Is UK TV still committed to diversity? The BBC says yes – and has the numbers to prove it

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The BBC is investing £140 million in creating a wider range of TV and radio programs, and aims to have 25% diversity in all its productions. It’s also dedicating over £2 million to help people from underrepresented groups advance their careers in production roles. Despite concerns that diversity efforts may have slowed down, the BBC insists it’s still fully committed to diversity and inclusion.

For Jessica Schibli, who leads creative diversity at the BBC, simply meeting quotas isn’t enough. She’s focused on a bigger question: how can the BBC truly change the industry and be a leader in that process?

Schibli feels fortunate to have her job and believes her passion for it shines through in her daily work. She explains that their primary focus is finding ways to promote diversity and inclusion within the BBC’s content. She’s pleased to see that creative diversity is now a key part of how the BBC commissions new programs, and this is clearly reflected in the work she and her team do.

We’re involved throughout the entire production process, starting with initial development and approval, then moving through production, post-production, and finally release – including when it airs or streams.

Schibli and her team also help train and develop BBC staff, guiding their careers. They also create and support the BBC’s diversity goals, working with other teams to achieve them. She says she’s passionate about her work, explaining, “It’s a fantastic opportunity to make a real difference.”

Schibli explains that this work isn’t just valuable in itself, it also fulfills the BBC’s commitment to public service. As a public service broadcaster, the BBC aims to represent everyone, but it’s also tasked with supporting the UK’s creative industries – and that includes all parts of the country.

How can we develop strong connections with important film and television organizations nationwide?

It’s challenging to work in a role focused on reshaping the television industry, but a rewarding part of it is connecting with the creators of today’s best shows. This involves building strong relationships with production companies of all sizes, and prioritizing a diverse range of suppliers and creative talent – like discovering promising new directors and writers – to forge partnerships and explore future possibilities.

A lot of discussion about diversity in television focuses on who we see on screen, and rightly so. But it’s also important to consider the diversity of the people working behind the scenes – the writers, directors, and crew.

The BBC is dedicated to diversity, not only in what you see on screen, but also in who works on and behind the scenes. This includes creating opportunities for people from a variety of backgrounds, including different ethnicities, those who are deaf or disabled, neurodivergent individuals, and people from lower socioeconomic backgrounds.

I mentioned to Schibli that many people interviewed for Pass the Mic have been frustrated by the lack of diversity behind the scenes. I then asked her what the BBC is doing to create a more inclusive and diverse working environment – something that ideally should be standard practice on most TV shows.

Schibli explains this is a key element of their commitment to creative diversity and a central part of their representation strategy. It’s reflected in their overall creative diversity goals.

Last September, we pledged to invest at least £80 million from our current TV and radio budget into programs that meet certain requirements. To qualify for this funding, a program must demonstrate diversity in both on-screen talent and the leadership roles within the production company we’re working with.

What’s truly innovative is our comprehensive approach to representation. We aim to create content that feels genuine and resonates with audiences because it’s based on real-life experiences, not just superficial diversity. This goes beyond simply filling entry-level positions; we’re focusing on leadership roles in production – the people who have the biggest influence on the creative direction and storytelling.

This year, we exceeded our goal of £140 million in content investment. This figure represents content funded from our existing commissioning budget and meets the required criteria. We’ve seen consistent year-over-year growth – last year it was £105 million, and the year before that around £66 million. We’re committed to continuing this upward trend.

Schibli is enthusiastic about the BBC’s new goals, and highlights the importance of early and ongoing discussions with producers – even during the initial development stages – to achieve them.

A major focus is the £80 million investment, alongside a push for greater diversity in all production roles. We’re aiming for 25% representation across ethnicity, disability, neurodiversity, and socioeconomic background. Plus, we have a fund of over £2 million dedicated to supporting independent production companies and helping diverse talent advance their careers to mid and senior leadership positions. It’s not enough to just offer opportunities; we need to ensure people can succeed and grow once they’re inside the industry. The most important part of this discussion is how we increase diversity in those senior roles, explains Schibli.

Another key focus is building a welcoming and inclusive environment for everyone. Last year, we introduced a new set of guidelines for inclusive production, and now, any new project must meet these standards from the very beginning, as outlined in a specific document.

Inclusion means more than just representation; Schibli highlights the importance of things like ensuring everyone has equal access to hair and makeup services, and making content accessible for all, as part of the BBC’s involvement with the TV Access Project. Importantly, the BBC is committed to ensuring financial constraints don’t prevent anyone from participating.

We’ve invested an additional £1.3 million this year to make our productions more accessible to everyone. I strongly believe this is crucial – whether people are directly employed by the BBC, working on programs for us, or collaborating with us, we need to ensure a positive and inclusive environment for all.

We’re producing our strongest work and experiencing growth. We’re dedicated to innovation, as that’s what the creative industry demands. This requires a supportive and inclusive environment where everyone feels valued and empowered to do their best.

Recent BBC dramas have been very successful, including the BAFTA-winning *Mr Loverman*, which had a diverse team of leaders in all areas of production, from ethnicity and gender to hair and makeup. Another hit was the bilingual thriller *Reunion*, which producer Schibli calls “brilliant.”

After talking with the team, it’s clear they had a great experience working on this project, largely due to the positive work environment and culture. Now, we need to figure out how to recreate that consistently. That means establishing clear expectations for all teams, holding them accountable, and providing the necessary support and training to help them succeed.

In 2020, the BBC introduced the Creative Diversity Commitment. This initiative, like similar efforts at many media companies, was a response to the widespread protests and anger following the murder of George Floyd.

