Ralph Bunche Center for African American Studies at UCLA 2015 Hollywood Diversity Report About the Center For more than 45 years, the Ralph J. Bunche Center for African American Studies at UCLA has supported multidisciplinary research that expands our knowledge of the history, lifestyles, and sociocultural systems of people of African descent, and investigates problems that have bearing on their psychological, social, and economic well-being. As a unit of UCLA’s Institute for American Cultures, the Bunche Center has strong affiliations and ongoing collaborations with UCLA’s Chicano Studies Research Center, Asian American Studies Center, American Indian Studies Center, and the Center for the Study of Women. The Bunche Center’s location in Los Angeles, the entertainment capital of the world, provides unrivaled access to Hollywood’s leaders and creative talent. Its position as an interdisciplinary “think tank” allows center researchers to leverage the strengths of UCLA  the campus’s renowned faculty, outstanding humanities and social science divisions, and state-of-the-art research libraries  with the center’s own unique assets as the West Coast’s premier research institute on African American Studies. Acknowledgements This report was authored by Dr. Darnell Hunt and Dr. Ana-Christina Ramón. Funmilola Fagbamila, Briana McKoy, Nicole Ramsey, Amberia Sargent, Adrien Sebro, Michael Tran, Breana Weaver, and Terrell Winder contributed to data collection for analyses. Dr. Allyson Field contributed to the development of the content analysis. Dr. Nancy Yuen, Dr. Zachary Price, and Michael Tran provided comments on earlier drafts of the report. Financial support was provided by the Ralph J. Bunche Center for African American Studies at UCLA (The Hollywood Advancement Project) and the following: CBS Entertainment Diversity, HBO, Sony Pictures Entertainment, The Henry J. Kaiser Family Foundation, The Walt Disney Company, Time Warner Inc., and the UCLA Office of the Vice Chancellor for Research. In addition to these sponsors, we would also like to thank the generous donors who contributed to this project through our UCLA Spark campaign. Photos by Shutterstock, Tiiu Roiser (www.freetiiupix.cwahi.com), and Darnell Hunt February 2015 i ii Ralph J. Bunche Center for African American Studies at UCLA 2015 Hollywood Diversity Report: Flipping the Script Table of Contents Executive Summary .......................................................................................................... 1 Background ....................................................................................................................... 4 The Data............................................................................................................................ 4 The Hollywood Landscape ............................................................................................... 5 Hollywood Diversity: Take Two....................................................................................... 9 Accolades .......................................................................................................................... 30 Gatekeeping ...................................................................................................................... 35 Images of Diversity ........................................................................................................... 41 Diversity and the Bottom Line: Casting and Writing, Box Office and Ratings ............... 47 Conclusion: Flipping the Script ....................................................................................... 53 Endnotes ........................................................................................................................... 55 Appendix ........................................................................................................................... 59 1 2015 Hollywood Diversity Report Executive Summary  Nearly 2 to 1 among digital and syndicated platform leads This is the second in a series of reports to  Greater than 6 to 1 among the creators examine relationships between diversity and of broadcast scripted shows the bottom line in the Hollywood entertainment industry. It considers the top 200  Greater than 3 to 1 among the creators theatrical film releases in 2012 and 2013 and of cable scripted shows all broadcast, cable and digital platform  Greater than 7 to 1 among the creators television programs from the 2012-13 season of digital platform and syndicated in order to document the degree to which shows women and minorities are present in front of 2. Women. Compared to minorities, women and behind the camera. It discusses any enjoyed fewer gains in Hollywood employpatterns between these findings and box ment since the previous