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Race in the Writers’ Room
A Thesis Presented to the Faculty of the Westphal School of Art & Design
Drexel University
In Partial Fulfillment of the Requirements of the Degree of
MASTER OF SCIENCE
in
TELEVISION MANAGEMENT
by
Lateefa Smith
November 30, 2018
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Table of Contents
ABSTRACT ...... 1 CHAPTER ONE: INTRODUCTION ...... 2 Introduction ...... 2 Statement of the Problem ...... 2 Background and Need ...... 2 Purpose of the Study...... 3 Research Questions ...... 4 Significance to the Field...... 4 Definition of Terms...... 5 Limitations...... 5 Ethical Considerations...... 6 CHAPTER TWO: LITERATURE REVIEW ...... 8 CHAPTER THREE: METHODOLOGY...... 27 Introduction ...... 27 Research Strategy...... 27 Research Method……...... 27 Data Collection Method and Tools...... 28 Sample Questions ...... 28 Sample Selection...... 30 Research Process...... 30 Data Analysis...... 31 Ethical Consideration...... 31 Research Limitations...... 31 CHAPTER FOUR: RESULTS...... 33 Data Analysis………………...... 33 Research Instrument Results ...... 35 Questionnaire Results…...... 37 Study Results…...... 40 CHAPTER FIVE: CONCLUSION...... 41 !!
Discussion...... 42 Limitations...... 43 Recommendations for Future Leaders...... 44 LIST OF REFERENCES ...... 46 APPENDIXES...... 50 Appendix A: Color of Change Project 2017…………...... 50 Appendix B: Writers Guild of America Membership by Race...... 51 Appendix C: Writers by Race on Dramas & Comedies ...... 52 Appendix D: Writers by Race on Dramas & Comedies ...... 56 Appendix E: Full Interview Questions and Recipients ...... 60 ! 1! ! Abstract
The purpose of this study is to research the proposition that diversifying the writers’ room on television comedies and dramas could increase the accuracy of the characteristics portrayed through African American characters. The data found comes from television show data reports, peer reviewed journals, The Writer’s Guild of America and questionnaires completed by film and television executives, staff writers and other employees. This study will discuss diversity in the hiring of writers and if the success of a show depends on the number of writers of color. Also exploring the necessity of the diversity programs put into place by networks and if they are beneficial to the African American writer’s experience in the writers’ room of a television show. ! 2! !
Chapter 1: Introduction
Statement of the Problem
Absence of diversity in the writers’ room is contributing to the stereotypical
portrayal of African American characters in television dramas and comedies. In the 1970s
and 1980s most shows had one “token” African American writer or none at all. Present
day, there are shows with more than four African American writers’ but there has never
been a show with an all-African American writing staff according to the Color of Change
report (Hunt 2017). The depiction of the African American experience on television could
be dependent on the diversity within the writing staff on a show.
Background and Need
As a result of the exclusion of African American writers, African American
stereotypes drive inaccurate and unfair character portrayals of people with dark skin. Many
studies show inaccurate portrayals of people of color can lead to a negative perception of
black people and the black communities. If African Americans are not portrayed as doctors,
lawyers, police, teachers or lawmakers, then it is assumed this does not exist in actual
African American communities. Research shows diversity behind the scenes has been
problematic, and the NAACP believes the misrepresentation of African Americans in
television stems from the lack of power people of color have in Hollywood.
This study is intended to help television managers, as well as educators and future
students in the film and television industry, make better decisions during all stages of the
show creation process, starting with character development. The research will demonstrate ! 3! ! the relationship between the personas of television characters and the diversity of show
writers.
Purpose of the Study
The purpose of this study is to determine if diversifying the writers’ room on
television comedies and dramas will amplify the authenticity of the characteristics
portrayed through African American characters. Through research, this study will analyze
African American shows that were successful because of African American writer (s) and
similarly cast shows that did not experience success. The study will explore how the lack of
diversity behind the scenes impacts a show’s outcome and why there is a need for inclusion
beyond the industry’s current practices. ! 4! ! Research Questions
1. Is the misrepresentation of African Americans in TV a result of the diversity shortage in Network hiring?! 2. Is there a lack of leadership to support African American writers on a television production? ! 3. Can a white writer successfully tell the story of an African American character? a. Does the voice of the character need to be of an African American writer in order to portray the character? 4. Is the hiring process for writers diverse? 5. Are diversity programs beneficial to closing the diversity gap in Hollywood?
Significance to the Field
Inclusivity in Hollywood is long over due. African Americans are no longer the
minority, as measured by the US population, so the need for more diverse voices and minds
when creating programming is necessary. In America, the black man and woman are
continuously attacked and belittled by many people of authority and white privilege. The
black ‘story’ has been a successful moneymaker in television since the show, Good Times,
but when asked for more positive portrayals and success stories of our characters, roles
change, people are fired, and shows are taken off the air. Norman Lear fired John Amos,
who played James Evans Sr., after Amos spoke up about his dislike for the ‘shucking and
jiving’ being done by the show’s main character James ‘JJ’ Evans Junior (Callahan 2015).
It has been said A Different World was taken off the air because NBC did not like the
show’s episode focusing on Rodney King and the LA riots. An article from Complex
discusses the Los Angeles Riot episode on A Different World and the talks of why the show ! 5! ! was cancelled by NBC. “For those who remember, the sixth season of A Different
World would be its last; there was always talk about what caused NBC to cancel the
program, and on a 2015 episode of TV One's Unsung Hollywood, the cast revealed that
NBC was not happy with the more controversial—read: political—episodes being created,
primarily stemming from their season six L.A. riots two-parter” (Complex 2017). The
black voice is often muted in television, and television managers must turn the volume up
on the black experience and enhance the creative insight in the writers’ room, which could
ultimately lead to more complex but relatable characters.
Definitions
Black Experience: The history and everyday life experiences of black people.
Black Voice: Opinions and insight of a black person or group of black people on all topics.
Shucking & Jiving: To pretend to be someone you’re not for Euro-Americans and their
expectations with no real intentions of obeying (Urban Dictionary, 2018).
Moneymaker: One who accumulates wealth (Merriam-Webster, 2018).
The Token: A member of a group (such as a minority) that is included within a larger group
through tokenism (Merriam-Webster, 2018).
Limitations
The research looks at successful African American comedies and dramas only. The
focus is on the writers’ room and the diversity gap; the gender gap in the industry may be
referenced but is not the focus of this study. Associates that have given their professional
insight and perspective on the topic were four African Americans and one Italian
American, with different roles in the television industry. ! 6! !
Ethical Considerations
Methodology:
1. Research participants were not aware of the author’s views on the topic at anytime while completing the questionnaire for this study. All answers were of their own free will. 2. Respect for the dignity of research participants was prioritized. 3. Full consent was obtained from the participants prior to this study. 4. The protection of the privacy of research participants was waived in agreement to complete the questionnaire. 5. There is no confidentiality of the research data. 6. There is no deception or exaggeration about the aims and objectives of the research. 7. Any type of communication in relation to the research was done with honesty and transparency. 8. Any type of misleading information, as well as representation of primary data findings in a biased way has been avoided.
The Researcher:
The researcher is a female African American writer. Her personal experiences as a
young writer in undergraduate studies in a predominately white program resulted in
multiple experiences with white student writers who challenged her character development.
Specifically, the researcher wrote a scene for class in which a father told his six-year-old
son he (the father) was going to jail. A Caucasian student challenged the young character’s
ability to be able to comprehend his father going to jail. The classmate went on to tell the
African American student the scene was “unrealistic”. The writer advised that a young
black child could comprehend their father going to jail because she, as well as other young
black children had the same experience of this character. Even when the writer shared she
was writing the character from experience, the white classmate student continued to argue ! 7! ! it was unrealistic and that the character would not be able to comprehend “such a story” as he put it. The researcher shared this story because there is bias to the topic based on the researcher’s own experiences. However, this experience, while motivating the current research, did not affect the researcher’s objective analysis of the data.
! 8! ! Chapter 2: Literature Review
The literature gives the African American perspective with different studies and interviews from African American actors, producers, professors and media analysis, but there is a limit to literature from Network executives that are said to be predominately white men. The literature does not specify where the diversity gap begins or how to resolve the problem. There are articles and literature reviews that will clearly state there is a diversity gap while giving the history of African American television, but those are only a timeline proving the diversity issue exists. However, the literature will give a solid foundation to understanding what has already been discovered, proven and suggested.
According to the Color of Change Hollywood Project in 2017, “Over 90% of show runners are white, two-thirds of shows had no black writers at all, and another 17% of shows had just one black writer” (Hunt, 2017). ! 9! !
Color%of%Change%Project%2017%
White!Showrunners! Showrunners!of!Color! No!Black!writers! Atleast!one!Black!writer!
Figure 1: This graph was created with findings from The 2018 Color of Change Report (Hunt 2017) and
shows the lack of diversity in the show development process.
As a result of this exclusion of African American writers, African American stereotypes drive inaccurate and unfair character portrayals. “Many other studies have shown how dangerous inaccurate portrayals can be—resulting in warped perceptions about black people and black communities that perversely inform the decisions of doctors, teachers, voters, police, judges and more.” (Hunt, 2017).
The report also highlights a pattern of women and people of color being excluded from the hiring process for show runners and writers. “…Clearly suggests that current industry “diversity” programs are not working to either create success tracks for talented people of color in the industry, or create the range of authentic representations and stories on television that we need to sustain a healthy society.” (Hunt, 2017).
