSW: “Most stories are told characters and stories or may not be conscious of the actor’s by people with little or no experience of cultural background when they engage • opportunities for writers with personal disability. Those stories are then hugely with that character. experience of the cultures and issues influenced by the prism of that person’s portrayed perception. How do we enable people A similar picture of diversity as a ‘normal’ with disabilities to make stories?”

25 PART 3. Challenges and opportunities

Among respondents to our survey professional writers should be entrusted from the production of ‘leave it to casting’ of practitioners with disability, some to create characters for any background. or general apprehension about rocking the had no problem with ‘anyone’ telling boat with the network were also cited as Some reported a lack of support in the stories about characters with disability, reasons writers feel they are not always writer’s room when diverse characters provided the characterisation was treated encouraged to include characters from and stories were pitched. There is a fear with respect and authenticity. This at diverse backgrounds in their scripts. This of writing what you do not understand least would allow mainstream audiences concern was also raised by others; see and looking novice. When opportunities to to gain some insight into the lived ‘The talent pool’ page 29. tie diversity to the storyline are limited, experience of disability. writers may try to encourage diversity Writers were also conscious that including However, the majority were not in favour. through particular character names; diversity late in the process can feel There was an attitude of ‘nothing about however, this was reportedly sometimes tokenistic. Some commented that the us, without us’, with many tired of others erased through the casting process. story itself often dictates how much writing about them and a desire and drive diversity can be organically included, One writer felt that “script producers to get their own voices out there. with obvious constraints on productions tend to automatically storyline for white such as those based on real people or Kath Duncan: "We need opportunities. Anglo-Saxon characters” and noted that events, with period settings, or when new Our stories and inputs are fantastic. We on productions where they are essentially characters need to be biologically related want to be productive in the industry and guns for hire, they are required to write to existing characters. we don't get any chance to show what what they are told to. we can do." Several writers had received pushback Alix Lee, writer: “‘Leave it to casting’ on including LGBTQI characters in their One outcome of a greater level of is a request I’ve heard a lot in the scripts: “I have also heard on a couple experience and personal comfort with development room (from producers of occasions that LGBTI characters will diversity may be a more naturalised and battle-weary writers)... Basically be off-putting to a mainstream audience, sense of where it can sit in stories – as we create a white, Anglo world and then although, gratifyingly, I've been hearing a reflection of everyday diversity – cast an occasional non-white face to this less and less.” Others noted the rather than reverting to stereotypes. operate within that world. I'm talking characters they pose in relationship-based The background of a character may be network TV here but also selling to dramas "are limited to what characters incidental to the main narrative and international markets. The advice is they can hook up with”. Another felt that characters’ journeys, or it may provide a clear from producers: the mains have “when it comes to LGBTI representation, rich source of additional stories. to be white.” there tends to be much more willingness Travis Cardona, NITV: “Real diversity is TV drama producers and directors to represent the ‘G’ and (to a lesser extent) people from different backgrounds doing generally agreed that diverse casting the ‘L’ than any other letter, but there everyday things and playing leads.” is easiest when it is tied to the story. is still a lot of fear around representing However, producers commented that characters with non-binary gender Shakthi Shakthidharan, Curiousworks: there often isn’t enough diverse talent with identities or more fluid sexualities.” “The problem with current approaches experience from which to cast, an attitude to diversity on screen is that they feature the ‘same kinds of stories’ with people with different coloured skin in them. We need to aspire to the most interesting stories told as authentically as possible with the best talent from those communities. I have no doubt we will find ‘world class’ talent.” This kind of outcome is arguably what is emerging after many years of focus on resourcing the development of Indigenous storytelling voices (see ‘Long time coming’ page 12). Getting diversity into the script Some writers who responded to the survey agreed that in order to be authentic, stories should come from a close Danger 5 (SBS) is a comedy set in the 60s about a group of association with the lived experiences of characters. Others asserted that spies from different countries on a mission to kill Hitler.

26 PART 3. Challenges and opportunities

However, writers also acknowledged that commercial networks were becoming more open to stories focusing on diverse characters, even though restrictions may still be placed on exactly how diverse the characters could be. The importance of research and consultation Ideally, productions would bring in script consultants or advisors to project development and writers’ rooms when developing characters and storylines from specific backgrounds. Writers, producers and directors who had worked on Australian TV drama projects since 2011 featuring diverse characters in the scripts were asked whether they’d had the opportunity to undertake any research or consult with members of that Outland community as part of this process. Among the TV drama writers who Some in the industry describe these not the problem. They tend to be trying responded, 62 per cent had undertaken relationships as highly constructive and to find stories that they then put other research and around half (52 per vital to bridging current divides between people on to write and develop. I can’t cent) had consulted with members professional experience and deep cultural see the benefit to the community in that of the community. A third of all TV knowledge. model. We’re looking for ways to develop drama producers or directors had also models of legitimately recognised Bevan Lee, writer: “In creating the gay undertaken research and consultation. creative input. This was ‘too big an idea’ characters in A Place to Call Home, I 4-5 years ago but we are now being Kristen Dunphy, writer: “I always researched the lives of gay men and approached by producers who seem to undertake research for these women in the 50s and also spoke have the right approach to collaboration. characters unless I have direct to some senior members of the Gay The conversation has progressed.” personal experience already. I've only community.” once been paid to do it. But mostly it's Alastair McKinnon, ABC: “ABC has a at my expense. I find many writers Challenges for creatives consultation process but it’s not formal, don't bother because the expectation – writers, producers, more relaxed. But for anything culturally directors isn't there and I believe it should be. or religiously specific they must consult. My approach doesn't differ when the It’s incumbent on the writers to do it as • Getting the balance right around who character is in a less major role.” part of the research process.” can write the stories Niki Aken, writer: “I’ll contact friends However, there was also hesitation • Building realistic diversity into with relevant lived experience and from some about the level of credence storylines where relevant, and reach out to online communities. given to the advice of consultants and keeping an open mind about character While this effort always pays dividends whether there is enough authority for the backgrounds to encourage diverse it’s not included in the budget. Yet on consultants in this model to have true casting many shows I’ve worked with paid influence on outcomes. consultants with other expertise – • Having confidence that scripted lawyers, cops, scientists, etc. The Community arts organisations ICE and diversity will not fall away as projects problem with assuming writers will do Curiousworks both suggested that they move to casting and production this research into diverse communities were seeing new levels of interest from • Ensuring proper collaboration and off their own bat is that our writing the industry in accessing new story ideas consultation to avoid tokenism and schedules so rarely allow for it. So when from diverse groups, but both were keen to stereotyping the choice is between a) a tokenistic see a role for the community beyond being representation due to time constraints, the source of story ideas – in the form of a • Recognising network concerns and b) excluding a cultural group so as genuine collaboration. about risk without self-censoring; to not offend ‘by getting it wrong’ – the meeting them head on to pitch and Shakthi Shakthidharan, Curiousworks: evidence of the more favoured path is create audience-engaging drama that “We get a lot of interest from production writ large on our screens.” naturally reflects Australian diversity. companies and networks – interest is