report. They posted office receipts and audience ratings. small gains in only two employment arenas The following highlights emerge from the (among film directors and the creators of analysis: broadcast scripted shows) and regressed in 1. Minorities. Constituting nearly 40 two others (among film writers and percent of the U. S. population in 2013, broadcast scripted leads). They remain minorities will become the majority within a underrepresented on nearly every front: few decades. Although minorities posted  2 to 1 among film leads small to modest gains in several Hollywood  8 to 1 among film directors employment arenas since the last report, they remain underrepresented on every  About 4 to 1 among film writers front:  Nearly 2 to 1 among cable scripted  Greater than 2 to 1 among film leads leads  2 to 1 among film directors  2 to 1 among broadcast reality and  3 to 1 among film writers  Nearly 6 to 1 among broadcast scripted leads  Nearly 2 to 1 among cable scripted leads  Greater than 2 to 1 among leads for both broadcast and cable reality and other shows other leads  Nearly 2 to 1 among cable reality and other leads  Nearly 2 to 1 among broadcast scripted leads  Nearly 2 to 1 among creators of broadcast scripted shows  Greater than 2 to 1 among creators of cable scripted shows 2 Ralph J. Bunche Center for African American Studies at UCLA  Greater than 4 to 1 among the creators show creators, broadcast scripted leads, and of digital platform and syndicated cable scripted leads credited for the shows theatrical films and television shows examined. But despite modest gains in a few 3. Executives Suites. White males continued arenas, minority talent remained underrepto dominate the positions from which greenresented on every front at the dominant lighting decisions are made in the Hollywood agencies. industry: 6. Images of Diversity. An analysis of the  Film studio heads were 94 percent images circulating in a select sample of 16 white and 100 percent male “diverse” broadcast and cable scripted shows  Film studio senior management was 92 from the 2012-13 season found that: percent white and 83 percent male  Male and black characters were  Film studio unit heads were 96 percent overrepresented, while Latino white and 61 percent male characters were notably underrepresented  Television network and studio heads were 96 percent white and 71 percent male  Television senior management was 93 percent white and 73 percent male  Television unit heads were 86 percent white and 55 percent male 4. Accolades. Heralded by some as a “breakout year for black films,” 2013 marked notable gains for minority-led films at the Oscars. For women, however, 2013 meant continued underrepresentation on most fronts, though they reached parity with men as leads in Oscar-winning films. At the Emmys, minorities and women enjoyed modest gains but remained underrepresented on every front. 5. Gatekeeping. Since the last report, the three dominant talent agencies increased their combined shares of the film directors, film writers, film leads, broadcast scripted  Minority leads were more prominent in sitcoms, while white leads were more prominent in dramas  White actors dominated the top credits  LGBT characters were relegated to lower-credited actors  Law enforcement, professional, and student were the most prominent character occupations  Racial and gender stereotypes, though present at times, were muted 7. The Bottom Line. Consistent with findings from the previous Hollywood Diversity Report, new evidence suggests that increasingly diverse audiences prefer diverse film and television content:  Films with relatively diverse casts enjoyed the highest median global box 2015 Hollywood Diversity Report office receipts and the highest median return on investment  Median 18-49 viewer ratings (as well as most median household ratings among whites, blacks, and Latinos) peaked for broadcast and cable shows that at least match the minority share of the population in terms of overall cast diversity  Median 18-49 viewer ratings were highest for broadcast and cable scripted shows in which minorities wrote between 21 percent and 30 percent of the episodes 3 4 Ralph J. Bunche Center for African American Studies at UCLA Background This report is the second in a series of studies by the Ralph J. Bunche Center for African American Studies at UCLA to explore the relationships between diversity and the bottom line in the Hollywood entertainment industry. The Bunche Center’s larger Hollywood Advancement Project, from which this report stems, has three primary goals: 1) to generate comprehensive research analyses of the inclusion of diverse groups in film and television, including lead roles, writing, directing, producing, and talent representation; 2) to identify and disseminate best