An analysis of Tyra Banks, Tyler Perry and Shonda Rhimes discusses race and representation in the field. “Yet diversity behind the scenes remains problematic. ! 10! ! According to the National Association for the Advancement of Colored People (NAACP),
―African Americans and other races are underrepresented in almost every aspect of the
television … industry and have, for the most part, been denied access to any real positions
of power in Hollywood. The Writers Guild of America (WGA) states that as of 2009,
―white males continue to dominate in both the film and television sectors” (Williams
2012).
The Writer’s Guild of America (WGA) Membership by Race
100.00%! 90.00%! 80.00%! 70.00%! 60.00%! Writers! 50.00%! !Executive!Producers! 40.00%! Staff!Writers! 30.00%! 20.00%! 10.00%! Staff!Writers! !Executive!Producers! 0.00%! Writers! Black!! White!! Other!
Figure 2: This graph was created with findings from The Writer’s Guild of America (William, p.3 2012) and shows the lack of diversity among television show writers, staff writers and executive producers.
Figure 2 breaks down the Writer’s Guild of America (WGA) membership by race
amongst television writers, executive producers and staff writers. Black writers make up
4.2% of the membership of the WGA. “In the 2007-2008 television season, only 7.1% of ! 11! ! the executive producers, 6.4% of the co-executive producers, and 27.3% of staff writers were minorities. African Americans make up only a portion of these small figures. The absence of African Americans in key positions behind-the-scenes translates to the lack of diverse representations of African Americans onscreen” (Williams, p.3 2012).
In Chris Green’s Case Study: Shonda Rhimes, he asks in regards to promoting diversity what is Shonda’s take on getting more diverse faces in the industry? Rhimes responds, “I've come to feel that as long as the studios and the networks have diversity programs and diversity executives, and an entirely discrete and segregated part of the studio - it is never, ever, ever going to work…” (Green, 2006). As she continues, she discusses while being at an ABC workshop there were great projects that had nothing to do with the color of someone’s skin. Rhimes reported that while the studio moved forward with production on several of those shows, many studios realized they needed more writers of colors and that they had to create programs to find those writers. This makes it clear that diverse characters are not the norm with mainstream film and television. Rhimes continues,
“I think ABC has been amazing in making inroads, doing stuff with casting, directors and writers. But I do think that as long as they think of themselves as ‘looking for African-
American writers’ - as long as you're looking for diversity as opposed to assuming it should be part of the mainstream - it's never going to be part of the mainstream” (Green, 2006).
The Hollywood Race Report is a study by Darnell Hunt, Dean of Social Sciences at
UCLA. The foreword of this study is by Mara Brock Akil, Creator and Show runner of
Girlfriends, The Game, and Being Mary Jane. “This study considered 1,678 first-run episodes from all 234 of the original, scripted comedy and drama series airing or streaming ! 12! ! on 18 broadcast, cable, and digital platforms during the 2016-17 television season. The
report demonstrates that the executives running television platforms today—both
traditional networks and emerging streaming sites—are not hiring black show
runners, which results in excluding or isolating black writers in writers' rooms and in the
creative process. A typical writers’ room for scripted series has between nine and twelve
writers; rooms range from three or four writers, to as many as seventeen” (Hunt, 2017).
In%the%%Writers%Room%
No!Black!Writers!! One!Black!Writer! Two!or!More!Black!Writers!
Figure 3: This figure shows that two-thirds of all shows had no black writers in the writers’ room.
Another 17.3% of shows had only a single black writer in the writers’ room. The remaining 17.3% of
shows had two or more black writers in the writers’ room. Across all 3,817 writers on all shows, only
13.7% were people of color, with only 4.8% black writers. Black writers were rare in writers’ rooms
led by White show runners…” (Hunt, 2017). ! 13! !
All%Writers%on%All%Shows%
People!of!Color! White!Writers! Black!Writers!
Figure 4: This figure represents the amount of African American writers on multiple network dramas and
comedies compared to white and people of color (other backgrounds of color such as Hispanic and Asian)
(Hunt, 2017).
The presence of African American writers in a writer’s room, for all the shows on
AMC, Hulu, Showtime and TBS, “…had only one Black writer or none at all, with Hulu
having no Black writers at all” (Hunt, 2017). Netflix had the most shows with no black
writers (26 shows), with 91.7% of shows having either no black writers or just one (33 of
36 shows). Amazon had 93.8% of shows (15 of 16) with only one black writer or none at
all. CBS and CW were the worst of the broadcast networks with the lack of black
representation in the writer’s room. “…92% of CBS shows (23 of 25) had either just one
black writer or none at all, and not a single CBS show had five or more black writers”
(Hunt, 2017).
! 14! ! SHOWS WITH ONE OR MORE BLACK WRITERS BY NETWORK
Shows Shows Shows Shows Shows Shows Shows Shows Shows on on on on on on on on on ABC NBC Starz TNT Comedy FX HBO FOX Netflix Central
One 66.6% 60% 71.4% 75% Black writer
Five or 17% 25% 9% 8% 5% 3% More Black Writers
Figure 5: This Chart was created with findings from The Color of Change Report (Hunt, 2017) and
demonstrates the “token” black writer as opposed to having a more equal representation of races in the
writer’s room.
According to the Hollywood Race Report, twenty-eight episodes proved that with a
strong black presence in the writers’ room, productions are more likely to feature black
characters portraying true black voice and narratives. “Episodes from series led by black
show runners were more likely to: Acknowledge that racial inequality still exists; Attribute
racial inequality to structural racism; and place black characters on par with others in terms
of whose stories were being told” (Hunt, 2017). African American voices are absent from
the creative process and generally the experiences viewed on television are stereotypes of
such a diverse group of people. “In one of the earliest examinations of African American
portrayals, the U.S. Commission on Civil Rights (1977) found that African American
television portrayals typically depicted the following stereotypic personality characteristics:
inferior, stupid, comical, immoral, and dishonest. In the 90’s, “…other stereotypes of
African Americans existed, including disrespectful, violent, greedy, ignorant, and power-
driven. After determining that blacks in the media tended to be portrayed as menacing, ! 15! ! untidy, rebellious, disrespectful, buffoonish, sexual, immoral, hopeless, untrained, uneducated, and noisy, Cosby (1994) concluded that most roles blacks portrayed were negative and stereotypical” (Punyanunt-Carter, 2008).
The Issue of Diversity in the Writers’ Room of the Past
In the late 1970’s Norman Lear, alongside Mike Evans, created a black comedy
called, Good Times. The show was about a poor African American family making the best
of things in the Chicago housing projects. The original writers behind the show and
responsible for the character James ‘J.J’ Evans, Jr. for majority of the episodes produced
are, Mike Evans, Norman Lear, Eric Monte, Norman Paul, Jack Elinson, John Baskin,
Roger Shulman and Bob Peete.
The main characters were:
John Amos - James Evans, Sr. Ralph Carter - Michael Evans
Esther Rolle - Florida Evans BernNadette Stanis - Thelma Evans
Ja’net DuBois - Wilona Woods Jimmie Walker - James “J.J” Evans Jr.
In the black community, there were two concerns about the show: when would the Evans
finally get out of the projects and why does J.J ‘shuck and jive’ so much? Not only did the
black community have a problem with J.J Evans character, so did one of the main
characters of the show, James Evans Sr, played by John Amos.
In an interview with the American Archive of Television, John Amos speaks about
his character being killed off because of his dislike for Jimmie Walker’s character, J.J,
being the main focus of the show when the other two children gave a more positive and
inspiring image of black children. “Amos discussed why he received the boot from the ! 16! ! show: “I felt that with two other younger children, one of whom aspired to become a
Supreme Court Justice—that would be Ralph Carter, or Michael—and the other,
BernNadette Stanis … she aspired to become a surgeon. And the differences I had with the producers of the show … I felt too much emphasis was being put on J.J. and his chicken hat and saying ‘dy-no-mite’ every third page, when just as much emphasis and mileage could have been gotten out of my other two children…” Amos stated. (The Grapevine
2015). Amos being fired, according to him, was because of his personality and his realization of the show “making a coonery out of the family…” (The Grapevine 2015).
Norman Lear has a different viewpoint on John Amos’s response to J.J’s character and letting John go, “Had John and Esther thrown their arms around this wild but tender talent and been grateful for what he brought to the show, so hungry for their respect and kindness was Jimmie that they could have owned the lad and helped him to mature, to become more an actor and less a type…By the end of the third season, John Amos was so glum and dispirited that it seemed impossible to go on, and we decided to write him out of the show. Talk to John and you might as well be dealing with the Sphinx — 2,500 years of silent certainty. I was sure he felt that the work he was doing was beneath him, and that another character, not his, was why the show was on the air. Without that family, especially the sturdy, steadfast parents that John Amos and Esther Rolle represented to a fare-thee- well, Jimmie would have been just another loose cannon stand-up comic. It was the family that gave J.J. weight, "Dy-no-mite!" or not. The fourth season opened with the Evanses preparing to move to Mississippi, where James has gotten a good job, but before that can happen, they receive the tragic news that he's been killed in a car crash”(Pugliese 2014). ! 17! ! In 1984, the era of successful black families became more common, after the 1970’s show The Jefferson’s came Bill Cosby’s, The Cosby Show. The Cosby Show was about the life of a successful African American family. It was created by Michael Leeson and starred:
Bill Cosby - Dr. “Cliff” Huxtable Tempestt Bledsoe - Vanessa Huxtable
Phylicia Rashad - Clair Huxtable Lisa Bonet - Denise Huxtable
Kesha Knight Pulliam - Rudy Huxtable Sabrina Le Beauf - Sondra Huxtable
Malcolm-Jamal Warner - Theo Huxtable
With many positive portrayals of African Americans, the show was most known for the successful careers of Cliff, an obstetrician and gynecologist, and his wife, Clair, a lawyer (IMDB 2018). While raising five children and keeping a loving marriage strong,
Cliff and Clair were the epitome of what every family, not just African American, wanted to be. The difference with The Cosby Show is Bill Cosby would not allow the show to portray the negatives of the African American community; he decided to give a positive portrayal, which some critics believed made the show not relatable on a social level
(Ferguson, 2003).