27 PART 3. Challenges and opportunities

makers were not willing to take a risk or Peta Sargeant. They don't want 3.3 Casting and or cast creatively. to risk an unknown diverse actor in a main role… Casting unknowns in a performance One writer noted an intention to include lead or those with less experience is a The diversity of on-screen talent that a deaf character in the following season huge risk to a show.” brings stories to life on television depends had they been picked up, and as long as on a range of factors, including: a deaf actor could be found for the role. For actors with a disability, there are • the talent pool of actors, their skills and But he/she felt that the casting was also issues around accessibility and ‘star power’ – and the opportunities that likely to be overturned by the network support. Many respondents to our any individual actor has to develop these or producer. survey acknowledged the limitations attributes their disability can place on their There can be a chicken and egg cycle, • decisions about who can play what, physical capabilities when working. as broadcasters and producers mitigate including assumptions about what Filming locations may not be wheelchair risk by preferring to cast actors with audiences will relate to; and implications accessible, for example, or an Auslan experience and a proven track record, the for the production as a whole. interpreter may be required. majority of whom do not have disability Julie McGauran, Seven: “Some roles may and come from Anglo-Celtic backgrounds. In addition, societal pressure to not call for a specific ethnic or cultural Meanwhile the small number of actors transcend the disability and “approach background, but casting an actor from from diverse backgrounds entering work as if it were no impediment at all” a diverse background can allow for the industry cannot improve their craft has for some meant concealing workplace the development of richer storylines and gain the experience needed to take difficulties and caused confusion about exploring that aspect of the character.” on leading roles unless they are given how best to contribute. Many felt that a opportunities to work, the lack of which supportive working environment could To facilitate casting for diversity, ideally may result in them either leaving the generally counter most obstacles. there would be: industry or moving overseas, which in turn • enough diverse talent to stimulate the Jess Kapuscinski-Evans, contributes to the small pool of diverse creation of characters, including lead performance artist and singer: “If a talent within Australia. cast – with minority actors as ‘bankable’ production team has a line in the budget as any other actor, once established Sarah Walker, writer: “Producers are for access, then measures can be • a talent pool deep and mature enough now very motivated toward diverse taken even within funding constraints, (and a production environment open casting but they also want actors who and can be applied from the smaller enough) to enable characters with a have an existing profile and name – independent arts makers, right through scripted background to be played mostly Miranda Tapsell, Leah Purcell, to the Melbourne Theatre Company and by actors of the same background Deborah Mailman etc, or Don Hany, Hollywood.” • actors from diverse backgrounds able to – and encouraged to – freely audition for and be cast in any role where ethnicity or minority status is not specified • a production environment that accommodates research, consultation and support for diversity. Barriers to diverse casting While many producers and directors felt that ensuring on-screen diversity was an essential part of their job, others felt there was still some resistance to putting ‘brown’ faces on TV. One director noted: “The part of a Chinese character on a production for a commercial network was reduced from a minor ongoing character to a non-speaking extra. This had nothing to do with the actor's prowess or lack of, it was done simply because the character and actor was Chinese and considered to lack appeal because of that.” Peter Allen: Not the Boy Next Door (Seven) profiles one of The shortage of opportunities for actors with a disability was also noted. Decision Australia's biggest stars, who also happened to be gay.

28 PART 3. Challenges and opportunities

The talent pool Figure 17. Number of actors indicating their availability for casting as characters Many network drama heads expressed from various cultural backgrounds (not including Caucasian) by age and sex the desire to cast more diverse actors Female 0-12 Female 13-18 Female 19-40 Female 41 and up in roles but claimed that the talent pool of experienced actors in Australia was Male 0-12 Male 13-18 Male 19-40 Male 41 and up relatively shallow.

Jo Rooney, Nine: “If an actor has the Aboriginal / 48 screen presence and the craft skills, Torres Strait Islander their background doesn’t matter. It’s 29 about skills, and the pool is limited. There needs to be a balanced ‘palette’ Pacific 100 and chemistry within the palette for Nations each show.” 106 Writers and producers also commented on a perceived small pool of experienced 287 Asian talent from diverse backgrounds in 156 Australia from which to cast. Male producer/writer 40-49: “Casting actors from certain multicultural Indian and 75 Sri Lankan backgrounds that have the skills as an 66 actor to carry off roles [is a challenge]. This is after having battled through the writing to keep that detail in the script.” Middle 109 Eastern Female producer 50-59: “The pool of 104 available Asian actors is quite small in Australia, although this is increasing African and 61 every year.” African Background This includes Indigenous Australian 40 actors, who one producer felt were “always working and hard to book!” – a Central 142 and South possible consequence of the focus on American developing Indigenous production in 116 Australia over many years (see ‘Long time coming’, page 12). Eastern 152 Reality check: How many actors European 100 are available to play culturally diverse characters? Southern 353 While many actors’ agents acknowledged European / Mediterranean that the majority of their client base is 294 Anglo-Celtic, they all represent actors from European and non-European Western 781 backgrounds and all but one had and pan European Indigenous clients. The majority (82 per 582 cent) could also identify LGBTQI clients on their books, and two represented actors New with a disability. Zealand 303 and South Nick Buckland, AAA Talent, SA: “We African 204 believe that actors are employed to represent people of the real world as 0 100 200 300 400 500 600 700 800 well as fantasy. For that reason, as many diversities as exist in the world need to Source: Screen Australia analysis of data provided by Showcast. Notes: Performers who nominated multiple ethnicities are counted in each nominated cultural group. be present on our books, even though the Performers whose age range spanned multiple groups were placed into the age group containing the majority of their age range. call for them may be sporadic. The ability 25 performers did not indicate a gender, and 15 of these did not select an age range or ethnicity. They are excluded from this analysis. to act precludes no-one by virtue of their