practices for increasing the pipeline of underrepresented groups into the Hollywood entertainment industry; and 3) to consider the broader implications of diverse industry access and media images for society as a whole. The Data The 2015 Hollywood Diversity Report examines 172 theatrical films released in 2012 and 175 released in 2013,1 as well as 1105 television shows airing during the 201213 season.2 The television shows were distributed across six broadcast networks, 59 cable networks, 3 digital platforms, and through syndicated programming (see Table 1, Appendix); they were sorted into the following categories for analysis: 107 broadcast scripted shows; 100 broadcast reality and other shows; 168 cable scripted shows; 698 cable reality and other shows; and 32 digital platform and syndicated3 shows.4 Variables considered in the analyses for this report include the following:  Racial status of lead talent  Gender of lead talent  Overall cast diversity  Show creator racial status  Show creator gender  Show locations  Writer diversity  Director diversity  Genres  Talent agency representation  Oscar and Emmy awards  Nielsen ratings5  Global and domestic box office  Character occupations  Character race, gender, and sexuality  Character scene time  Industry executives by race and gender Data for this report were compiled from a variety of sources that industry stakeholders rely upon for day-to-day updates on industry developments. These sources include The Studio System, Variety Insight, the Internet Movie Database (IMDb), Nielsen, and Box Office Mojo. Researchers also conducted a content analysis of a select sample of broadcast and cable scripted shows. 5 2015 Hollywood Diversity Report The Hollywood Landscape The previous Hollywood Diversity Report concluded that there was an apparent disconnect between the industry’s professed focus on the bottom line and actual staffing practices in film, broadcast television, and cable. On the one hand, it found that films and television shows with casts that reflect the nation’s racial and ethnic diversity were more likely to post high box office figures or ratings during the study period. On the other, it documented the degree to which minorities and women were severely underrepresented among the corps of directors, show creators, writers, and lead actors that breathe life into industry productions. when the blue and red lines cross. Absent some significant change in Hollywood’s routine business practices, the disconnect documented in the previous report will only widen. This report picks up where the 2014 Hollywood Diversity Report left off. In the following pages, it looks closely at patterns evident in 2012 and 2013 films and in television during the 2012-13 season. Film 1. U.S. and Canada Box Office Increased 6.9 Percent between 2011 and 2013 Global box office reached $35.9 billion in 2013, up 10.1 percent over the $32.6 billion figure noted in the previous Hollywood Figure 1 documents the opposing trends in Diversity Report for 2011. Meanwhile, total box office for the United States and Canada the United States’ white and minority in 2013 was $10.9 billion, a 6.9 percent populations, from 1960 to 2050. It reveals increase over 2011’s total.6 In 2013, 659 that the nation is already nearly 40 percent films were released, which represents a 2.7 minority and will only become increasingly so in the coming years. Indeed, the nation is percent decline from the 677 films released in 2012 but an 8 percent increase over the projected to be majority minority by 2043, 610 films released in 2011.7 2. More than Half of All Frequent Moviegoers Were Minorities in 2013 Figure 1: U.S. Population Shares, White and Minority, 1960-2050 White 100% Minority 85% 80% 63% 60% 40% 37% 20% 0% 53% 47% 15% 1960 2011 2050 In 2013, frequent moviegoers represented just 11 percent of the U.S. and Canada populations but bought half of all domestic movie tickets.8 It is worth noting that more than half of these frequent moviegoers — 51 percent — were minorities in 2013.9 6 Ralph J. Bunche Center for African American Studies at UCLA 3. Comedy, Action, and Drama Films Dominate the Top Ranks Figure 2: Percentage Distribution of Films by Genre, 2012 and 2013 (n=172, 175) 2012 2013 30.0% 25.0% 20.0% 15.0% 10.0% 5.0% 0.0% The 172 films examined for 2012 and the 175 examined for 2013 were categorized into 16 genres. Three of the genres10 — Comedy, Action, and Drama — collectively accounted for 65.1 percent of the top grossing films in 2012 and 66.3 percent in 2013 (see Figure 2). Television 1. No Single Genre Dominates Broadcast Programming programming, while the remaining 39.1 percent share was divided between reality (21.7 percent) and comedies (17.4 percent). 