Producer Tom Werner states, “Cosby's universal theme of how through the day with our kids should appeal to a lot of people. He won't be just a black New Yorker, he'll be every father coping with every child” (Ferguson, 2003). Jhally Sut and Justin Lewis, authors of Enlightened Racism: The Cosby Show, Audiences, and the Myth of the
American Dream, point out observations of a famous author on race relations, “Michael
Dyson... has suggested that one of 'the most useful aspects of Cosby's dismantling of racial ! 18! ! mythology and stereotyping is that it has permitted America to view black folk as human beings.' Here, at last, are media representations of successful and attractive black people whom white people can respect, admire, and even identify with” (Sut & Lewis, p.5). Prior to the Cosby show the stereotypes of black characters were the same, negative and draining with a comedic relief by black characters.
The first year of the show, Bill Cosby was the only African American writer on the show, alongside Michael Leeson, Ed. Weinberger, John Markus and Matt Williams, according to the writer’s credit section on IMDB. In 1985, a black male writer, Matt
Robinson was added to the team for about ten episodes over a six-year period (IMDB
2018). This is a show that successfully portrayed a black family in a positive light but made sure not to focus on the reality of racial struggles of the black community. The characters were meant to give the dream effect more so than the reality that those within the community that were successful (IMDB, 2018).
Yvette Lee Bowser created an urban sitcom in 1993 titled Living Single, starring rapper Queen Latifah as Kadijah James. The show was about the lifestyles of single black men and women in the 90’s. In a Brooklyn apartment building, there were a group of friends, Queen Latifah as Kadijah, Kim Coles as Synclaire James, Erika Alexander as
Maxine ‘Max’ Shaw, Kim Fields as Regine Hunter, John Henton as Overton ‘Obie’
Wakefield Jones and Terrence ‘T.C’ Carson as Kyle Barker. Kadijah owned Flava’
Magazine, her cousin Synclaire worked for her, as a receptionist while pursuing an acting career. Her childhood friend, Regine, was a fashion consultant and her college roommate.
Max was a successful lawyer. Overtone, the building handy man, and Kyle, the stockbroker, lived upstairs from the girls, but they were a tightknit group overall. ! 19! ! Living Single focused on an African American group of friends in New York doing well for themselves, trying to find love, happiness and continuous financial relief while black. It is often said that the concept of the hit show Friends, came from Living Single but it is not acknowledged. In an appearance on Andy Cohen’s Watch What Happens Live in
January 2017, Queen Latifah spoke on the similarities between Friends’ and Living Single.
She states, “We knew we had already been doing that [concept]. It was a guy named
Warren Littlefield that used to run NBC, and they asked him when all the new shows came out if there was any show he could have, which would it be? He said, Living Single. And then he created Friends″(Blay, 2017). In the writers’ room for Living Single, with an
African American Show-runner, there were six African American writers. Some of those writers include, Jacque Edmonds, Clayvon C. Harris, Eunetta T. Boone and Warren
Hutcherson. Six African American writers was a large number in the 1990s, however the writers were there over a few seasons, not all at once from day one of the show. (Blay,
2017)
! 20! ! Compilation of Black Writers for Three Prominent Black Shows from 70s, 80s & 90s
100! 90! 80! 70! 60! Black!Writers! 50! White!Writers!! 40! Other! 30! 20! 10! 0! Good!Times! The!Cosby!Show! Living!Single!
Figure 6:
Black Writers on Black shows from the 1970s, 1980s and late 1990s. Living Single is the only show on the
graph with African American female creators and more than one black writer, not including the creators
of the show (IMDB 2018).
Issues of the Present
A recent 2016 report released by the Writers Guild of America West (WGAW),
called A Renaissance in Reverse, discusses the underrepresented groups in Hollywood.
Using the Netflix hit show, Orange is the New Black (OITNB) as an example asking if
it matters that the majority of the writing staff for OITNB is white? “Cullen weighs the
question carefully. “You always do a disservice to the viewing public when you don’t
draw from a bigger pool to tell stories of any kind, but particularly those that involve
race, gender, sexual orientation and experience,” she says. The opportunity costs for
art, storytelling and impact are just too high. Would things have turned out differently ! 21! ! at Litchfield Prison if there were black, Latina writers on staff? “I have no idea,” she
says. “But it makes you wonder” (McGrit 2016). The show’s cast is very diverse of all
nationalities and religious backgrounds but of the 26 writers on the show, there are no
black writers, one Asian writer and one Hispanic writer.
In 2016, the Writers Guild of America published a report titled "Renaissance in
Reverse?" about writers getting hired in television and film. The report states, “In terms of
hard numbers, 2014 saw more than 3,500 white writers employed on TV shows compared
with just 537 minority writers. The WGA broke down the numbers: 186 were African-
American, 135 Latino, 120 Asian American, four Native American and 92 multiracial”
(Metz 2017). The characters are more diverse, more leading roles for people of color but
there is still a gap in race and gender behind the camera. There is this phrase in the
Hollywood writers room called, diversity hire. “Beejoli Shah explained what the job entails
for Defamer: "Most every writing room has one -- an entry level non-white staff writer,
explicitly hired due to their race. If that writer were ever to be promoted out of the diversity
slot, their salary would need to come out of the show's budget. Without the network footing
the bill, it would suddenly cost money to employ that new-ish minority writer -- and when
faced with that prospect, show runners more often than not choose to allocate that salary to
a more seasoned writer who is invariably white, male and straight” (Metz 2017).
The Process of a Show
Whether it’s a traditional network or digital platform, each week, members of a
Television show’s writing staff sell stories to each other and to the network, as they work
together to produce new episodes of the series. The stories that finally make it to screen ! 22! ! must first pass through the filter, the show runner, producer, and network before being
purchased. The process starts when a writer or producer pitches their idea for a show to a
Network in hopes that the show will be picked up. “Broadcast, cable, and digital platforms
are critical gatekeepers in the storytelling process. Because of their current programming
and resulting brand visibility, these networks are uniquely positioned to provide
screenwriters with access to large audiences”(Hunts 2017). Once a Network commits to a
series from a great pitch, the show runner on the project has to put together a writing team.
“Writers’ rooms for scripted series can have as few as three or four writers and as many as
seventeen writers. The typical writers’ room includes between nine and twelve writers”
(Hunts 2017).
The Network sometimes picks a showrunner(s) to manage a show it green lights,
and a show runner must hire writers with whom they feel a creative chemistry. “The
writers’ room is a celebrated space where a show’s writing team meets throughout the
project’s production, sometimes spending twelve to fourteen hours a day to flesh out the
concept originally sold to the network. It is here where character and story arcs are
developed, where members of the writing team attempt to “sell” ideas to one another for
dramatic scenarios and jokes. It is also here where story ideas, shaped by the conventions
and formula associated with a show’s genre, are finally fashioned into scripts for each
episode”(Hunt 2017).
The Token
When there are no other writers of color, the token (see definitions) writer becomes
the gatekeeper to all things of color for the other writers in the room. As one black writer
put it, if you’re the “only person of color in the room, it adds a whole other level of ! 23! ! complication to pitching stories or trying to say what you think” (Hunt 2017). The four
major networks have a mentorship and training programs to identify and develop new
writing talent mostly, writers of color. This was the case for, “Rashad Raisani, who got into
NBCUniversal's Writers on the Verge program in 2007. Despite major strides in
diversifying television with Empire, Fresh Off the Boat and Black-ish, the stats on writers
in Hollywood still are sobering” (Sun 2015). Shows that are geared towards African
Americans and written and lead by African Americans have a large response from the
black community when it comes to the characters. Shows such as Empire and Black-ish
have relatable characters and realistically portray African American men and women to an
extent.
In an effort to employ people of all ethnic backgrounds, every year, the Writers on the
Verge program accepts five to 12 applicants. (Sun, 2015) CBS, FOX and ABC also have programs, “the programs do not guarantee a staffing job afterward nor pay their writers for their participation - except for Disney-ABC...” “Diversity is defined broadly by the programs to include unique voices and experiences, but it usually refers to underrepresented demographics - including minorities, women and LGBT individuals” (Sun, 2015). If the diversity hire is given a staff opportunity, the position is paid for by the network. Meaning the Show runner has no real say because the diverse hire pay is not coming out of their show budget. On the other hand, the diverse hire is not likely to get raises or increases unless the network approves. “Depending on whom you ask, getting into one of these programs - which involves submitting extensive writing samples and being selected by a network committee - can represent a launching pad for a career or a scarlet letter A for "affirmative action” (Sun, 2015). ! 24! ! As a diverse hire, "When you come from a program, the perception is, 'Yes, but can they write?' " Says a participant of the Fox program (which was relaunched in 2011 to boost midcareer writers by invitation only from partner organizations like the National
Association of Latino Independent Producers). "I heard a show runner say that in response to finding out that a black writer had gotten staffed on a successful network show from a writing program." Adds a Latino writer who did Writers on the Verge and CBS' Writers
Mentoring Program, "There's a difference between how I'm treated in week one as opposed to week three or four. It's not that people say anything negative or nasty, but it has more to do with whether I'm listened to or interrupted and shut down. People have to see you do your job, and you have to exceed expectations" (Sun 2015). With the major Network diversity programs comes a lot of pressure for the writers. Writers of color have to prove their skills, and they belong in the room for more than just the color of their skin. The token can be a positive and a negative depending on where a writer is in their career (Sun 2015).