29 PART 3. Challenges and opportunities

ethnicity or physical ability. The ability diversity in the acting cohort since 2011. to act is only determined by an NIDA is now encouraged to look for appropriate blend of talent and skill. diversity in its intake, and is consciously The selection of talent for a role is using ‘positive discrimination’ in selection determined by that ability, availability – for example by providing more time and suitability for the role.” and support to someone of an under- represented background who displays less If a producer wants an actor with confidence in auditions. Middle-Eastern background, for example, what are their options? We analysed the Di Drew (NIDA, Screen): “We ought to 13,000 performers listed on Showcast, be reflecting the people turning on the an industry database that allows those TV out there. We need to normalise listed to nominate ‘ethnicities’ they can difference… We are supporting young play. After classifying these ‘ethnicities’ actors from diverse backgrounds with into 11 cultural categories, we found the skills and a sense of their own political following results. identity – and encourage them to look for roles beyond the stereotypes – to play Some performers made a conscious doctors, judges etc.” decision not to indicate ethnicity – just under 20 per cent of those currently Ready For This (ABC) There are also opportunities for actors listed in Showcast did not select any to demonstrate talent and build profile in ethnicities in their entry. Around a quarter follows the lives of six other media, particularly online. of the actors who did select ethnicities Indigenous teens as they Who plays what? nominated more than one. And 58 per cent of the actors who nominated follow their dreams. Towards authenticity – casting ethnicities selected only ‘Caucasian’ – actors based on their background Change is afoot a term that has different meanings in Where a script specifies a character different contexts, and in the casting All the decision-makers and drama with a particular cultural background world is a generalised term for people of commissioners we spoke to expressed or disability, seeking an actor with the Anglo-Celtic or European origin. Three interest in casting greater diversity. same attributes is the logical approach to quarters of all actors who nominated In the words of ICE Screen Cultures casting the role. ethnicities included ‘Caucasian’ as one producer Barry Gamba, “There are lots of of them (we have omitted ‘Caucasian’ indications of goodwill. We now need to However, the small pool of talent from from the figure so that the patterns translate goodwill into opportunities.” specific backgrounds means roles among less commonly listed ethnicities are sometimes cast from outside the In terms of developing the next generation are more obvious). particular group. This both frustrates of actors, representatives of major acting actors from those backgrounds looking The vast majority of actors who school NIDA claimed there had been for work and opens up questions around nominated ethnicities were in the a ‘discernible difference’ in the level of authenticity. 19-40 age range and generally, women outnumbered men. The analysis shows, Figure 18. Proportion of writers who reported writing a character that was for example, that 104 men and 109 women ultimately cast with an actor of a different background from the one they’d have indicated they can play Middle written, in one or more TV dramas since 2011. Eastern characters aged 19-40; 29 men and 48 women can play Written as Aboriginal/Torres Strait Islander ... Indigenous 22% characters in this age group, 156 men and Australian 287 women can play Asian characters, ... of European and 294 men and 353 women can play background 65% Southern European / Mediterranean characters. Several cultural groups ... of non-European 70% background contain fewer than a dozen casting options in younger and older age groups. ... with disability 91% It must be noted that this analysis does not assume suitability for a particular role … as LGBTQI 90% on the basis of a performer’s nomination to play that cultural background, as there 0 20 40 60 80 100 are many factors involved in selecting the Based on responses from a total of 27 writers. Number varies for each group based on the number who reported such right actor for any role. characters in their scripts.

30 PART 3. Challenges and opportunities

One actor commented that this felt like a double standard when compared with Indigenous casting. We are rarely tolerant of non-Indigenous actors being cast in Indigenous roles but we are not as concerned about substituting one Asian ethnicity for another, which may be offensive to many Asian Australians. Another actor reported learning multiple Asian languages to increase employment options. Similarly, according to respondents to our survey of practitioners with disability, working with people who have a disability is perceived as risky, which not only prevents them from being put forward for characters with disability but also from being considered for general roles. One hearing-impaired practitioner noted Kung fu comedy Maximum Choppage (ABC) is set in the that filmmakers may occasionally seek advice on the use of Auslan in their multicultural Sydney suburb of Cabramatta. projects, but generally prefer to use both the industry and audience place on Actors’ agents cited a general shortage hearing actors for Deaf characters instead authentic Indigenous casting. of roles open to any ethnicity as the main of Deaf actors. barrier to getting clients from diverse Similarly, the results were predictably Mija Gwyn: “Casting agencies and backgrounds cast in Australian TV drama, high for both LGBTQI characters and producers often cite a lack of suitable particularly leading roles: “The lead roles characters with a disability, underscoring Deaf talent as the reason for their refusal are still almost always white – diverse the low proportion of characters cast from to work with Deaf actors. However, they actors tend to be given the bit parts within those communities. rarely attempt to network or consult and supporting roles – the friend of the with the Deaf community in order to Examples of actors playing characters lead.” One agent noted the practice of find suitable talent. The intent of their with backgrounds different from their representing ethnicity by casting Anglo- inclusion of a Deaf character is usually own are not uncommon. Actress Andrea Celtic actors with darker hair still occurred due to the novelty value of Auslan and/or Demetriades, who has Greek/Cypriot but was becoming less common. the Deaf community rather than genuine heritage, was first cast as a Palestinian Several agents, however, had experienced inclusion or an attempt to portray Muslim lawyer in Crownies/Janet King no discrimination at all, and children’s diversity; they instead portray one (ABC) then as a Lebanese teacher in casting was already considered to be dimensional stereotypes that do further The Principal (SBS); Peta Sergeant, of quite diverse. Others felt the situation damage to Deaf people's ability to find Malaysian and Irish descent, was cast was improving and it was becoming work in the field." as the Filipino-born Rose Porteous in more common for ethnic diversity to be House of Hancock (Nine); and Vietnamese An agent representing a client with a encouraged in briefs. characters were played by Filipino actors in disability commented that on the rare Maximum Choppage (ABC). The character Many producers and directors were keenly occasion an appropriate disabled role of Carlos in the series Wonderland (Ten) aware that creating opportunities for comes up the client is overlooked, even was changed from Argentinean to Brazilian ‘colour-blind’ casting was an essential when pitched. Auditioning actors were when Brazilian-born actor Glen McMillan part of their job and something they were left unsure whether the subsequent was cast in the role. Most creatives in our actively working hard at. rejection was based on their disability or survey acknowledged at least one instance performance. Male director 60+: “I have, on many of ethnicity substitution between character occasions been encouraged/directed/ To gauge the scale of this issue, TV drama and actor for both European and non- commanded by producers or executive creatives were asked whether characters European characters in their work. producers to cast a role from a non- of a background specified in the script ‘Blind’ casting – opportunities for Caucasian pool even though that role had had gone on to be cast with an actor from diverse actors to play any role not been written for a non-Caucasian. a different background in one or more of The same is true for gender. But less the TV drama projects they had worked There is also a feeling that actors from so for LGBTQI and disabled (i.e. I have on. Unsurprisingly, the results were low minority backgrounds should be able to never been directed to blind cast from for Indigenous characters (though not play any character where the background these areas).” non-existent), highlighting the importance is not specified in the story.