2. Reality Shows Dominate Cable Programming Consistent with the previous report, the picture was altogether different in cable. As Figure 3 reveals, no single genre Figure 4 shows that 69.4 percent of cable represented a majority of broadcast television programming during the 2012-13 programming during the 2012-13 season consisted of reality shows, followed by other season. That is, dramas (34.3 percent) and 11 other programming (26.6 percent) together programming (11.2 percent), drama (11 percent), and comedy (8.4 percent). accounted for 60.9 percent of broadcast Figure 3: Broadcast TV by Genre, 2012-13 Season (n=207) Figure 4: Cable TV by Genre, 2012-13 Season (n=866) 8.4% 21.7% 17.4% comedy drama 26.6% 34.3% 11.0% 11.2% 69.4% comedy drama other other reality reality 7 2015 Hollywood Diversity Report 3. Other Programming Dominates among Digital Platform and Syndicated Shows Figure 5 shows that 59.4 percent of digital platform and syndicated shows consisted of other programming during the 2012-13 season. By contrast, drama (21.9 percent), comedy (15.6 percent), and reality (3.1 percent) accounted for relatively small shares of the total. Figure 5: Digital and Syndicated TV by Genre, 2012-13 Season (n=32) 3.1% 15.6% As in previous report, Figure 7 suggests that Los Angeles’s hold on broadcast reality and other shows is a bit more secure than it is with scripted shows. The Los Angeles region accounted for 59.1 percent these series locations during the 2012-13 season, though this figure too represented a decline compared to the 68.5 percent share posted in the previous report. Meanwhile, the New York area ranked second in terms of broadcast reality and other show locations for 2012-13, claiming 20.5 percent of them. This latter figure was virtually unchanged between reports. comedy 59.4% 21.9% Figure 6: Share by Location, Broadcast Scripted Shows, 2012-13 Season (n=91) drama other reality 27.5% 4. Los Angeles’s Share of Broadcast TV Show Locations Declines Consistent with news accounts of “runaway production,”12 the previous report noted that other regions around the country and in Canada have increased their shares of film and television production to notable levels. Figure 6 shows that for the 2012-13 season, Los Angeles accounted for just 51.6 percent of scripted series locations, down from 59 percent the previous season. The New York area (14.3 percent) and Vancouver (6.6 percent) also claimed significant shares of locations for broadcast scripted series during the 2012-13 season. LA 51.6% 6.6% NYC Vancouver Remaining 14.3% Figure 7: Share by Location, Broadcast Reality and Other Shows, 2012-13 Season (n=44) 20.5% LA 59.1% 20.5% NYC Remaining 8 Ralph J. Bunche Center for African American Studies at UCLA 5. Cable TV Locations Continue to Be More Evenly Distributed Figure 9 reveals that little has changed with the distribution of cable reality and other locations since the last report. That is, the Contrary to the case of broadcast television, Los Angeles area continued to account for a no single location claimed a majority share of little less than a third of these locations (30.7 cable television production during the 2012percent), while the rest were distributed 13 season. Though Figure 8 shows Los throughout the United States and Canada — Angeles claimed far and away the single New York (17.2 percent), Atlanta (3.1 largest share of cable scripted series percent), and a collection of dozens of locations for 2012-13 (42.2 percent), other remaining areas (49 percent). locations such as the Atlanta area (12.1 percent), Toronto (7.8 percent), New York 6. Digital and Syndicated Locations Vary (5.2 percent), and a collection of remaining Widely locations (32.8 percent) combined for the In terms of location distribution, digital majority of locations. platform and syndicated production looks more like cable reality and other production Figure 8: Share by Location, than broadcast scripted production or Cable Scripted Shows, 2012-13 Season (n=116) broadcast reality and other production. That is, for the 2012-13 season, digital platform and syndicated production was spread over LA vast regions of the continent, with the Los 32.8% Atlanta 42.2% Angeles area claiming a mere 38.9 percent Toronto share, New York an 11.1 percent share, and NYC 5.2% the remaining half of production spread over 7.8% Remaining 12.1% dozens of areas (see Figure 10). Figure 9: Share by Location, Cable Reality and Other Shows, 2012-13 Season (n=192) 30.7% 49.0% FIgure 10: Share by Location, Digital and Syndicated Shows, 2012-13 Season (n=18) LA NYC 50.0% 38.9% NYC Atlanta 17.2% 3.1% LA Remaining Remaining 11.1% 9 2015 Hollywood Diversity Report Hollywood Diversity: Take Two and syndicated shows airing during the 2012 -13 season and theatrical films released in 2012 and 2013 in order to document any The previous Hollywood Diversity