After Inclusion
As a result of the more collaborative dynamics in a diverse writers’ room, discussions of race are more common and less antagonizing. “As one writer explained,
“Race will come up because, for example, I might say I don’t think a black woman would have that concern in this situation. I would also say race comes up because our show is very diverse” (Sun, 2015). Other writers have to spend a vast majority of their writing room experience making white writers understand why certain depictions of black characters are not factual. Much like the researcher experienced in her college writing days (see Ethical
Considerations), other African American writers cite specific examples of having to
‘defend’ characterizations. Stefani Robinson, writer for the hit show Atlanta, wrote an ! 25! ! article for The Guardian discussing the statistic evidence of the lack of black writers in television and how she believes it is a systematic issue within Hollywood. Hollywood has been a predominately white industry since it began and Robinson believes this is due to white predecessors in the industry passing down their ways for generations (The Guardian
2017).
Even though the industry has evolved and there are factors of diversity, there is more ground to cover when it comes to minorities in leadership and the writers’ room.
According to Writer Stefani Robinson, “I also remember having a conversation with a white network executive once. She too was concerned that there weren’t a lot of black writers in television. She then said something like: “I guess there aren’t a lot of them [black writers] out there. Because it’s not like anyone would discriminate against them outright because of their skin color like they could do to black actors. When black writers submit scripts, how would people [executives, show runners, agents, etc] know that they’re black?
We’re reading a script. So, with that in mind, it just seems like maybe there aren’t a lot of black writers to begin with. Robinson continues to say, “…But if there is some kind of idea floating around that there just aren’t many black writers to begin with, let me be very clear: that is false”(The Guardian 2017).
The findings, based on the history of African American television, suggest there has been a lack of diversity in the writers’ room on shows in the early years of black television.
The research also shows that present day, while there has been an increase in African
American writers, those writers have not been given enough opportunities to let the true black persona emerge in a substantial amount of content. As the research continues, ! 26! ! findings will display the perspectives of industry professionals, as well as other factors pointing to a still-existing inequality of realistic African American characters on television.
! 27! ! Chapter 3: Methodology
Introduction
This chapter includes the research methodology of this study. Outlined in this
chapter, are the research strategy, method, approach, data collection method, research
process, limitations and ethical considerations.
Research Strategy
A comparative analysis was used for this research to gain perspective on the history
of diversity in the film and television industry using black shows from each decade and to
determine if there has been an obvious trail of poor portrayal of African American
characters, due to a lack of African American writers on these said shows. By definition a
comparative analysis is “the item-by-item comparison of two or more comparable
alternatives, processes, products, qualifications, sets of data, systems, or the like” (Business
Dictionary 2018).
Research Method
In order to satisfy the objectives of this study, qualitative research was carried out to
handle the scope of the research and the responses received from participants. The
objectives of this study suggest that there is a diversity gap in the film and television
industry, by using this research method, the research gathered was based on the ‘why’
media professionals felt to be the cause of the diversity struggle based on their own
experiences in the film and television industry. Qualitative research “…is a process of
naturalistic inquiry that seeks in-depth understanding of social phenomena within their
natural setting. It focuses on the ‘why’ rather than the ‘what’ of social phenomena and
relies on the direct experiences of human beings as meaning-making agents in their every ! 28! ! day lives…The three major focus areas are individuals, societies and cultures, and language
and communication. Although there are many methods of inquiry in qualitative research,
the common assumptions are that knowledge is subjective rather than objective and that the
researcher learns from the participants in order to understand the meaning of their lives. To
ensure rigor and trustworthiness, the researcher attempts to maintain a position of neutrality
while engaged in the research process” (University of Utah 2018).
Data Collection Method and Tools
For the purpose of this research, open-ended questionnaires were sent to five people
of different film and television backgrounds. Respondents were between the ages of 25 and
34 and had more than three consecutive years experience in the entertainment industry.
The purpose of the questionnaire was to get the perspective of television executives and
writers on the topic of diversity in the industry, specifically the writers’ room. In collecting
the necessary data, the author sent the open-ended six item questionnaire to the five
recipients, asking for their honest and in depth opinion on the questions asked and advised
the recipients to write as much as they felt necessary for each question.
Sample Questions:
1. Do you believe there is a diversity gap in the television industry? If so, is the
misrepresentation of African American characters on TV, a result of this gap? Why
or why not?!
2. Do you agree or disagree that Network diversity programs are an
afterthought to staff, African American writers’ to meet a Network equality
standard? Why or Why not?! ! 29! ! 3. Is there a lack of leadership to support African American writers? How can
the Network better support writers’ of color, outside of diversity programs?!
4. Does the color of a writer’s skin determine the realism of the character
they’re developing?
5. Can a white writer successfully tell the story of the African American voice?
Does the voice need to be of an African American writer in order to portray the
character? Does it matter?
6. As Media Professionals how often do you have a conversation about
diversity and/or equality within our industry, with colleagues of a different ethnic
background? 1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
! 30! ! Sample Selection
The questionnaire was chosen to gain perspective from industry professionals with
a special relationship to the topic at hand. Each respondent has work experience in the field
and have experienced or witnessed an issue with diversity when it comes to character
portrayal and/or a lack of diversity hire. The names and current occupation of each
Respondent is listed below:
Respondents:
1. Zoe Marshall – Staff Writer on Charmed Reboot Season 1
2. Kristen Ciambella – Development Coordinator at Main Event Media
3. Janelle Coleman – Freelance Production Coordinator
4. Chi’Kira Bennett – Executive Assistant at Sony Pictures Television
5. Ishmael Hinson – Agent at Creative Artists Agency (CAA)
Research Process
Questionnaires were sent via email, August 7, 2018 at 10:42 am. Prior to sending
the questionnaire ten recipients received a text message asking if they were willing to
complete the questionnaire and the topic behind it. The five recipients listed above
responded and agreed to take complete the questionnaire. The Questionnaire was sent,
Blind Carbon Copy (BCC), each recipient confirmed receipt and were advised the deadline
to return the questionnaire. The questionnaire deadline was August 15, 2018. The author
gave the recipients a week to complete the questionnaire due to their busy film and
television schedules.
! 31! ! Data Analysis
A content analysis was used to analyze the questionnaires. It helped compare the
data and infer possible conclusions. The researcher took the five questionnaires and
compared responses to each question. The potential challenge with this method is that the
researcher could misinterpret and possibly draw invalid conclusions.
Ethical Consideration
The current study was subject to certain ethical concerns. A disclaimer was listed
on the questionnaire making recipients aware of the use of their answers. However, there
was also a text message sent advising participants to answer freely but to remain
professional for the sake of their careers, as names and responses would be shared in the
researcher’s findings.
The disclaimer listed on the questionnaire read:
Thank you for taking the time to complete this questionnaire. Please advise the information
provided in this questionnaire will be used in my published thesis, for the Television
Management Graduate Program at Drexel University’s Main Campus Library. If you do
not want your name listed in my thesis please highlight N/A in the name section below.
Research Limitations
The following were limitations for this study:
• The low number of recipients determined the size of the sample. The researcher has
no reasoning for using a small sample and was unaware until after the research was
completed that a larger study may have been more beneficial.
o A larger number of recipients could have enhanced the reliability of the
research. ! 32! ! ! More people would have given more data
• Ethnicity – Four out of five of the recipients were African American.
o More diversity in the recipients could’ve given better insight
• Age range – 25-34
o Opinions of the younger and older generations could have assisted in
understand the diversity gap and how it’s been handled in the past and
present.
• Researcher’s assumption: A questionnaire approach with a week’s time to complete
could have tainted the research. Giving recipients time to ask others opinions or
change their answers multiple times before sending it in.
o In person interviews or phone interview could have been more efficient.
! The researcher did not complete in person interviews because the
respondents are on a different coast from the researcher. Phone
interviews were not completed because of the schedule differences
for the researcher and respondents. Not to mention the time zone
difference for those on the west coast and the researcher on the east
coast.
! 33! ! Chapter 4: Results
In this chapter, using graphs created by the researcher with the findings of the
methodology and academic research, the results of the comparative analysis and data
compilation from the research questionnaire will be displayed.
Data Analysis
2018 Television Dramas with Black Writers and a Black Show runner
The!Chi!
Insecure! Hispanic!Writers! White!Writers!
Black!Lightening! Black!Writers!
Scandal!
0! 0.2! 0.4! 0.6! 0.8! 1!
Figure 7:
This chart shows television shows, with an African American Showrunner, that have premiered or had a
2018 season with African American writers. Scandal being the longest running show on this graph shows
less black writers than first year television dramas (IMDB).
In researching the credited writers of Network shows from the 2017 -2018 year, the
researcher discovered that there are multiple shows with African American writers,
dominating in numbers. Compared to the 1970s, 1980s, 1990s and even the early 2000s, ! 34! ! Network shows that portrayed African American characters, today’s productions have increased their black representation behind the scene. The writer ratio has changed for newer drama and comedies, with five or more black writers on a show compared to past decades of black writers being nonexistent or two black writers being rare (IMBD).
Shonda Rhimes’ hit show Scandal had a six-year run with only two black writers, one being Rhimes’, the creator of the show. An African American female show runner had a writing staff with 92% of the credited writers being white. Season six, which aired in
2018, had one Hispanic writer. Season six consisted of a character that was a Hispanic presidential candidate; there is no research to prove that this is why a Hispanic writer was added to the writing staff (IMBD).