When George Floyd was killed, then-BBC Director-General Tony Hall stated that the tragedy and the racism it revealed deeply affected everyone. He said it prompted the BBC to examine how it could better address racism and promote inclusivity, both within the organization and in wider society.

We’re excited to share our plans, which will significantly change how and what we create. This is a major step forward, and we’ll be sharing more details soon.

  • ⁠Over the past year, the BBC invested more than £1.6 billion in original UK television content, commissioning over 300 production companies across the country.
  • In radio in the past year, the BBC commissioned 245 production companies with 46% of network radio spend in the Nations and English regions.
  • This year, the BBC spent £140 million of its existing commissioning budget on 385 titles in TV and radio that met the BBC’s Creative Diversity criteria. In 2024, that number was £105 million and the year prior, £66 million.
  • Last year, the BBC increased its off-screen target to 25% – a target that focuses on ethnic diversity, disability and socioeconomic diversity.
  • In terms of on-screen diversity – Black, Asian, minority, ethnic representation on screen this financial year ⁠rose to 30.2% on the BBC, which was previously 29% and then 26.8% in 2020.
  • The BBC’s Diversity Development Fund (which stands at over £2 million) is there to support independents, nurture and develop careers of underrepresented production talent in mid to senior level roles.
  • The BBC’s Diversity Development Fund has so far enabled placements for 135 individuals from underrepresented backgrounds across more than 100 productions, focusing on mid to senior roles.
  • The BBC has spent £1.3 million on funding access adjustments on productions.

It’s striking that it took a major societal upheaval for the BBC to examine its own shortcomings in diversity and openly commit to improvement. I asked Schibli – even though she wasn’t at the BBC at the time (June Sarpong had been appointed Director of Creative Diversity in 2020) – why this reflection hadn’t happened sooner.

According to Schibli, 2020 forced a period of reflection, highlighting that the media industry wasn’t adapting fast enough. While changes were happening, they weren’t happening quickly enough, and there was a strong feeling that real progress required decisive action.

It’s really gratifying to see how things have turned out. As a longtime fan of the BBC, I’m thrilled they met their initial goals, but honestly, it’s more than just hitting numbers. What’s truly exciting is the sense of forward movement and the promise of even better things to come. It feels like they’ve built something with real staying power.

From unscripted series like Gladiators and Race Across the World, to powerful documentaries such as BACKLASH: The Murder of George Floyd and Rose Ayling-Ellis: Old Hands, New Tricks, and even scripted shows like Boarders, Dreaming Whilst Black, Black Ops, and Virdee, Schibli highlighted the incredible variety of programs currently available from the BBC.

We’re unique in the wide range of content we offer, but we need to keep pushing forward. That means staying ambitious and continuing to prioritize diverse and creative content. We really need to build on what we’ve already achieved, and go even further.

We’ve outlined in our strategy how to improve diversity and authenticity in our programs, so audiences truly connect with what we create and feel represented and valued. This is a core part of the BBC’s purpose – to deliver value to everyone in the UK, ensuring people from all backgrounds and communities feel the BBC is for them.

It’s been five years since the increased focus on diversity following the events of 2020, and some people are concerned that progress in media representation has stalled. What is the BBC’s response to these concerns?

Despite a tough market with less work and lower overall volume, the BBC is making year-over-year improvements in diversity, both in front of and behind the camera, according to Schibli.

Onscreen representation of Black, Asian, and other minority ethnic groups increased to 30.2% this year, up from 29% previously and 26.8% five years ago. We’re also seeing similar improvements behind the scenes. While there’s still progress to be made, representation is consistently growing year after year.

We’re making significant, lasting changes because we want to reshape the industry for the better, creating a fairer environment for everyone. This is a long-term effort, and it’s important to remember that both audiences and the UK itself are constantly changing. We need to continue to innovate and move forward to stay relevant.

As a fan, it’s great to hear Schibli talk about how important it is for the network to keep pushing forward with diversity. It’s not just about hitting certain numbers, but really making lasting changes to *how* things are done – from the stories they tell to who they cast and what projects get the green light. It’s about a genuine shift in the culture, and that’s what I’m hoping to see. It’s encouraging to know they’re aiming for something deeper than just quick wins.

Recently, many people working in UK television drama have been discussing a serious shortage of funding. Some are even calling it a crisis, and it suggests the future of scripted TV in the UK could be difficult.

Some TV shows are facing uncertainty because of funding issues. How is the BBC making sure these problems don’t unfairly impact dramas that feature or are about people from diverse racial backgrounds?

When asked about this, the BBC’s head of diversity explained that despite current difficulties in the television market, the BBC is still commissioning more dramatic content than any other broadcaster in the UK. They highlighted that the wide variety of their shows allows them to create content that is both culturally significant and unique.

Diversity is a top priority for us, and we’re committed to it. While the number of shows we produce may vary, we consistently ensure a significant portion feature positive representation of, are created by, or focus on underrepresented groups. Our recent work clearly demonstrates this commitment, and shows how important these stories are to us.

In addition to established shows such as Waterloo Road and EastEnders-programs known for their commitment to diverse representation-Schibli also highlighted some promising new projects, including The Split Up and a series based on Caleb Azumah Nelson’s novel, Open Water.

Schibli explains that they want to avoid negatively affecting certain programs, and ensure shows like the one we discussed remain a central part of their offerings and what they present to viewers.

Although the BBC is often considered a frontrunner, Schibli believes this is a chance for the entire industry to collaborate, learn from each other, and ultimately deliver better content for viewers.

The BBC aims to inform, educate, and entertain people throughout the UK, and it’s committed to reflecting the lives and serving the needs of everyone in the country.

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2025-09-26 09:53