Report changes in the state of cast and crew examined theatrical films released in 2011 diversity throughout the industry since the and broadcast and cable shows airing during previous report. The following headlines the 2011-12 season in order to assess the summarize any notable trends. degree of racial and gender diversity in front of and behind the camera. For the various Film film and television arenas examined (e.g., lead roles, film director, film writer, television writer, and show creators), it found that underrepresentation was the norm for minorities and women. The only variation was the degree of underrepresentation, which ranged from marginal to extreme. Fast forward a year ahead in television and two years ahead in film. This report examines broadcast, cable, digital platform 1. Minorities Gain Ground among Lead Roles13 in Film Figure 11 shows minorities (red line) claimed 16.7 percent of the lead roles in the 174 films examined for 2013, up from 15.1 percent in 2012 and just 10.5 percent in 2011. Because minorities collectively accounted for 37.4 percent of the U.S. population in 2013 (gray line), they were 10 Ralph J. Bunche Center for African American Studies at UCLA Figure 11: Lead Actor Race, Theatrical Films, 2011 - 2013 (n=172, 172, 174) Minority White Figure 12: Lead Actor Gender, Theatrical Films, 2011-2013 (n=172, 172, 174) Male U.S. pop 100.0% 80.0% 89.5% 83.3% 84.9% 60.0% 40.0% 20.0% 0.0% Female 100.0% 2011 15.1% 2012 74.4% 69.2% 74.7% 60.0% 37.4% 10.5% 80.0% 16.7% 40.0% 20.0% 0.0% 2013 underrepresented by a factor of a little over 2 to 1 among lead roles in the films examined for that year. In 2011, by contrast, the degree of underrepresentation had stood at nearly 4 to 1. Films with minority leads in 2013 include ethnic-targeted titles such as Tyler Perry’s Madea’s Big Happy Family, Tyler Perry Presents the Peeples, and Baggage Claim, as well as mainstream-oriented releases like Fast & Furious 6, G.I. Joe: Retaliation, and 12 Years a Slave. Meanwhile, titles from 2012 with diverse leads include: MIB 3, Django Unchained, Think Like a Man, and Tyler Perry’s Madea’s Witness Protection. Future reports will reveal whether 2013 — dubbed by some as a “breakout year for black film”14 — represents the continuation of a new trend for minority leads begun in 2012 or just a brief deviation from business as usual. 2. Women Tread Water among Lead Roles in Film Women (red line) claimed the lead roles in only 25.3 percent of the 174 top films examined for 2013 (see Figure 12). This 25.6% 2011 30.8% 2012 25.3% 2013 figure is a bit lower than the share the group claimed in 2012 (30.8 percent) but virtually identical to 2011’s figure (25.6 percent). Because women constitute slightly more than half of the U.S. population, they were underrepresented by a factor of about 2 to 1 among leads for the films examined in 2013. Films that featured female leads that year include: Gravity, The Hunger Games: Catching Fire, and Saving Mr. Banks. 3. Overall Cast Diversity15 Increasing in Film Figure 13 reveals that films with casts 10 percent or less minority (top line) have declined significantly since the last report. These films’ share of all titles declined from slightly more than half in 2011 to just 31 percent in 2013. By contrast, the lines representing the shares for all the other cast diversity intervals trended upward over the period. Most notably, the share for films with casts from 41 percent to 50 percent minority (bottom line) increased from 0 percent to 6.3 percent, while the share for films with casts from 31 percent to 40 11 2015 Hollywood Diversity Report percent minority — the interval containing the minority share of the overall population — increased from 2.3 percent to 7.5 percent. Similarly, it’s worth noting that 13.8 percent of the films examined for 2013 featured casts that were majority minority, up from just 9.9 percent in 2011. While the films in this cast diversity interval tended be smaller, ethnicniche films in 2011, several of the 2013 films with majority-minority casts were more mainstream-oriented releases: Fast & Furious 6, Lee Daniels’ The Butler, Mandela: Long Walk to Freedom, and Fruitvale Station. 4. Minorities Gain Ground among Film Directors Minorities directed 17.8 percent of the 174 films examined for 2013 (see Figure 14), up from just 12.2 percent in 2011 and 11 percent in 2012. As minorities accounted for 37.4 percent of population in 2013 (gray line), they bettered their degree of underrepresentation within the corps of film directors from a factor of 3 to 1 noted in the previous report to a factor of 2 to 1. Examples of minoritydirected films from 2013 underscore the degree to which improvement in this arena was driven by the unusual number of Figure 13: Minority Cast Share, by Share of Theatrical Films, 2011-2013 (n=172, 172, 174) 10% or less 31% to 40% 11% To 20% 41% to 50% Figure 14: Director Race, Theatrical Films, 2011-2013 (n=172, 172, 174) 51% and over 60.0% 50.0% White 21% to 30% Minority U.S. pop 100.0% 80.0% 87.8% 82.2% 89.0% 60.0% 51.2% 40.0% 40.0% 20.0% 31.0% 30.0% 20.0% 10.0% 0.0% 25.3% 22.1% 16.1% 13.8% 14.5% 9.9% 7.5% 6.3% 2.3% 2011 2012 2013 37.4% 12.2% 11.0% 17.8% 0.0% 2011 2012 2013 “breakout year” black films released. For example, these films include: 12 Years a Slave, Lee Daniels’ The Butler, Fruitvale Station, and The Best Man Holiday. 