Salim and Mara Brock Akil created the CW’s hit show Black Lightening. The two were also responsible for the hit shows, Girlfriends & Being Mary Jane. 63% of the writing staff for Black Lightening is African American (IMBD). Black Lightening is a show about a black superhero family trying to save their community from gun violence and drugs. The show promotes education and a successful black principal leading children into a better future than what society deems fit. The increase in black writers along with black show runners changed the narratives of the characters and shows both positive and negative of the black experience.
In this analysis, the 2018 televisions dramas with more than 75% of the writers being African American are HBO’s Insecure created by, an African American female, Issa
Rae and Showtime’s The Chi also created by an African American female, Lena Waithe.
Insecure writing staff is 76% black and The Chi’s is 80% black. Two shows created by and ! 35! ! for the African American community with one or two white writers, with black voices
dominating for accurate character portrayal (IMBD).
Research Instrument Results:
Diversity%Gap%in%the%Television%Industry%
YES! NO!
Figure 8: This pie chart shows all five questionnaire recipients answered that “Yes there is a diversity gap
in the television industry.”
The first question of the survey asked respondents if there was a diversity gap
amongst the television industry. All respondents agreed there is a diversity gap in the
industry; the ethnicity of the respondent did not change the response to this question. The
researcher expected at least one respondent to respond “No there is not a diversity gap in
the television industry”. Respondents were then asked to explain their position on if this
gap is causing a misrepresentation of African American characters on television.
Development Coordinator for Main Event Media, Kristen Ciambella, states, “Yes, I do
believe there is a diversity gap in the TV industry. I also believe this gap leads to the ! 36! ! misrepresentation of African American characters on TV." A large percentage of those in the writer’s room are straight, white men. It doesn’t matter how much research they put into a character they’re working on, they will never truly understand what it’s like to be an
African American or minority for that matter. Perhaps they even follow an African
American around for research purposes, they still will never understand what it’s like to be black. They will never experience racism or discrimination in the same manner as African
Americans. So because we have white people writing characters of color they get a bit watered down or they’re the same problematic characters we’ve seen time and time again that only add to the stigma’s of minorities” (Race in the Writer’s Room Questionnaire
2018).
On the other hand, Zoe Marshall, a television staff writer for Charmed, agrees there is a diversity gap but believes the diversity gap goes well beyond the writer’s room.
According to Marshall’s answer, “There’s a massive diversity gap in the television industry. 4.8% of professional television writers are black, even though we make up nearly
13% of the United States population. But the misrepresentation of black characters on TV extends far beyond the writers room. It’s the casting agencies that bring us casting options for the characters we write. It’s the agents who put us up for our writing jobs. If our representatives don’t recognize the value in our voices and perspectives, they won’t pitch us for nearly as many writing opportunities as we might see possible for ourselves. It’s also the studio and network executives who buy the series that end up on the air. Are they interested in content that leaves room for diverse characters? Will they put up the money and spend the time to make sure that content is made correctly? Point being, there are a lot of steps that go into making a television show, and it takes at least one person at every turn ! 37! ! who cares about diversity and representation, for it to ever make it onto the screen” (Race in the Writer’s Room Questionnaire 2018).
!
Race in the Writer’s Room Questionnaire Results
WHITE!WRITER!CAN!TELL!THE! BLACK!STORY!!
REALISM!OF!CHARACTERS!DEPENDS! ON!COLOR!OF!WRITER'S!SKIN! NEUTRAL!! NO! LACK!OF!LEADERSHIP!SUPPORTING! YES! AFRICAN!AMERICAN!WRITERS!
NETWORK!DIVERSITY!PROGRAMS! ARE!AN!AFTERTHOUGHT!
0%!10%!20%!30%!40%!50%!60%!70%!80%!
FIGURE 9 Above: This bar graph shows responses from the five questionnaire recipients. The questions given and the names of the recipients were detailed in the Research Instrument section at the end of Chapter 3.
! 38! !
How%Often%Diversity%Topic%is%Discussed% in%Industry%Conversation%
Never! Rarely! Neutral!! Often! Daily!!
Figure 10: This graph shows recipients are discussing diversity but more specifically it shows how frequently they are having conversations about diversity.
The responses to the questionnaire gave an array of views on the topic of race in the
Writer’s Room. Below are excerpts from four of the five questionnaire recipients:
Question: Is there a lack of leadership to support African American writers? How can the
Network(s) better support writers’ of color, outside of diversity programs?
Zoe Marshall – Staff Writer on Charmed Reboot Season 1:
“The industry lacks a widespread selection of black leadership in the writing realm because generationally, we’re behind…. In terms of supporting current black writers at various stages of their careers, it’s not for lack of trying on the part of other black writers. We work tremendously hard to support each other. Networks can give writers of color a chance. ! 39! ! Showrunners can give the writers’ assistant job to a person of color, instead of giving them the PA job. Being in the room and having exposure to the story breaking process is critical experience for young writers looking to get staffed”
Kristen Ciambella – Development Coordinator at Main Event Media:
“I believe so because it seems like no one is going above and beyond to make sure African
Americans are getting their fair chance at things. They hire enough to meet their quota and that’s it. They pat themselves on the back for a good job w/ diversity even though straight, white men are over represented compared to minorities... Not only is it about getting
African Americans into writers room but it’s also about getting them into executive positions at Networks, Studios and Cable studios as well”
ChiKira Bennett – Executive Assistant at Sony Pictures Television:
“In today’s landscape there has been a push for black writers and directors from those seated at the top for example, Ava Duverny and Lena Waithe. These individuals are helping guide the next group of leaders to reach out a hand to pull others up…To have women and men of color from different backgrounds in the workplace will influence who they buy projects from, who they make overall deals with and what conversations they should be having in respect to diversity”
Ishmael Hinson – Agent at Creative Artists Agency (CAA):
“There is a lack of leadership to support African American writers. Even in 2018, it is difficult for African Americans to be as successful as their white counterpart as it pertains to writing. To better support writers of color, leaders (yes, the white leaders) have to realize the need to adapt to the changing world with respect to content”
! 40! !
Study Results:
In this study, a comparative analysis of African American television comedies from
the 1970s, 1980s, and 1990s proved there is a history of diversity struggles amongst the
television industry. It also suggests, that with at least one African American writer, a
television comedy for people of color can be successful i.e. Good Times and The Cosby
Show. In 2018, black television dramas such as Insecure and The Chi, have a writers’ room
where 76% - 80% of the writers’ are African American. Both shows have an African
American female show runner onboard. However, this does not prove as a reason for the
large amount of black writers’ because Shonda Rhimes, an African American show runner
and creator, has two credited black writers’, one being herself, on the entire six season run
of her show Scandal. This suggests the success of the show is not based on the amount of
black writers’, but the diversity gap exists and African American writers’ are struggling to
get the opportunity to be storytellers of the black experience amplifying the black voice.
! !
! 41! !
Chapter 5: Conclusion
The absence of diversity in the writers’ room has contributed to the stereotypical
portrayal of African American characters in television dramas and comedies, but this study
found that lack of diversity is not the only contributing factor. Instead, the study found the
problem to be three-fold: a lack of diversity in the writers’ room, casting decisions by
agencies, networks and writing agents, and the specific topics being translated to the
screen. “As a result of this exclusion of African American writers, African American
stereotypes drive inaccurate and unfair character portrayals. “Many other studies have
shown how dangerous inaccurate portrayals can be—resulting in warped perceptions about
black people and black communities that perversely inform the decisions of doctors,
teachers, voters, police, judges and more” (Hunt 2017).
It is important that the television industry accepts that we cannot make assumptions of a group of people, especially when portraying African Americans, regardless of our own skin color or perceptions of the race as a whole. Diversifying television writers and giving accurate representations of African Americans must both be goals in order to give a factual depiction of this race’s experience.
As a result of the exclusion of African American writers, African American
stereotypes drive inaccurate and unfair African American character portrayals. If African
Americans are not portrayed as doctors, lawyers, police, teachers or lawmakers then it is
assumed that this does not exist in African American communities. Research shows that the
lack of diversity behind the scenes has been problematic, and the NAACP believes the
misrepresentation of African Americans in television stems from the lack of decision-
making power people of color have in Hollywood. “Yet diversity behind the scenes ! 42! ! remains problematic. According to the National Association for the Advancement of
Colored People (NAACP), ―African Americans and other races are underrepresented in
almost every aspect of the television … industry and have, for the most part, been denied
access to any real positions of power in Hollywood. The Writers Guild of America (WGA)
states that as of 2009, ―white males continue to dominate in both the film and television
sectors” (Williams 2012).
Discussion
The results of the questionnaire gave an array of answers that were insightful but
not at all expected. Everyone agreed there is a diversity gap issue within the television
industry. Not everyone felt the problem was in the writer’s room. Some felt it was more so
with casting agencies, the network and the writing agents. 50% believed that white writers
cannot tell the black story, but the other 50% felt it depends on the story topic (Race in The
Writer’s Room Questionnaire 2018). The researcher expected the answers to be higher in
agreement that white writers cannot tell the black story. However, the researcher was not
surprised that only 50% agreed the realism of the character depends on the color of the
writer’s skin. There are those who believe “anyone can write a story, but when writing
about black people, it is watered down, taking away from the authenticity, unless a person
of color is relaying their experiences or those of other people of color with whom they have
interacted”(Race in the Writers’ Room Questionnaire 2018). There are also those who feel
the writer’s skin color does not matter, responding that as long as the writer can write and
does so in a well-researched and authentic way, authenticity will still be depicted on the
screen. ! 43! ! The analysis of African American television over decades and the research sample
were clear in suggesting that television generationally has a diversity issue amongst the
industry, in the variety of shows offered and with authentic character development. While
the study proved the success of the show is not based solely on the amount of black writers,
it did show that the existing diversity gap among storytellers of the black experience is
lacking and therefore limiting the authentic black voice.