31 PART 3. Challenges and opportunities

There was some acknowledgement roles. About two thirds (64 per cent) could overlooked for roles or considered not that diverse casting was much easier say the same about Indigenous actors. a right fit: “I find there is a stigma still to achieve “if it is written into the script Only 27 per cent of agents reported that attached to out gay actors; comments are and the story world. I think we are actors identifying as LGBTQI had been often ‘too gay’. And when a gay role comes still not thinking about diverse casting sought out for general roles; however, this along I find most of the time the actors unless it is specified in the script”. One may be because sexual orientation is not who are auditioned and who win the role producer/director commented that “in as visibly tied to the casting process as are in fact straight.” my experience we naturally assume ethnicity or simply be a result of actors not Among the actors, one commented: all characters are straight and white disclosing their status. Unsurprisingly, the “the opportunity to audition for a non- unless otherwise stated in the script. proportion of agents who had been asked ethnically specific character is so rare It's important that we change this initial to put forward clients with a disability for that this question almost doesn't even assumption about characters and provide general roles was also low (27 per cent). apply”. Another felt that in cases where greater diversity for the audiences that we Female agent: “They may request diverse there is no mention of ethnicity in the purport to represent”. actors once in a blue moon but as a rule script “it is generally presumed that the However, as noted in section 3.2, some – they don't.” role is considered white… Only when a role writers commented they did not always is specified as ethnic, is an ethnic actor Female agent: “Children's drama is very have the opportunity to influence the cast for the role.” And another felt that diverse but network TV will only rarely casting process and that a ‘leave it to characters of a non-white background are colour-blind cast. The character usually casting’ attitude from the production team rarely cast in roles that have enough depth has to be written as diverse before they was impacting on their ability to bring to be tied to the main story line. will see anyone not white.” diversity through in the story. However, one Indigenous respondent Most agents had also actively proposed Practitioners with disability felt it felt a sense of freedom in not being cast actors from diverse backgrounds for was far more likely that a filmmaker as an Indigenous character: “While general roles when the brief allowed. would cast actors with disability if they working on a web series I was offered However, almost half the agents reported had a disability themselves. “Having the opportunity to claim a heritage set in negative responses from producers or knowledge of the capabilities of people a future population…(this) was one of the directors at the suggestion: “Ignored or of disability gives rise to more authentic first times my casting was not associated ‘no thanks’”, “thanks but not right for the and adventurous storytelling and ensures with my Indigenous background. It role”, or they did not get any response at creatives are not limited to just telling offered me a great deal of freedom in the all – “just get ignored and the role gets stories focused on disability.” It was felt preparation for my performance and was cast elsewhere”. that unless the production was disability- not politically restricted by the cultural led, there was little chance of actors with There was also some feeling that actors protocol of any current ethnicity.” a disability being cast as characters with identifying as LGBTQI were being a disability. All casting directors who participated in the survey indicated that they had, at different stages, sought out Indigenous, European and non-European actors for roles where diversity was not specified as a requirement in the script. However, only 63 per cent indicated that they had specifically approached LGBTQI actors for general roles, and only one had been asked to seek out an actor with a disability. One noted that “for general roles I'm often encouraged by directors and producers to actively seek cultural diversity and there would be an expectation that I would screen-test actors from a wide range of backgrounds”. Another felt that while producers and directors “might look…they often won’t pick”, when up against a ‘non- minority’ actor. Actors’ agents generally agreed that The Indigenous sketch comedy Black Comedy (ABC) European and non-European actors had occasionally been sought for general reached over 6 million people on Facebook.

32 PART 3. Challenges and opportunities

The risk of tokenism and stereotyping Around half (55 per cent) of actors’ agents reported that a client had raised concerns about a role in terms of stereotypes and/or token inclusion of diversity. This included concerns from Middle Eastern and Indigenous actors about stereotypes; from Indigenous actors about misappropriation of culture and a lack of cultural understanding; and from Asian actors about marginalisation. Trent Huen, actor: “Once I was told by an AD, just say ice cream, apple, hotdog, whatever words you know – it doesn't matter. Sound was rolling, so I made sure I quickly learnt a more appropriate passage from an extra who happened to be Japanese.” House Husbands On the other hand, agents feel that actors are also concerned they are missing out of a background different to my own, Another actor who played a lesbian in on consideration for ‘negative’ roles such would be as detailed as possible." a production commented that she was as criminals due to concerns from the able to talk with couples and do her One actor of Asian descent commented production about reinforcing stereotypes. own research around sexuality before that “some directors think I can, on the commencing the role. Casting director: “I find now that if spot, speak a different Asian language you suggest casting an actor from a just because my character does”, while A third of actors who had played a diverse background to play ‘baddies’, the another stated that “coaching was very character with a disability also indicated producers will get scared and not choose much focussed on sounding ‘right’. No that they had undertaken research when these actors. It’s almost reverse racism resources were put towards cultural playing a diverse character; 17 per cent as they don’t want to portray an actor understanding or respectful portrayal. reported consulting with members of the from a Lebanese background playing the Accent coaching was only offered when community. ‘killer’ or wife beater or someone who is a role was considered significant enough One survey respondent without a ‘bad’. They want them to play a role that’s and even then, only on request.” disability stressed the importance of ‘nice’ so the show doesn’t look bad.” Trent Huen, actor: “I've been given a extensive research when playing a Researching roles script in English and not told until the character with a different experience: day of shoot that I need to speak my “I have played someone with a disability More than a third (36 per cent) of actors lines in a totally foreign language.” and did extensive research in the indicated that they had undertaken interests of ‘getting it right’. To do research when playing a minority One heterosexual actor reported that otherwise would have shown little character, particularly one different when playing a gay character on stage, he respect for the character or those with from their own background, with close would consult with friends in the LGBTQI a similar condition in reality.” to a quarter (24 per cent) reporting community on how to portray consultation with members of the the character. community. While occasional support for research Challenges: casting and performance and consultation was provided by the • Attracting performers of diverse in casting characters of diverse production, more often than not actors background to grow the talent pool, background would seek out additional research, when there are few role models – you with many saying it was their • Overcoming assumptions of default ‘can’t be what you can’t see’ responsibility to do so. casting as Anglo-Celtic and without • Ensuring those in the industry have disability An Anglo-Celtic actor explained their opportunities to demonstrate talent and approach as involving "Skype chats and • Limited scope for research and maintain and improve their craft skills even meeting the actual person who lived consultation to ensure authentic through the experience. My approach in • Respecting and supporting authenticity performances. researching characters, especially those

33 Part 4. International comparisons 4.1 Overseas experiences Actors Half (50 per cent) of all the actors who responded to the survey had worked internationally. Of these, the majority (77 per cent) felt their experience differed between Australian and overseas productions, particularly those actors from a non-European background. When asked to comment further on their experiences, there was a consensus, even amongst actors from an Anglo- Celtic background, that larger markets like the US and UK are more open to and provide more opportunities for ‘colour- blind’ casting. Roles are not necessarily culturally defined and can be played by actors of any cultural background; therefore actors are more likely to be The ‘Jack Irish’ telemovies (ABC) feature the rugged cast based on their ability than their appearance. An actor of Asian descent felt and enigmatic 'fixer', Cam Delray, played by Indigenous that “Australia is about 20 years behind the US in terms of being more open with actor Aaron Pedersen. ‘colour-blind’ casting”. Actors, particularly those from European Many actors were generally attracted to Others felt that overseas markets and non-European backgrounds, noted a work in overseas markets as they offer provided greater opportunities to be cast level of discrimination in the Australian opportunities for work they’re not getting in roles where their background was part industry that often isn’t as prevalent in in Australia. of the story. One actor even felt overseas overseas markets – both in terms of the Actor from an Indian background: “It markets have a different understanding number of roles written for culturally took me more than 10 years just to find of culture and meaning through art than diverse actors and opportunities for representation in Australia. When I Australia does. colour-blind casting. In the US there went to Los Angeles, I found a reputable is “less fear of difference, more focus Male of Anglo-Celtic descent: “I've only agent, manager and my first paid job for on what actor has to offer" and less auditioned internationally, but have a major network in Hollywood in the first "discrimination in terms of dark or light had far fewer mentions of ‘blonde’, or three months. This was followed by two coloured hair, skin or features”. Caucasian, in those auditions. I have more roles in feature films shot in Los noticed, though, that for US pilots they An actor of non-European descent Angeles. I did more auditions in one year can tend to put ‘white/black/Latino’ next felt that other countries that have a in Los Angeles than I have done in my to role breakdowns.” predominantly Anglo-Celtic population entire life in Australia. I was born and such as New Zealand, Canada and Britain raised in Australia.” Takaya Honda, actor: “I have an were more open to casting people of American agent and audition regularly Female actor of non-European descent: colour, “whereas Australia still finds it for the US market and 90 per cent of the “I have been considered for far more hard to accept, recognise and celebrate time the role being cast is asking to ‘send lead roles in the US than in Australia.” the diversity of cultures, ethnicities and any ethnicity’ – something I have never sub-cultures”. Another actor felt there One actor from an Asian background seen on a brief for a drama production in remained an unconscious bias against also felt there was a difference between Australia.” on-screen diversity as a result of historical working on Australian productions and Male of South American descent: “In the immigration policies. This sentiment was foreign productions filmed in Australia: US I have been cast in roles which are echoed by an actor of African descent who “I've worked on two American programs not at all culturally defined and could felt that “Australian TV doesn't seem to filmed in Australia, and both these roles be played by an actor of any cultural want to use those who look Afro-British were more significant and important background. No reference is made to or Afro-American”. It was felt that “in characters than the roles I've played on the fact that I am ‘ethnic’ or ‘Latino- Australia you are judged by the outside Australian TV. When I'm cast in Australian looking’." and less on skills”. TV it can seem like it's in smaller roles that don't ‘matter’ so much and can