5. Women Still Less Likely than Minorities to Direct Top Films Consistent with findings from the previous report, women faced tougher odds at directing a top film in 2013 than did 12 Ralph J. Bunche Center for African American Studies at UCLA Figure 15: Director Gender, Theatrical Films, 2011-2013 (n=172, 167, 174) Male Figure 16: Writer Race, Theatrical Films, 2011-2013 (n=172, 167, 170) Female White 100.0% 100.0% 80.0% 95.9% 94.2% 93.7% 60.0% 40.0% 40.0% 20.0% 4.1% 5.8% 2011 2012 minorities. Figure 15 shows that women directed just 6.3 percent of the films examined for 2013, albeit up from the 4.1 percent and 5.8 percent figures posted in 2011 and 2012, respectively. A little more than 50 percent of the population, women were underrepresented by a factor of about 8 to 1 among film directors in 2013. Films directed by women that year include: Carrie, Girl Most Likely, and Tyler Perry Presents Peeples. 6. Minorities Gain Ground among Film Writers16 Consistent with findings above about the gains minorities have made since the previous report in their share of film leads and film directors, minorities have also gained a little ground within the corps of film writers. Figure 16 shows minorities wrote 11.8 percent of the 170 films examined for 2013, up from just 7.6 percent in 2011 and 7.8 percent in 2012. Relative to the minority share of the population (gray line), minorities were underrepresented by a factor of about 3 to 1 among film writers in 2013, an 37.4% 7.8% 11.8% 7.6% 2011 2013 88.2% 92.2% 20.0% 0.0% 0.0% U.S. pop 92.4% 80.0% 60.0% 6.3% Minority 2012 2013 improvement over the 5 to 1 factor evident in 2011. Films from 2013 that featured minority writers include: Gravity, Star Trek Into Darkness, The Best Man Holiday, 12 Years a Slave, and Fruitvale Station. 7. Women Lose a Little Ground among Film Writers Figure 17 reveals that women received writing credits in just 12.9 percent of the 170 films examined for 2013, down slightly from the 14.1 percent figure posted in 2011. As in the previous report, however, women still fared better as writers in film in 2013 than as Figure 17: Writer Gender, Theatrical Films, 2011-2013 (n=170, 169, 170) Male Female 100.0% 80.0% 85.9% 87.0% 87.1% 14.1% 13.0% 12.9% 2011 2012 2013 60.0% 40.0% 20.0% 0.0% 13 2015 Hollywood Diversity Report directors, though they remained underrepre- percent male), if not racial and ethnic sented by a factor of nearly 4 to 1 among film diversity (96 percent white). writers. Examples of films written by women that year include: Frozen, The Hobbit: The Desolation of Smaug, Saving Mr. Banks, Television and Safe Haven. Leads 8. White Males Dominate Executive Suites 1. Minorities Underrepresented by a Factor in Film of Nearly 6 to 1 among Lead Roles in It’s no secret that white men have always Broadcast Scripted Shows occupied the lion’s share of executive Minority actors claimed 6.5 percent of the positions from which green-lighting lead roles in broadcast scripted programdecisions are made in the Hollywood film ming during the 2012-13 season, up slightly industry. Figure 18, however, documents from the 5.1 percent figure posted for the the degree to which this is still true today. It 2011-12 season (see Figure 19). Given that shows that at the time of this report’s minorities accounted for 37.4 percent of the writing, the corps of CEOs and/or chairs population in 2013 (gray line), their 2012-13 running the 18 studios examined was 94 share of lead roles in this arena corresponds percent white and 100 percent male. to underrepresentation by a factor of nearly Meanwhile, the studios’ senior management 6 to 1. Examples of broadcast scripted shows corps17 was 92 percent white and 83 percent that featured minority leads that season male. An accounting of industry unit heads18 include: Scandal (ABC), The Mindy Project revealed a bit more gender diversity (just 61 (Fox), and Nikita (CW). Figure 18: Film Executives Chair/CEO (n=18) Figure 19: Leads by Race, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=99, 107) 94% White White 100% Male 100.0% Sr. Mgmt. (n=76) 92% White 83% Male 94.9% Minority U.S. Pop 93.5% 80.0% 60.0% 96% White 61% Male 40.0% 37.4% 20.0% Unit Heads (n=56) 0.0% 5.1% 2011-12 6.5% 