Limitations
Throughout this study the researcher has noticed limitations, such as the reach of
television executives to complete the study’s questionnaire. A larger pool of industry
professionals including race, gender and age, would give a broader scope of the industry
opinion on the topic of race in the writer’s room and diversifying the leadership at the big
networks. Also, the lack of peer journal reviews on television shows after 2004 was a
limitation. The topic of diversity has a lot of older journals and studies but a scarce amount
research has been done using present day data, which is why this research is relevant and
necessary.
In conclusion, the writer’s room is not the only cause for the lack of character
development for black characters. The cause for the diversity gap has not been
demonstrated, but this research has established that it is a problem in the television industry
and that everyone is aware it exists. However, the cause behind the lack of character
development for black characters is the lack of African American leadership and support
given to writers of color in order to sell black stories and develop realistic characters based ! 44! ! on experience. The black voice can’t be amplified and heard if there are no African
American leaders to back the projects within the Network.
In the beginning of this study (see Ethical Considerations), the researcher’s ethical considerations were explained. The researcher felt, at the start of this research, that the writer’s room is where the problem is, but based on the comparative analysis of shows over decades and the research instrument results, the problem does not live solely in the writer’s room. The writer’s room is certainly an aspect of the problem, but the lack of African
American leadership at the executive level is where the most work needs to be done. We need more people of color in places of power in order to reach a better balance and a more accurate voice for African American characters on television. While this research suggests a lack of diversity in the writer’s room, it also suggests, the misrepresentation of people of color starts within network executive roles. Without the proper support at the network level, the character depiction on television dramas and comedies will never be balanced and 100% realistic to the African American experience at a social level.
Recommendations for Future Leaders
Networks have to promote inclusivity and opportunities within inner city communities. As an inner city youth, the author has experienced first hand, children of color not being confident or even aware that roles outside of being an actor or actress are available. In order for inclusivity to be a “norm” and for networks to have scripts and ideas from all ethnicities they must bring awareness to their need for all creative people. Students of the film and television industry must take on roles at the executive level, especially students of color. These students cannot be afraid to take on the management sector of the ! 45! ! film and television industry. Teachers and professors must be open to the social responsibilities put on their students of color. They must build on the students’ natural talents and push their growth and confidence in an industry that is not yet 100% equipped to handle their voice. The more African American students enrolled in film and television programs, the more candidates for future film and television leaders and/or managers.
Based on my findings, my recommendations will help raise awareness of the need for more people of color working in the film and television industry. Also, it will start to build future leaders that can take on the executive support and leadership needed by writers and actors of color.
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23. Punyanunt-Carter (2008). The Perceived Realism of African American Portrayals on Television; The Howard Journal of Communications Vol. 19 Issue. Retrieved ! 48! ! from: https://library.uoregon.edu/sites/default/files/data/guides/english/howard_journal_c ommunications.pdf
24. Rhimes, Shonda (2016). Year of Yes. Retrieved from: https://www.amazon.com/Year-Yes-Dance-Stand- Person/dp/1476777128/ref=sr_1_1?ie=UTF8&qid=1478105280&sr=8- 1&keywords=Year+of+the+Yes+shonda+rhimes
25. Robb, David (2016). WGA Report Downplays Gains for Women & Minority Writers. Retrieved from: http://deadline.com/2016/03/wga-report-diveristy-women- minorities-film-tv-writers-1201726071/
26. Robinson, Stefani (2017). Only 4.8% of TV writers are black. As one of them, I know the system is broken. Retrieved from: https://www.theguardian.com/tv-and- radio/2017/nov/03/black-tv-writers-diversity-atlanta
27. Schneider, Michael (2005). ABC trumps in diversity. Retrieved from: http://go.galegroup.com.ezproxy2.library.drexel.edu/ps/i.do?p=AONE&u=drexel_ main&id=GALE|A140144306&v=2.1&it=r&sid=summon&userGroup=drexel_mai n&authCount=1
28. Seggar, J. F., Hafen, J. K., & Hannonen-Gladden, H. (1981). Television’s portrayals of minorities and women in drama and comedy drama 1971/1980. Retrieved from: http://www.tandfonline.com/doi/abs/10.1080/08838158109386451
29. Siegesmund, Richard (2007). Vol. 48, No. 3; On the Persistence of Memory: The Legacy of Visual African-American Stereotypes. Retrieved from: http://www.tandfonline.com/doi/abs/10.1080/00393541.2007.11650109?journalCod e=usae20
30. Smith, Evan (2013). Creating a Series Pilot- Newcomers Welcome. Retrieved from: http://search.proquest.com/docview/1328327131?pq- origsite=summon&accountid=10559
31. Sun, Rebecca Hollywood Reporter; Hollywood Vol. 421, (Oct 23, 2015): 70-73. The Token In The Writers’ Room Retrieved from: https://search-proquest- com.ezproxy2.library.drexel.edu/docview/1729778071?pq- origsite=summon&accountid=10559
! 49! ! 32. Turchiano, Danielle (2017). AMC, CBS, CW Have a ‘Black Problem’ in Writers Rooms, New Report Finds Retrieved from: http://variety.com/2017/tv/news/amc- cbs-cw-black-problem-writers-room-diversity-color-of-change-report-1202604594/ 33. Turner, Richard (1989). CBS Will Overhaul Development Plans For New TV Series. Retrieved from:!https://search-proquest- com.ezproxy2.library.drexel.edu/docview/398113759?pq-origsite=summon
34. Umstead, Thomas R (2016). Diversity: Its Time Has Come. Retrieved from: http://ur9ep9bn4s.search.serialssolutions.com/?ctx_ver=Z39.88- 2004&ctx_enc=info%3Aofi%2Fenc%3AUTF- 8&rfr_id=info%3Asid%2Fsummon.serialssolutions.com&rft_val_fmt=info%3Aofi %2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Diversity%3A+I ts+Time+Has+Come&rft.jtitle=Multichannel+News&rft.au=R+Thomas+Umstead &rft.date=2016-03-21&rft.pub=New+Bay+Media+LLC&rft.issn=0276- 8593&rft.eissn=1558- 2965&rft.volume=37&rft.issue=11&rft.spage=24&rft.externalDocID=4004352751 ¶mdict=en-US
35. University of Utah (2018). What is Qualitative Research? College of Nursing at the university of Utah. https://nursing.utah.edu/research/qualitative-research/what-is- qualitative-research.php
36. Yale Law Journal 89 Yale L.J (1980). A Regulatory Approach to Diversifying Commercial Television Entertainment. Retrieved from: http://heinonline.org.ezproxy2.library.drexel.edu/HOL/Page?handle=hein.journals/y lr89&div=40&start_page=694&collection=journals&set_as_cursor=0&men_tab=sr chresults
37. Yesha Callahan (2015). John Amos Says He was Kicked off Good Times because he didn’t Agree with the Shucking and Jiving. Retrieved from: https://thegrapevine.theroot.com/john-amos-says-he-was-kicked-off-good-times- because-he-1790886594
38. Williams, Danielle (2012). Assimilationist prevalence in a neo-racial age: An analysis of Tyra Banks, Tyler Perry and Shonda Rhimes. Retrieved from: http://search.proquest.com.ezproxy2.library.drexel.edu/docview/1272130027?pq- origsite=summon
39. Writers’ Guild of America East (2016). Retrieved from: https://www.wgaeast.org/2016/09/city-agencies-join-wgae-to-launch-made-in-ny- writers-room-program-to-increase-diversity-in-nycs-tv-writers-rooms/ ! 50! !
Appendix
Appendix A: Color of Change Project 2017
Color%of%Change%Project%2017%
White!Showrunners! Showrunners!of!Color! No!Black!writers! Atleast!one!Black!writer!
Figure 1: According to the Color of Change Hollywood Project in 2017, “Over 90% of show runners are
white, two-thirds of shows had no black writers at all, and another 17% of shows had just one black
writer.” ! 51! !
Appendix B: The Writers Guild of America (WGA) Membership by Race
The Writer’s Guild of America (WGA) Membership by Race
100.00%! 90.00%! 80.00%! 70.00%! 60.00%! Writers! 50.00%! !Executive!Producers! 40.00%! Staff!Writers! 30.00%! 20.00%! 10.00%! Staff!Writers! !Executive!Producers! 0.00%! Writers! Black!! White!! Other!
Figure 2: Majority of writers, executive producers and staff writers who are members of the Writers Guild of America are White.
! 52! !
Appendix C: Writers by Race on Dramas and Comedies
In%the%%Writers%Room%
No!Black!Writers!! One!Black!Writer! Two!or!More!Black!Writers!
Figure 3:
Two-thirds of all shows had no Black writers in the writers’ room. Another 17.3% of shows had only a
single Black writer in the writers’ room. The remaining 17.3% of shows had two or more Black writers
in the writers’ room and across all writers on all shows, 3,817 writers, only 13.7% were people of color,
with only 4.8% Black writers. Black writers were rare in writers’ rooms led by White show
runners…”(Hunts 2017).
! 53! !
All%Writers%on%All%Shows%
People!of!Color! White!Writers! Black!Writers!