34 PART 4. International comparisons

therefore be cast diversely; whereas Another agent commented on the some, he said, would be ‘stars’ if they American programs have been more perception of Australian actors within the were living in the UK. He couldn't believe committed to casting ethnically diverse US: “They notice we are all blonde and the wonderfully diverse actors we had, actors in leading roles.” blue-eyed and 18 and beautiful. We do saying ‘you wouldn't know it from your TV not look real. It's like Australia is another screens’.” Perhaps unsurprisingly, only a small planet with just pretty blue-eyed and proportion of Indigenous actors had However, one casting director felt that blond-haired people.” worked overseas (30 per cent), though one while the US market might be more open actor commented that the emphasis on There was also acknowledgement that to auditioning diverse actors, diversity was his Indigenous background in domestic the grass is not always greener elsewhere not always front of mind when casting productions had remained true so far for as networks in most countries are still decisions are made – much like Australian his overseas work. primarily “run by white males and scripts commercial broadcasters. are written by white males and directed by Amongst actors identifying as Writers, producers, directors white males”. Another agent had noticed LGBTQI, half (52 per cent) had worked more recent changes in attitudes to The majority of TV drama writers, internationally, with the majority (81 per diverse casting both in Australia and the producers and directors felt the cent) again noting different opportunities US: “The 2016 US pilot season reflected a Australian industry's approach to between Australian and overseas major shift toward diverse casting with, for diversity on screen did not compare productions. example, women of colour playing a much favourably to overseas markets, One actor with a disability who had worked bigger role in auditioning and casting. particularly on the commercial internationally said that “when I was in Locally it seems to be progressing.” broadcasters, though many felt the London I was able to play more roles with situation was improving. Casting directors my background and that my disability was Female writer/producer 60+: “Our not an issue. If anything it was a positive”. Amongst casting directors, only three had record is embarrassing by comparison. worked internationally. One was conscious Actor’s agents Especially casting say an Asian of how white Australian commercial TV actor in a role not associated with Almost two thirds (64 per cent) of agents had seemed in the past and that the US an Asian storyline. But there is slow had worked overseas or represented market was “very clear about seeking improvement.” clients working internationally. When diversity in their TV projects”, much like asked how they and their clients felt the the ABC. Female director 40-49: “It is dreadful – Australian TV drama industry's approach a diversity desert. When the exceptions Another casting for a UK project from to diversity on screen compared to come it’s a delight.” within Australia noted reactions of her overseas markets, the majority thought UK colleague to the range of diverse Female writer 30-39: “In terms of ethnic that Australia was behind overseas Australian talent on offer: “We brought diversity we are extremely far behind markets when it comes to diverse casting in a fantastic range of diverse actors – the UK and the US, and we're behind but had recently made some progress. the UK casting director was amazed; Scandi drama. We are not as appallingly They confirmed the opinion of the other groups surveyed that large overseas markets such as the US and UK are not only more open to diversity at the auditioning stage but are also more likely to put diverse faces on screen, as many markets have guidelines in place to ensure minorities are fairly represented. However, it was also acknowledged that the production levels coming from these markets allow for more niche characters and programming. One agent noted concern from her ethnically diverse clients that they “will never be given the opportunity even though they have played leads in theatre and for no other reason that there are so few ethnically diverse leads in Australian TV drama. Even in the UK I feel there are better opportunities for work in TV drama In My Place (ABC) we hear the stories of many children if you are ethnic or diverse.” who all live in the same place, but at different times.

35 PART 4. International comparisons

backwards in terms of LGBQTI – with Michael J Fox Show, a sitcom about a news primetime shows like House Husbands anchor and family man with Parkinson’s and Janet King featuring gay leads. We Disease going back to work. The focus are very behind in terms of differently on disability in the US has also spread to abled representation.” other formats such as theatre with the 2015 revival of the Broadway musical Male writer 40-49: "If you look at the Spring Awakening, an adaptation focused mainstream TV shows, compared heavily on making theatre accessible to other countries we rarely have to people with disabilities. In addition Indigenous actors in lead roles, just an to having deaf cast members using extra's role in the background." Sign Language (often mirrored to great Female director 50-59: "I think we could effect by hearing actors) it marks the up our representation of transgender first Broadway production to ever cast a individuals – in fact, with the possible wheelchair-bound performer and the first exclusion of gay men, all LGBTQI to provide interpretation for deaf-blind sections could be better represented, theatregoers. and disabled people need to be seen While some respondents felt that recent more on our screens." features focused on disability such as There were references to the commercial The Intouchables, The Belier Family, The success the US is having with diverse Sessions, The Theory of Everything and productions (Empire; Scandal and Me Before You play their part by bringing How to Get Away with Murder from The Principal (SBS), set in a characters with disability to mainstream Shonda Rhimes), though there was audiences and proving that disability on acknowledgment that larger, more multicultural boys' school, screen can be commercially successful, established markets are able to offer a others were frustrated by inauthentic more diverse slate with programming that features strong cultural casting and storylines that at times appeals to a wider variety of audiences. treated the characters as victims or The small size of the Australian industry diversity and a gay main inspirational or brave. makes it conservative by nature, with character. It was felt by some that there is “a coming fewer opportunities for niche or special- of age of disability arts, that the disability interest programming. decade of development for disability- led perspective on the world and society is a programs commissioned by the BBC and On the other hand many creatives felt fresh and unique one, with the potential to Channel 4. that the Australian TV drama industry is offer new flavours to narratives that are fairing comparatively well in relation to US productions singled out were Breaking both entertaining and commercial. But the population, and considering the Bad for casting RJ Mitte an actor with only if they are disability-led and owned”. number of international productions cerebral palsy and Game of Thrones Only this way will characters be fully with fairly Anglicised casts still flooding for the character of Tyrion Lannister developed with their disability depicted as Australian screens. played with acclaim by Peter Dinklage, incidental rather than a focus. an actor of short stature. The teen drama Practitioners with disability could series Switched at Birth was noted for note many examples of best practice its focus on a hearing-impaired teen in a in overseas markets. They felt that a leading role as well as the performance deliberate push in the US, UK and Europe of Oscar®-winning Deaf actress Marlee has started to normalise audience Matlin in a supporting role. Law and Order expectations of disability on screen. was also praised for the many deaf and For the UK this includes the casting of disabled actors that have appeared in wheelchair-bound actress Liz Carr in storylines over the years. Even Twin Peaks, the long-running series Silent Witness; a a production broadcast 25 years ago, was wheelchair-bound actor as a student in the praised by one practitioner for featuring comedy Bad Education; Life's Too Short, characters with disability but not focusing the semi-fictional series written and on this as part of the storyline. starring Warwick Davis, an actor of short stature; and Cast Offs a BAFTA-nominated In addition to those listed by the mockumentary that follows a group of respondents, other recent US productions six disabled people sent to a remote supportive of disability include American British Island for a fictional reality show. Horror Story and Glee for casting actors Respondents praised the UK for offering a with Down syndrome, NCIS: New Orleans dedicated funding stream specifically for for featuring a wheelchair bound actor filmmakers with disability resulting in a amongst its ensemble and 2013’s The