2012-13 14 Ralph J. Bunche Center for African American Studies at UCLA 2. Minorities Continue to Fare Better as Leads in Cable Scripted Shows share is considerably larger than the corresponding broadcast share for minorities, due to the fact that several cable Figure 20 shows minority actors accounted networks market primarily to minority (or for 19.3 percent of the lead roles in cable “urban”) audiences. Still, minorities scripted shows during the 2012-13 season — remained underrepresented by a factor of a nearly a 5 percentage point improvement little less than 2 to 1 among cable scripted over the 2011-12 figure (14.7 percent). leads during the 2012-13 season (gray line). Consistent with the previous report, this The following titles are among cable scripted shows that featured minority leads in 2012Figure 20: Leads by Race, 13: Real Husbands of Hollywood (BET), Cable Scripted, Love Thy Neighbor (OWN), Single Ladies 2011-12 and 2012-13 Seasons (n=156, 166) (VH1), and Shake It Up! (Disney). White Minority U.S. Pop 100.0% 80.0% 85.3% 80.7% 60.0% 40.0% 20.0% 37.4% 14.7% 19.3% 0.0% 2011-12 2012-13 3. Women’s Share of Lead Roles in Broadcast Scripted Shows Declines Slightly Women accounted for 48.6 percent of the lead roles in broadcast scripted shows during the 2012-13 season, down slightly from the 51.5 percent figure the group posted for 2011 -12 (see Figure 21). Still, women ap- 15 2015 Hollywood Diversity Report Figure 21: Leads by Gender, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=99, 107 ) Male Female 60.0% 55.0% 45.0% 40.0% 5. Minorities Still More Likely to Lead Reality and Other Shows than Scripted Shows in Broadcast Recall that minorities were underrepresented by a factor of nearly 6 to 1 among 48.6% 48.5% leads in broadcast scripted shows during the 2012-13 season. Among broadcast reality and other programming — as the previous 2011-12 2012-13 report also found — the degree of underrepresentation was less pronounced. Figure proached proportionate representation 23 shows minorities accounted for 15.2 among leads in the arena. percent of the broadcast reality and other 4. Women Continue to Fare Worse as Leads leads during the 2012-13 season, virtually in Cable Scripted Shows unchanged from the 15.4 percent figure Consistent with the previous report, Figure posted in 2011-12. Relative to their share of 22 reveals female talent claimed just 37.1 the population (gray line), minorities were percent of the lead roles in cable scripted underrepresented by a factor of a little more shows during the 2012-13 season. This than 2 to 1 among these leads during the figure is virtually identical to the 37.2 2012-13 season. Broadcast reality and other percent share the group posted for the 2011- shows that credited minorities as leads in 12 season. At a little more than half of the 2012-13 included the following: 20/20 U.S. population, women would have to (ABC), America’s Next Top Model (CW), increase their share of lead roles by nearly 40 51.5% 50.0% percent to achieve proportionate representation in scripted cable television. 51.4% Figure 22: Leads by Gender, Cable Scripted, 2011-12 and 2012-13 Seasons (n=156, 167) Male Female White 100.0% 40.0% Minority U.S. Pop 100.0% 80.0% 60.0% Figure 23: Lead Talent by Race, Broadcast Reality and Other Shows, 2011-12 and 2012-13 Seasons (n=104, 92) 80.0% 62.8% 62.9% 37.2% 37.1% 40.0% 20.0% 0.0% 0.0% 2012-13 84.8% 60.0% 20.0% 2011-12 84.6% 37.4% 15.4% 2011-12 15.2% 2012-13 16 Ralph J. Bunche Center for African American Studies at UCLA Let’s Make a Deal (CBS), and Tavis Smiley (PBS). 6. Minorities Still Underrepresented by a Factor of More than 2 to 1 among Cable Reality and Other Leads 100.0% 80.0% 60.0% 40.0% 20.0% 0.0% 7. Women Still Underrepresented by a Factor of About 2 to 1 among Broadcast Reality and Other Leads Women accounted for just 25.8 percent of the lead roles in broadcast scripted shows during the 2012-13 season, a slight increase Minority talent claimed 16.8 percent of the over the 24.5 percent share the group posted lead roles on cable reality and other shows in 2011-12 (see Figure 25). At a little more during the 2012-13 season, up 3.6 percentage than half of the population, women continued to be underrepresented by a factor Figure 24: Lead Talent by Race, Cable Reality and Other Shows, of about 2 to 1 among broadcast reality and 2011-12 and 2012-13 Seasons (n=463, 560) other leads in 2012-13. By contrast, you will White Minority U.S. Pop recall, women were closer to proportionate representation among lead roles in broadcast 86.8% 83.2% scripted shows. Examples of broadcast reality and other shows that featured women leads in 2012-13 include: 20/20 (ABC), 37.4% America’s Next Top Model (CW), Live! With 13.2% 16.8% Kelly and Michael (ABC), and The Talk (CBS). 