Figure 4: This figure represents the amount of African American writer’s on multiple network dramas and
comedies compared to white and people of color (other backgrounds of color such as Hispanic and Asian).
Figure 5:
SHOWS WITH ONE OR MORE BLACK WRITERS BY NETWORK
Shows Shows Shows Shows Shows Shows Shows Shows Shows on on on on on on on on on ABC NBC Starz TNT Comedy FX HBO FOX Netflix Central
One 66.6% 60% 71.4% 75% Black writer
Five or 17% 25% 9% 8% 5% 3% More Black Writers
! 54! ! Compilation of Black Writers for Three Prominent Black Shows from 70s, 80s & 90s
100! 90! 80! 70! 60! Black!Writers! 50! White!Writers!! 40! Other! 30! 20! 10! 0! Good!Times! The!Cosby!Show! Living!Single!
Figure 6:
Black Writers on Black shows from the 1970s, 1980s and late 1990s. Living Single is the only show on the
graph with African American female creators and more than one black writer, not including the creators
of the show.
! 55! ! 2018 Television Dramas with Black Writers and a Black Show runner
The!Chi!
Insecure! Hispanic!Writers! White!Writers!
Black!Lightening! Black!Writers!
Scandal!
0! 0.2! 0.4! 0.6! 0.8! 1!
Figure 7:
This chart shows television shows, with an African American Showrunner, that have premiered or had a
2018 season with African American writers. Scandal being the longest running show on this graph shows
less black writers than first year television dramas.
! 56! ! Appendix D: Questionnaire Results
Diversity%Gap%in%the%Television%Industry%
YES! NO!
Figure 8: This pie chart shows all five questionnaire recipients answered Yes there is a diversity gap in the
television industry.
! 57! !
Race in the Writer’s Room Questionnaire Results
WHITE!WRITER!CAN!TELL!THE! BLACK!STORY!!
REALISM!OF!CHARACTERS!DEPENDS! ON!COLOR!OF!WRITER'S!SKIN! NEUTRAL!! NO! LACK!OF!LEADERSHIP!SUPPORTING! YES! AFRICAN!AMERICAN!WRITERS!
NETWORK!DIVERSITY!PROGRAMS! ARE!AN!AFTERTHOUGHT!
0%!10%!20%!30%!40%!50%!60%!70%!80%!
FIGURE 9 Above: This Bar graph shows responses from five questionnaire recipients. The questions given and the names of the recipients were detailed in the Research Instrument section at the end of
Chapter 3.
! 58! !
How%Often%Diversity%Topic%is% Discussed%in%Industry%Conversation%
Never! Rarely! Neutral!! Often! Daily!!
Figure 10: This graph shows recipients are discussing diversity but more specifically it shows how frequently they are having conversations about diversity. ! 59! ! Interview Questions and Respondents
Respondents: 1. Zoe Marshall – Staff Writer on Charmed Reboot Season 1 2. Kristen Ciambella – Development Coordinator at Main Event Media 3. Janelle Coleman – Freelance Production Coordinator 4. ChiKira Bennett – Executive Assistant at Sony Pictures Television 5. Ishmael Hinson – Agent at Creative Artists Agency (CAA) Interview Questions:
1. Do you believe there is a diversity gap in the television industry? If so, is the
misrepresentation of African American characters on TV, a result of this
gap? Why or why not?!
2. Do you agree or disagree that Network diversity programs are an
afterthought to staff, African American writers’ to meet a Network equality
standard? Why or Why not?!
3. Is there a lack of leadership to support African American writers? How can
the Network better support writers’ of color, outside of diversity programs?!
4. Does the color of a writer’s skin determine the realism of the character
they’re developing?
5. Can a white writer successfully tell the story of the African American voice?
Does the voice need to be of an African American writer in order to portray
the character? Does it matter?
6. As Media Professionals how often do you have a conversation about
diversity and/or equality within our industry, with colleagues of a different
ethnic background? 1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
! 60! ! Appendix E: Full Interview Questionnaires
Race in the Writers’ Room Questionnaire | Lateefa Smith
Thank you for taking the time to complete this questionnaire. Please advise the information provided in this questionnaire will be used in my published thesis, for the Television Management Department at Drexel University’s Main Campus Library. If you do not want your name listed in my thesis please highlight N/A in the name section below.
Name: Ishmael Hinson or N/A (highlight if applicable) Professional Title: Agent Organization Name: Creative Artists Agency
1. Do you believe there is a diversity gap in the television industry? If so, is the misrepresentation of African American characters on TV, a result of this gap? Why or why not? I do believe that there is a substantial diversity gap in the television industry. Yes, as a result of this gap, African American characters tend to be misrepresented more often than not. African Americans are usually portrayed as loud, angry, typically struggling financially, or having negative encounters with law enforcement. Rarely are African Americans depicted in a positive light.
2. Do you agree or disagree that Network diversity programs are an afterthought to staff, African American writers’ to meet a Network equality standard? Why or Why not?
I completely agree that Network diversity programs an afterthought to staff to meet Network equality standard. In reality, African Americans are not the first choice of hire in this line of work. However, to keep from being slapped with a lawsuit, and to show diversity, these programs are put in place. Not because they genuinely care or necessarily want to, but rather to avoid anything negative that could potentially affect them in the long run. Drexel University Television Management Program August 7, 2018
3. Is there a lack of leadership to support African American writers? How can the Network better support writers’ of color, outside of diversity programs? ! 61! ! There is a lack of leadership to support African American writers. Even in 2018, it is difficult for African Americans to be as successful as their white counterpart as it pertains to writing. To better support writers of color, leaders (yes, the white leaders) have to realize the need to adapt to the changing world with respect to content.
4. Does the color of a writer’s skin determine the realism of the character they’re developing?
Colorism is a thing. The fairer the skin, the better the person in the eyes of some. 5. Can a white writer successfully tell the story of the African American voice? Does the voice need to be of an African American writer in order to portray the character? Does it matter?
I think the answer to this is dependent upon the storyline. In cases of police brutality, everyday racism, or the history of slavery, I believe that a white writer cannot successfully tell the story of African Americans.
**Bonus Question: On a scale from 1 to 5 (five being the highest) As Media Professionals how often do you have a conversation about diversity and/or equality within our industry, with colleagues of a different ethnic background?
1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
Name: ______Janelle Coleman______or N/A (highlight if applicable) Professional Title: ____Production/ Travel Coordinator______Organization Name: __Freelance______
1. Do you believe there is a diversity gap in the television industry? If so, is the misrepresentation of African American characters on TV, a result of this gap? Why or why not?
Yes, there is a gap and yes it affects characters displayed on television. There ! 62! ! simply isn’t enough emphasis put on AA youth to see film and television as an option for them to go into as children. Not just writing. Technical departments and administrative departments as well. Even on movies with AA leads I often find myself as one of a few if not the only crew member who is of color. With this being said- writers that aren’t of color do not experience us enough to know much about us. There’s a small group of people I work with on my last few movies. They hang out together they know each other and they can identify with each other. One of them said to me before “Janelle- I don’t even know what you like” he’s right- he doesn’t.
2. Do you agree or disagree that Network diversity programs are an afterthought to staff, African American writers to meet a Network equality standard? Why or Why not? Yes, because it goes to my last sentence in the first paragraph. They can’t identify with us. They don’t know us or what makes us tick they don’t understand so they include us so we won’t fight and we shut up. They also get kickbacks for inclusion (I know SAG does). All they hear from us is words but don’t understand what they actually mean or identify with us
3. Is there a lack of leadership to support African American writers? How can the Network better support writers of color, outside of diversity programs? Yes, Get African American or African Descendant Network executives
4. Does the color of a writer’s skin determine the realism of the character they’re developing? Yes and no. Its about culture not skin color. If that was the case then my writing would be different than that of a dark skinned black person. But a black person and a Latino person both of African descent will write about different experiences. 5. Can a white writer successfully tell the story of the African American voice? Does the voice need to be of an African American writer in order to portray the character? Does it matter? A person of African Descent may not even be able to tell a successful story of the African American voice. I’m going to tell you why- ! 63! ! You may have an African person from the suburbs of the Midwest and an African person from the inner city of the East Coast and another from the West Coast. They’re all going to have different voices even for the same story. We have so many layers to us. And everything is about perception. So the audience will have mixed reviews. I think White people should just stay out of it until we figure out how to navigate ourselves. I don’t see black people telling stories about the Italian Mafia. I’m actually explaining this to a white filmmaker at the moment. And trying to convince him that he needs a black filmmaker to join him in telling the story he’s trying to tell about a black culture here in Philadelphia.
**Bonus Question: On a scale from 1 to 5 (five being the highest) As Media Professionals how often do you have a conversation about diversity and/or equality within our industry, with colleagues of a different ethnic background?
Often. I am here to represent. Most of them agree with me in my face and probably turn around and say “I have no idea what she’s talking about”. And THAT is why they need to leave us to us when it comes to storytelling. Helping is fine but naturally white people don’t know how to help really. They always end up over stepping.