36 PART 4. International comparisons

Commons April 2016 briefing paper 4.2 International summarises available research on all benchmarking forms of diversity and various policies from broadcasters to address diversity The diversity of those in front of concerns. and behind the camera is a growing focus across the world, with screen • On Canadian television, lead professionals, academics and audiences characters were rarely non-white increasingly asking if their country’s and multiculturalism was celebrated screen stories reflect their own stories. but shown as an 'other' according to The findings of several prominent Media Action Media’s 2012 report. studies and programs from the United A 2012 survey found 4.1 per cent of States, United Kingdom and Canada are screenwriters were from a visible summarised below. minority, compared to 16 per cent of Canadians. Cultural diversity Disability • Shows with culturally diverse casts got better ratings than non-diverse shows Note: definitions of disability may vary in the United States in 2015, according between studies. to UCLA’s 2016 Hollywood Diversity • The percentage of regular characters Report: Busine$$ as Usual? But, shown as living with a disability dropped participation rates for people of colour in from 1.4 to 0.9 in the United States key creative and gatekeeper roles were 2015-16 television season, according to stagnant or dropped. GLAAD’s 2015-16 report. • No show in 2014-15 accurately reflected • Characters with disabilities made up 5 the ethnic diversity of the USA in its cast, per cent of the British narrative roles half of all shows featured no speaking or examined in the CDN’s 2014 report. named Asian characters, and 13 per cent of pilot episode directors were from non- • Characters with disabilities and their white backgrounds (the US norm is 37.9 social realities were absent from per cent), according to USC’s Inclusion Canadian TV according to MAM’s 2012 or Invisibility? report. report. • There was a 10 per cent jump in LGBTQI recurring characters who are people of • In the 2014-15 United States television colour to 33 per cent over the two years season, lesbian, gay or bisexual to 2015-16, according to the US 2015-16 characters made up 2 per cent of all Where We Are On TV report by advocacy speaking roles (compared to 3.5 per cent group GLAAD. of the US population) according to USC’s • Black and minority ethnic (BAME) Inclusion or Invisibility report. characters made up 9.4 per cent of • 4 per cent of regular characters on British narrative roles and 7.8 per cent of US scripted television were LGBT, lead roles, while 12.9 per cent of Britons according to GLAAD’s 2015-16 report, are from BAME backgrounds, according which tracked an increase in regular to the Creative Diversity Network and recurring LGB characters but found (CDN)’s 2014 study. transgender and racially diverse LGBT • BAME directors only directed 2.4 per characters were underrepresented. cent of British dramatic programs in • LGB characters filled 3 per cent of lead 2015, according to a 2015 Directors UK fictional roles, 1 per cent of supporting report, UK Television: Adjusting the Color roles and 0.2 per cent of background Balance. roles in UK television, according to the • The CDN, BBC, Channel 4, ITV and CDN’s 2014 study. Sky will soon launch a database • Non-stereotypical LGBT roles were called 'Diamond' to track perceived emerging in Canadian television but and actual diversity across gender, non-white, non-straight characters were gender identity, age, ethnicity, sexual almost non-existent in MAM’s 2012 orientation and disability in roles in front diversity study. of and behind the camera. A House of

37 • In 2002 May’s survey was updated As follows: Appendix 1 by Marion Jacka, looking at 13 drama ‘disability’, in relation to a person, Previous studies of diversity productions made for broadcast on the means: in Australian TV content commercial networks, ABC and SBS. Jacka found culturally diverse actors (a) total or partial loss of the person's Debates about the cultural diversity of filled 26 per cent of roles, a three per bodily or mental functions; or Australian television are not new: diversity cent increase. Cultural Diversity in (b) total or partial loss of a part of the of cast and crew has been an issue for Australian Television Drama identified body; or several years. A number of studies have two recurring roles for South East Asian (c) the presence in the body of organisms examined cultural diversity on Australian actors, found little difference between causing disease or illness; or screens, including those below. public and commercial broadcaster (d) the presence in the body of organisms • A 1998 national report funded by the programming, and also confirmed that capable of causing disease or illness; or Australia Council found artists from non- culturally diverse actors were more (e) the malfunction, malformation or English speaking backgrounds (NESB) likely to find work in guest roles rather disfigurement of a part of the person's were substantially under-represented than sustaining or recurring roles. body; or in the television sector, with Asians (f) a disorder or malfunction that results Jacka, Marion 2002, Cultural Diversity particularly disadvantaged. Entitled The in the person learning differently in Australian Television Drama, Creative Taxidriver, the Cook and the Greengrocer, from a person without the disorder or Industries Research and Applications the report focussed on theatre but found malfunction; or Centre, Queensland University of television played a role in promoting (g) a disorder, illness or disease that Technology a monocultural image of Australian affects a person's thought processes, society, with NESB characters largely perception of reality, emotions or restricted to stereotypical roles. Appendix 2 judgment or that results in disturbed Definitions behaviour; Bertone, S., Keating C., Mullaly, J. 1998, The Taxidriver, the Cook and the Census data on cultural background: and includes a disability that: Greengrocer, Australia Council for Data from the Australian Bureau of (h) presently exists; or the Arts Statistics’ Census of Population and (i) previously existed but no longer Housing for 2006 and 2011 has been • A 1999 study and survey of several exists; or mapped to the four cultural background commercial television dramas found (j) may exist in the future (including categories defined for this study: that performers from culturally diverse because of a genetic predisposition to Indigenous Australia, Anglo-Celtic, backgrounds represented 23 per cent of that disability); or European and Non-European. Reponses total sustaining cast members – up from (k) is imputed to a person. on birthplace of the individual, birthplace an estimated 2 per cent in 1992. This of their parents and ancestry were used To avoid doubt, a disability that is increase was found to be significantly to analyse the data, and categorise otherwise covered by this definition enabled by second-generation respondents accordingly. Individuals were includes behaviour that is a symptom or immigrants taking up acting as a categorised as being of European or Non- manifestation of the disability. career. However, the study identified no European background if they themselves sustaining roles for actors of South East Definitions of gender identity and sexual were born, or had at least one parent born Asian backgrounds. orientation follow those set out in the Sex in the relevant countries. Individuals were Discrimination Act 1984 (www.legislation. • The 1999 study, a casting snapshot of categorised as Indigenous if they identified gov.au/Series/C2004A02868), which was seven drama programs made for the themselves as such in the Census. revised to incorporate sexual orientation, commercial free-to-air networks, was Census data has been analysed this gender identity and intersex status in 2013: a significant element in Harvey May’s way for the whole Australian population report Broadcast in Colour, which also sexual orientation means a person’s and for people working in film and video examined cultural diversity policies and sexual orientation towards: production and post-production services their impact on diversity on-screen in and television broadcasting. (a) persons of the same sex; or the United States, United Kingdom and (b) persons of a different sex; or New Zealand. May found that carefully The definition of disability in this (c) persons of the same sex and considered involvement in, and attention report follows that set out under the persons of a different sex. to, cultural diversity in policy and Disability Discrimination Act 1992 (www. program production at all levels can yield legislation.gov.au/Series/C2004A04426). gender identity means the gender related valuable results for all stakeholders. It incorporates physical, psychological, identity, appearance or mannerisms or intellectual and sensory limitations, other gender related characteristics of May, Harvey 1999, Broadcast in Colour: restrictions and impairments, and covers a person (whether by way of medical Cultural Diversity and Television temporary, permanent, past and future intervention or not), with or without regard Programming in Four Countries, disabilities as well as those imputed on to the person’s designated sex at birth Australian Film Commission an individual.

