Screenwriter John Jackson: “Why is there a lack of BESEA representation within British TV?”

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I’m currently at the EAST on Screen ITV Writers Room, a program designed to help four talented British East and South East Asian writers develop ideas for mainstream TV dramas. I co-founded the organization running the program, and ITV is providing significant support. I’m here to offer encouragement rather than contribute as a writer. Today feels like any other writers room on pitch day – a mix of nerves, laughter, and plenty of snacks!

What sets this writers room apart from others I’ve experienced is that the people in it actually share similar backgrounds to mine.

I use the phrase ‘kind of’ because many of us are much younger than me. And it’s also true that people of British East and Southeast Asian descent aren’t a single, unified group. Even in this room, we come from diverse backgrounds – British-Chinese, Japanese, Malaysian, Burmese, Filipino like myself, and more. We’re all quite different, but we have a shared sense of how others perceive us. More importantly, we share the experience of being rarely and poorly represented in television, both in front of and behind the camera.

I’ve been a writer for nearly 25 years, starting in 2001, and this is the first time I’ve ever been part of a program with other writers from South-East Asia.

I’ve worked with very few writers of color – I can still count them on one hand. While the types of jobs I’ve held may play a role, data supports this observation, particularly regarding people of East Asian descent. The latest Diamond Report, which tracks diversity in the industry, shows that while representation is improving for most minority groups, off-screen contributions from people of Asian backgrounds remain significantly lower than expected.

Looking back on my career, this wasn’t a major consideration for me early on. As a mixed-race person growing up in the 80s and 90s, being part of a minority was just normal – even within my own family. I didn’t expect to feel like I belonged, so when I was asked to remove a character’s race from scripts – supposedly to broaden casting options – it initially seemed logical. However, the result was often that those characters would be played by white actors, leading to less diversity on screen and an unspoken rule against discussing race behind the scenes.

The creative industries often feel dominated by established, mostly white, middle-class connections, and it can seem like you need to fit into that world to get ahead. I personally feel I’ve managed to navigate it well – I was born and raised in the UK, with a strong connection to my English heritage. I have a very British background – a classic British name, a state school education in London, and then I went to Cambridge University. My family background is mixed, but I don’t even speak the language of my other heritage!

Even when I’m working, I often doubt myself and feel like I can’t fully be myself. Making TV shows is collaborative, but it often feels like I’m on the outside looking in. Writing is naturally a solitary job, and in the UK, writers are often separated from the people who approve and create the shows. But as one of the few people from my background in this industry, those feelings of self-doubt, insecurity, and loneliness are even stronger.

But specifically, why is there a lack of BESEA representation in British TV?

It’s hard to become something when you don’t see examples of it – that’s the challenge with role models. Many communities feel that a career in the arts isn’t practical. This is especially true for newer immigrant families who understandably prioritize stable, well-defined career paths.

We’ve seen incredible creativity, talent, and drive in our communities, shown by the huge response to programs like EAST on Screen and others. This tells us the issue isn’t limited to us – it’s a wider challenge.

TV is facing a broad challenge with finding and retaining new talent, particularly those who don’t have the financial resources or established connections to support them through the initial difficulties. A lack of adequate training opportunities also contributes to this problem.

It’s common for writers of color to be hired as consultants to ensure diversity feels authentic in TV shows. As one of my colleagues jokingly said, they’re often brought in to simply ‘add flavor,’ but then aren’t properly credited or given real writing opportunities. Even if they do get a script credit, they might be let go or have their work changed due to lack of support and tight deadlines. This leaves them feeling discouraged and worried about their professional reputation.

Things seem to be getting a little better, with everyone talking positively about wanting to discover new talent and connect with audiences. However, because fewer shows are being produced and budgets are shrinking, there’s concern that progress on diversity and inclusion is being lost, and we might actually be going backwards.

I got involved with EAST when producer JT Wong reached out to me during the pandemic. With anti-Asian hate really spiking in both the UK and the US at the time, we both just felt like it was the right moment to try and make a difference, to actually do something about it.

We’re developing programs like EAST on Screen with ITV, our mentorship with BBC Writers, and the Table Reads for Sky – all aimed at supporting and developing talent from underrepresented ethnic backgrounds. These initiatives help get fresh ideas in front of industry decision-makers and build a stronger sense of community for creatives.

I’m really excited about the possibility of a writer from the BESEA community – perhaps even someone here right now – seeing their idea turned into a film or show for everyone to enjoy.

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2025-12-18 13:35