1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
Name:!______Zoe!Marshall______!or!N/A!(highlight!if!applicable)!Professional! Title:!______Staff!Writer______!Organization!Name:!_____Charmed(Season! 1______
1. Do you believe there is a diversity gap in the television industry? If so, is the misrepresentation of African American characters on TV, a result of this gap? Why or why not? ! There’s a massive diversity gap in the television industry. I only about 4.8% of professional television writers are black, even though we make up nearly 13% of the United States population. But the misrepresentation of black characters on TV extends far beyond the writers room. It’s the casting agencies who bring us casting options for the characters we write. It’s the agents who put us up for our writing ! 64! ! jobs. If our representatives don’t recognize the value in our voices and perspectives, they won’t pitch us for nearly as many writing opportunities as we might see possible for ourselves. It’s also the studio and network executives who buy the series that end up on the air. Are they interested in content that leaves room for diverse characters? Will they put up the money and spend the time to make sure that content is made correctly? Point being, there are a lot of steps that go into making a television show, and it takes at least one person at every turn who cares about diversity and representation, for it to ever make it onto the screen. ! 2. Do you agree or disagree that Network diversity programs are an afterthought to staff, African American writers’ to meet a Network equality standard? Why or Why not? If I understand the question correctly, you’re asking if I see value in network diversity programs/if they’re worthwhile? If so, even though there’s plenty of room for these programs to be improved (i.e. helping writing fellows to negotiate a promotion to story editor when they leave their fellowship year and staff on their next show), I think they have tremendous value. Although some of them were created in reaction to widespread criticism of the monochromatic make up of television writers rooms, there are a good number of people I know at the networks who genuinely intend to use the funding and exposure these programs provide, to launch careers that may have otherwise never taken off.
3. Is there a lack of leadership to support African American writers? How can the Network better support writers’ of color, outside of diversity programs? ! ! The industry lacks a widespread selection of black leadership in the writing realm because generationally, we’re behind. Writers’ rooms were almost exclusively white. Many comedy rooms today remain predominately made up of white men. In terms of supporting current black writers at various stages of their careers, it’s not for lack of trying on the part of other black writers. We work tremendously hard to support each other. Give feedback on scripts, let each other know about staffing opportunities, etc. Networks can give writers of color a chance. Show-runners can ! 65! ! give the writers’ assistant job to a person of color, instead of giving them the PA job. Being in the room and having exposure to the story breaking process is critical experience for young writers looking to get staffed. ! 4. Does the color of a writer’s skin determine the realism of the character they’re developing? I don’t think this question can really be phrased in a dichotomous way. The only experience we have is our own. Writers have to imagine other lives all the time, that’s how we populate the worlds we create in our stories. It’s boring, bad storytelling to write exclusively what you literally know. That being said, I can’t stress enough how important it is to have writers of different backgrounds and experiences when writing layered, multifaceted perspectives of a range of people. That doesn’t mean only a black person can write a black character, or an LGBT person can write an LGBT character, but if you’re writing stories about groups you aren’t a part of, you better have someone in the room or to consult, when you do. Every show is case by case, but when it comes to deciding who needs to be in a room, humility and common sense should guide the process. If you’re writing a show about the incarceration of black men in America for example, under no circumstances should your writers’ room be predominantly white.
5. Can a white writer successfully tell the story of the African American voice? Does the voice need to be of an African American writer in order to portray the character? Does it matter? See answer to #4.
**Bonus Question: On a scale from 1 to 5 (five being the highest) As Media Professionals how often do you have a conversation about diversity and/or equality within our industry, with colleagues of a different ethnic background?
1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
Name: Kristen Ciambella or N/A (highlight if applicable) Professional Title: Development Coordinator Organization Name: Main Event Media ! 66! ! 1. Do you believe there is a diversity gap in the television industry? If so, is the misrepresentation of African American characters on TV, a result of this gap? Why or why not? Yes, I do believe there is a diversity gap in the TV industry. I also believe this gap leads to the misrepresentation of African American characters on TV. A large percentage of those in the writer’s room are straight, white men. It doesn’t matter how much research they put into a character they’re working on, they will never truly understand what it’s like to be an African American or minority for that matter. Perhaps they even follow an African American around for research purposes, they still will never understand what it’s like to be black. They will never experience racism or discrimination in the same manner as African Americans. So because we have white people writing characters of color they get a bit watered down or they’re the same problematic characters we’ve seen time and time again that only add to the stigma’s of minorities.
2. Do you agree or disagree that Network diversity programs are an afterthought to staff, African American writers’ to meet a Network equality standard? Why or Why not? I agree because I have heard conversations first hand from working in the industry. This problem is much deeper than just the writers room, it’s the entire entrainment industry no matter what level you’re at. I have heard the same conversation take place for staffing up a writer’s room to a network executive hiring an assistant. They hire African Americans and other minorities because they have to meet their quota for diversity. And even when they do hire an African American for a writer’s room, the majority of the room is still predominantly straight, white men but they don’t bat an eye over that because they still met their diversity quota even though that quota is extremely low. 3. Is there a lack of leadership to support African American writers? How can the Network better support writers’ of color, outside of diversity programs? I believe so because it seems like no one is going above and beyond to make sure African Americans are getting their fair chance at things. They hire enough to meet ! 67! ! their quota and that’s it. They pat themselves on the back for a good job w/ diversity even though straight, white men are over represented compared to minorities. I think Networks can better support writers’ of color by hiring more POC for executive positions. Not only is it about getting African Americans into writers room but it’s also about getting them into executive positions at Networks, Studios and Cable studios as well.
4. Does the color of a writer’s skin determine the realism of the character they’re developing? I absolutely believe it does. I grew up in a predominately African American area but I am well aware that while the African American characters I create have depth and realism but that depth and realism wouldn’t compare to what an African American writer would be able to create. And it comes down to the simple fact that because I am white I will never truly understand the struggles African Americans go through such as walking down the street and having to be worried about getting stopped and frisked or driving while black, etc. You can be immersed in and study a culture for years and you can see what they unjustly have to go through but there are some things that you will never be able to understand or experience.
5. Can a white writer successfully tell the story of the African American voice? Does the voice need to be of an African American writer in order to portray the character? Does it matter? Yes, it absolutely matters because someone who is straight will never be able to fully depict an LGBTQ character just as someone who is not African American will never be able to fully depict an African American character. That’s not to say that a person should only be able to write characters that are the same color as them but more so that when writing characters who are a different race we need consult people are who that particular race to make sure you’re getting things right but to remember that those characters may be close to depicting the real thing but they won’t be able to depict it 100% truthfully and to avoid the stigmas and stereotypes that come along with writing a character that’s a different race. ! 68! ! **Bonus Question: On a scale from 1 to 5 (five being the highest) As Media Professionals how often do you have a conversation about diversity and/or equality within our industry, with colleagues of a different ethnic background?
1 Never 2 Rarely 3 Neutral 4 Often 5 Daily
Name: __Chikira Bennett___ or N/A (highlight if applicable) Professional Title: _____Executive Assistant______Organization Name: __Sony Pictures Television______
1. Do you believe there is a diversity gap in the television industry? If so, is the misrepresentation of African American characters on TV, a result of this gap? Why or why not? To answer the first question, yes, there is a diversity gap and the mantra has been to be “more diverse” in all areas. The push for this initiative is ongoing and while we see more representation in both broadcast and cable there is still a need for more behind the scenes and in the studios and networks. Yes, misrepresentation of black people and other ethnicities on screen is related to a lack of voices with the necessary life experiences but we’ve entered a time where television being authentic to the creator is gaining traction. 2. Do you agree or disagree that Network diversity programs are an afterthought to staff African American writers’ to meet a Network equality standard? Why or Why not? I’m not well versed in the specifics of every network diversity programs creator’s intentions but they’ve proven to be vehicles that cultivate the voices of up and coming creatives and often than not help give them a leg up in a highly competitive industry. There are examples where they might be used in place of paying less experienced writers full scale but the fact that they’re in the room fulfills the vision for that writer, the show and the network. HBO’s writing and directing program was created by a black woman who recognized the gap and instituted a means for creatives through the networks brand that likely would not have taken the initiative upon themselves to seek out underrepresented voices. Reality is, without the ! 69! ! presence of these programs that help shine a light on these writers the change in rooms today might not be as realized. 3. Is there a lack of leadership to support African American writers? How can the Network better support writers’ of color, outside of diversity programs?
1) In today’s landscape there has been a push for black writers and directors from those seated at the top for example, Ava DuVernay and Lena Waithe. These individuals are helping guide the next group of leaders to reach out a hand to pull others up. Networks can hire individuals of color in their offices who ultimately will want to see and seek out more of the projects being made that have unique, authentic voices they can connect to emotionally and that are relevant to their experiences. To have women and men of color from different backgrounds in the workplace will influence who they buy projects from, who they make overall deals with and what conversations they should be having in respect to diversity. 4. Does the color of a writer’s skin determine the realism of the character they’re developing? Yes it sometimes can determine the realism. It’s also the kind of story being told and the experience from the writer that informs a characters actions or ideas. Some men are able to write females characters and vice versa for women.
5. Can a white writer successfully tell the story of the African American voice? Does the voice need to be of an African American writer in order to portray the character? Does it matter? The number one thing is that no matter what color that person is, they need to be able to write period. Caucasians have written their version of all ethnic backgrounds but it’s up to the reader and or viewer if they’re convinced and connected to these characters through their presentation. This Is Us wasn’t created by a black person despite portraying the experience of a black boy growing up in a predominately white world. Neither was The Wire. If a writer is able to create a show that can capture the nuances of a world, a lived experienced and or just a feeling then it’s up to the audience to say if it matters whose mind it was conceived in. That being said ! 70! ! these shows had to have had black writers in the rooms making them feel authentic and as great as they are. It’s obviously best to have black writers in The Chi’s room and on Pose. At the end of the day, everyone wins when the authenticity is evident in the writing and perspective.
**Bonus Question: On a scale from 1 to 5 (five being the highest) As Media Professionals how often do you have a conversation about diversity and/or equality within our industry, with colleagues of a different ethnic background?
1 Never 2 Rarely 3 Neutral 4 Often 5 Daily