38 APPENDICES

intersex status means the status of Sea Patrol series 5 - Damage Control Nine Doctor Blake Mysteries, The series 1 aBC having physical, hormonal or genetic Slap, The ABC Elegant Gentlemen's Guide to Knife features that are: Slide Subscription Fighting, The ABC Small Time Gangster subscription Home and Away series 26 seven (a) neither wholly female nor wholly Spirited series 2 Subscription House Husbands series 2 Nine male; or Swift and Shift Couriers series 2 sBS Housos series 2 SBS (b) a combination of female and male; or Twentysomething series 1 aBC In Your Dreams series 1 Seven (c) neither female nor male. Underbelly: Infiltration Nine It's A Date series 1 ABC Characters with diverse sexual Underbelly: Lucifer Nine Ja'mie Private School Girl ABC orientation and gender identity were Underbelly: Razor series 4 Nine Mako Mermaids series 1 Ten identified primarily through story Underbelly: The Man Who Got Away Nine Mind Over Maddie Subscription elements, and the results were confirmed Wild Boys Seven Miss Fisher's Murder Mysteries series 2 ABC with the relevant broadcasters. Winners & Losers series 1 seven Mr and Mrs Murder Ten Mrs Biggs Seven Actors were not asked to identify in terms 2012 Neighbours series 30 Ten of sexual orientation or gender identity. We Beaconsfield Nine Nowhere Boys series 1 ABC sought personal views and experiences on Bikie Wars: Brothers in Arms ten Offspring series 4 Ten these aspects through the surveys. Dance Academy series 2 ABC Packed to the Rafters series 6 Seven Danger 5 series 1 SBS Paper Giants: Magazine Wars ABC Appendix 3 Dangerous Remedy ABC Place to Call Home, A series 1 Seven On-screen TV drama titles Devil's Dust ABC Please Like Me series 1 ABC (2011-2015) Dripping in Chocolate subscription Power Games: The Packer-Murdoch Story Nine Great Mint Swindle Nine Redfern Now series 2 ABC The analysis of main characters in Home and Away series 25 seven Reef Doctors Ten Australian TV drama and the actors House Husbands series 1 Nine Serangoon Road ABC playing them is based on the following Howzat - Kerry Packer's War Nine Time of Our Lives series 1 ABC 199 TV drama titles, which had their first Jack Irish: Bad Debts ABC Top of the Lake series 1 subscription broadcast on commercial free-to-air, Jack Irish: Black Tides ABC Twentysomething series 2 aBC public or subscription television between Laid series 2 ABC Underbelly: Squizzy Nine 2011 and 2015. Lightning Point Ten Upper Middle Bogan series 1 aBC 2011 Lowdown series 2 ABC Wentworth series 1 subscription Angry Boys ABC Mabo ABC Winners & Losers series 3 seven At Home With Julia ABC Micro Nation Ten Wonderland series 1 Ten Bed of Roses series 3 ABC Miss Fisher's Murder Mysteries series 1 ABC You're Skitting Me series 2 aBC Blood Brothers Nine Moody Christmas, A ABC Castaway (Trapped series 2) seven Mystery of a Hansom Cab ABC 2014 Cloudstreet Subscription Neighbours series 29 Ten ANZAC Girls ABC Crownies ABC Offspring series 3 Ten Black Comedy series 1 ABC East West 101 series 3 SBS Outland ABC Broken Shore, The ABC Elephant Princess, The series 2 Ten Packed to the Rafters series 5 Seven Carlotta ABC Good News World Ten Problems ABC Code, The series 1 ABC gURLs wURLd, a Nine Puberty Blues series 1 Ten Devil's Playground Subscription H2O: Just Add Water series 3 ten Rake series 2 ABC Doctor Blake Mysteries, The series 2 aBC Home and Away series 24 seven Redfern Now series 1 ABC Fat Tony & Co Nine Housos series 1 SBS Straits, The ABC Gods of Wheat Street ABC Jesters, The series 2 subscription Strange Calls, The ABC Hard Rock Medical SBS Killing Time Subscription Tricky Business Nine Home and Away series 27 seven Laid series 1 ABC Underbelly: Badness series 5 Nine Hoopla Doopla ABC Mal.com ABC Underground - The Julian Assange Story ten House Husbands series 3 Nine Me and My Monsters Ten Winners and Losers series 2 seven INXS: Never Tear Us Apart seven My Place series 2 ABC Woodley ABC It's a Date series 2 ABC Neighbours series 28 Ten You're Skitting Me series 1 aBC Jack Irish: Dead Point ABC Offspring series 2 Ten Janet King series 1 ABC Packed to the Rafters series 4 Seven 2013 Jonah from Tonga ABC Panic At Rock Island Nine Accidental Soldier, An ABC Killing Field, The Seven Paper Giants: The Birth of Cleo ABC Better Man SBS Kinne series 1 Seven Rescue Special Ops series 3 Nine Cliffy ABC Lah Lah's Adventures Seven Rush series 4 Ten Dance Academy series 3 ABC Lost Tools of Henry Hoke, The aBC

39 APPENDICES

Love Child series 1 Nine Redfern Now - Promise Me ABC Moodys, The ABC Sammy J & Randy in Ricketts Lane aBC Appendix 5 Neighbours series 31 Ten Secret River, The ABC Survey methodology Nowhere Boys series 2 ABC Stories I Want to Tell You in Person ABC To more comprehensively understand the Offspring series 5 Ten Utopia series 2 ABC on-screen representations of character Old School ABC Wentworth series 3 subscription and diversity, Screen Australia undertook Parer's War ABC Winter Seven five online surveys for this study. Party Tricks Ten Place to Call Home, A series 2 Seven A broad survey of actors was undertaken, Please Like Me series 2 ABC Appendix 4 with the assistance of the Media Plonk series 1 (web series) Ten Consultees Entertainment and Arts Alliance (MEAA). Puberty Blues series 2 Ten It was circulated to 4,660 current Alastair McKinnon (ABC) Rake series 3 ABC financial members of the MEAA, with 129 Amal Awad (writer/journalist) Sam Fox: Extreme Adventures ten responses received. This survey aimed to Australian Network on Disability Schapelle Nine gauge the experiences of actors at various (survey advice) Secrets & Lies Ten career stages, and included those who had Bali Padda Soul Mates series 1 ABC worked in TV drama and those who had (Equity Diversity Committee MEAA) This is Littleton ABC not had that opportunity. The responses Barry Gamba (ICE) Time of Our Lives series 2 ABC were unsurprisingly skewed toward actors Carly Heaton (Foxtel) Upper Middle Bogan series 2 aBC of diverse backgrounds, as the most Chris Irvine (SBS) Utopia series 1 ABC motivated to contribute to a conversation Claire Tonkin (Ten) Wentworth series 2 subscription about on-screen diversity. Di Drew (NIDA) Winners & Losers series 4 seven Diversity Council Australia A second survey was circulated to the 430 Wonderland series 2 Ten (survey advice) credited writers, producers and directors Worst Year of My Life, Again, The aBC Imogen Banks (producer) of the 199 TV dramas that made up the Izzy Kerr (SBS) on-screen analysis, with 55 responses 2015 Jackie Leewai (SBS) received. This survey aimed to understand 8MMM Aboriginal Radio ABC Jo Rooney (Nine) the views and experiences of those who Banished Subscription John Godfrey (SBS) have been actively involved in bringing TV Beautiful Lie, The ABC Julie McGauran (Seven) drama to our screens over recent years, to Catching Milat Seven Kylie Burke (AFTRS) help contextualise the results of the on- Danger 5 series 2 SBS Michael Scott Mitchell (NIDA) screen analysis. Deadline Gallipoli Subscription Natasha Eves (SBS) Divorce, The ABC The third and fourth surveys were Neil Peplow (AFTRS) Doctor Blake Mysteries, The series 3 aBC circulated to 135 actors’ agents and 30 Niki Aken (writer/producer) Ex-PM, The ABC casting directors, who have roles both as Olya Booyar (AWG) Fresh Blood ABC ‘gatekeepers’ of which faces end up on Pearl Tan Gallipoli Nine screen, as well as advocates and suppliers (Equity Diversity Committee MEAA) Glitch series 1 ABC feeding the constant need for fresh faces Penny Win (Foxtel) Hiding ABC and new talent. Responses were received Pino Migliorino (Cultural Perspectives) Home and Away series 28 seven from 11 agents and 8 casting directors. Rick Kalowski (ABC) House Husbands series 4 Nine Rick Maier (Ten) Due to the very small number of House of Hancock Nine Ross Crowley (Foxtel) writers, producer and directors with In Your Dreams series 2 Seven Sally Riley (ABC) disability earning TV drama credits Kinne Seven Sarah Harmelink (ABC) over the last five years, a fifth survey, Little Lunch ABC Shakthi Shakthidharan (CuriousWorks) targeting practitioners with disability Love Child series 2 Nine Sofya Gollan (Accessible Arts NSW) was circulated, with assistance from Mako Mermaids series 2 Ten Stuart Paul (ACMA) Accessible Arts, in order to fully Mary: The Making of a Princess Ten Thang Ngo understand the issues facing these Maximum Choppage ABC (IDENTITY Communications, part of UM) practitioners within the industry. 11 Miss Fisher's Murder Mysteries series 3 ABC Tim Soutphommasane responses were received. Neighbours series 32 Ten (Human Rights Commission) Open Slather Subscription Ting Lim (Human Rights Commission) Peter Allen: Not the Boy Next Door Seven Todd Loydell (SBS) Place to Call Home, A series 3 Subscription Tony Ayres (Matchbox Productions) Please Like Me series 3 ABC Travis Cordona (SBS) Principal, The SBS Tureia Sample (SBS) Ready For This ABC

40 REFERENCES 1 https://www.humanrights.gov.au/our-work/ 14 Australian Bureau of Statistics, Disability, Ageing race-discrimination/publications/leading- and Carers Australia, 2012, Cat. no. 4430.0 change-blueprint-cultural-diversity-and- 15 http://www.smh.com.au/entertainment/tv-and- inclusive radio/the-code-mixes-personal-and-political- 2 http://www.theaustralian.com.au/arts/ drama-20140910-10f0hb.html#ixzz4DzXJbI3Q prejudice-melts-as-worlds-collide/story- 16 http://www.hollywoodreporter.com/live-feed/ e6frg8n6-1226501808067 please-like-me-star-how-734812 3 http://www.sbs.com.au/movies/ 17 Department of Health and Ageing, National article/2014/05/08/healing-don-hany- Lesbian, Gay, Bisexual, Transgender and Intersex interview (LGBTI) Ageing and Aged Care Strategy 2012, p 4. 4 http://www.news.com.au/entertainment/ 18 Screen Australia analysis of Australian Bureau tv/no-sibling-rivalry-for-lapaglias/story- of Statistics, Census of Population and Housing e6frfmyi-1226241620649 ; 2011.

http://www.smh.com.au/entertainment/ 19 The Scanlon Foundation, Mapping Social Cohesion movies/a-month-of-sundays-the-film-that- National Report 2015, http://scanlonfoundation. finally-drew-anthony-lapaglia-back-home- org.au/research/surveys/ 20160420-gob5cr.html 20 OzTAM and RegionalTAM, 5 city metro, combined 5 People who were themselves born, or had at markets, total people, 7-day consolidated. Metro least one parent born, in a predominantly non- viewers totalled 707,000. Anglo-Celtic country. 21 OzTAM and RegionalTAM, 5 city metro, combined 6 Australian Multi-Screen Report - Q1 2016, markets, total people, 7-day consolidated. Metro http://www.thinktv.com.au/content_common/ viewers totalled 764,000. pg-reports.seo 22 Ratings quoted are OzTAM and RegionalTAM, 7 https://www.legislation.gov.au/Series/ Total People, Combined 5-city Metro plus C2004A04426 Regional. 7-day consolidated, average audience. 8 http://www.abs.gov.au/ausstats/[email protected]/loo 5-city Metro only ratings for the programs kup/2071.0main+features902012-2013 quoted were 1.507m Peter Allen, 1.074m Love 9 Australian Bureau of Statistics, Disability, Child, 0.83m Home and Away, 0.933m House Ageing and Carers Australia, 2012, Cat. no. Husbands. 4430.0 23 http://www.wswanderersfc.com.au/article/ 10 Department of Health and Ageing, National western-sydney-wanderers-ambassador- Lesbian, Gay, Bisexual, Transgender and nicole-da-silva-knows-the-power-of-football/ Intersex (LGBTI) Ageing and Aged Care yzmj84we9em61lfco19anrk8q Strategy, 2012. 24 Herald Sun 16/3/2011, 'Melanie Vallejo's 11 www.theaustralian.com.au/arts/ Winning Streak' by Colin Vickery prejudice-melts-as-worlds-collide/story- e6frg8n6-1226501808067 12 www.sbs.com.au/movies/article/2014/05/08/ healing-don-hany-interview 13 www.news.com.au/entertainment/tv/ no-sibling-rivalry-for-lapaglias/story- e6frfmyi-1226241620649 ; www.smh.com.au/ entertainment/movies/a-month-of-sundays-the- film-that-finally-drew-anthony-lapaglia-back- home-20160420-gob5cr.html