2011-12 2012-13 Figure 25: Lead Talent by Gender, points from the 13.2 percent share the group Broacast Reality and Other Shows, claimed in 2011-12 (see Figure 24). 2011-12 and 2012-13 Seasons (n=106, 93) Nonetheless, given the minority share of the Male Female population (gray line), the minority share of 100.0% cable reality and other leads still corre80.0% 75.5% 74.2% sponded to underrepresentation by a factor 60.0% of more than 2 to 1 in 2012-13. Examples of 40.0% cable reality and other shows that featured 24.5% 25.8% 20.0% minority lead talent that season include: 106th & Park (BET), Basketball Wives (VH1), 0.0% 2011-12 2012-13 Braxton Family Values (WEtv), House Hunters (HGTV), and Tia and Tamera (Esquire). 8. Women Lose a Little Ground among Cable Reality and Other Leads Figure 26 shows women accounted for just 27.4 percent of the lead roles in cable reality 17 2015 Hollywood Diversity Report Figure 26: Lead Talent by Gender, Cable Reality and Other Shows, 2011-12 and 2012-13 Seasons (n=520, 573) Male Figure 27: Lead Talent by Race, Digital and Syndicated Shows, 2012-13 Season (n=29) Female 100.0% 80.0% 69.4% 21% 72.6% 60.0% 40.0% White 79% 30.6% 20.0% Minority 27.4% 0.0% 2011-12 2012-13 and other shows during the 2012-13 season, a 3.2 percentage point decrease from the 30.6 percent share the group claimed during the 2011-12 season. Women would thus have to nearly double their share of lead roles in cable reality and other programming in order to reach proportionate representation therein. The following titles are among the cable reality and other shows that credited women as leads in 2012-13: America’s Supernanny (Lifetime), Chelsea Lately (E!), Face-Off (Syfy), and Property Virgins (HGTV). 9. Minorities Most Likely to Lead Digital and Syndicated Shows Figure 27 shows minorities accounted for 21 percent of lead talent in digital platform and syndicated programming19 for the 201213 season. This figure exceeds the minority share of leads in either broadcast or cable, scripted or reality and other. Still, minorities were underrepresented by a factor of nearly 2 to 1 among leads on these shows. Examples of digital platform or syndicated shows that featured minority lead talent for 2012-13 include: East Los High (Hulu), Rogue (DirecTV), The Wendy Williams Show (Syndicated), and Steve Harvey (Syndicated). 10. Women Also Most Likely to Lead Digital and Syndicated Shows Figure 28 shows women accounted for 52 percent of lead talent in digital platform and syndicated programming during the 2012-13 season — a majority share that exceeds the corresponding figures for either broadcast or cable, scripted or reality and other. Examples of digital platform or syndicated Figure 28: Lead Talent by Gender, Digital and Syndicated Shows, 2012-13 Season (n=29) 52% 48% Male Female 18 Ralph J. Bunche Center for African American Studies at UCLA shows that featured women leads for 2012-13 include: Orange is the New Black (Netflix), Hemlock Grove (Netflix), The Ellen DeGeneres Show (Syndicated), and Access Hollywood Live (Syndicated). scripted shows with casts that were from 11 percent to 20 percent minority declined between reports, from 35.4 percent during the 2011-12 season to just 28 percent during the 2012-13 season. Changes in the other diversity intervals were smaller between Overall Cast Diversity reports, though it’s worth noting that the diversity interval containing the 37.4 percent 1. Share of Least Diverse Broadcast minority share of the U.S. population (i.e., 31 Scripted Shows Increases percent to 40 percent) increased its share of Overall cast diversity for broadcast scripted broadcast scripted shows from 15.2 percent shows declined since the last report. Figure in 2011-12 to 16.8 percent in 2012-13. 29 illustrates that 30.8 percent of shows in Examples of shows that fell into this diversity the 2012-13 season had casts that were only interval in 2012-13 include: 2 Broke Girls 10 percent minority or less — the single (CBS), Bones (Fox), Scandal (ABC), Beauty largest share among the cast diversity and the Beast (CW), and Law & Order: intervals that season (top blue line). And Special Victims Unit (NBC). this share was a notable increase over the 2. Share of Least Diverse Cable Scripted 23.2 percent figure for the interval in 2011Shows Decreases, While Share of Those with 12. Meanwhile, the share of broadcast Majority-Minority Casts Increases Figure 29: Minority Cast Share, by Share of Broadcast Scripted Shows, 2011-12 and 2012-13 Seasons (n=99, 107) 10% or less 11% To 20% 21% to 30% 31% to 40% 41% to 50% 51% and over 40.0% 35.0% 35.4% 30.8% 30.0% 28.0% 25.0% 23.2% 20.0% 15.0% 16.2% 16.8% 15.2% 14.0% 10.0% 8.1% 10.3% 5.0% 0.0% 2.0% 2011-12 0.0% 2012-13 Figure 30 shows 35.3 percent of cable shows during the 2012-13 season had casts that were 10 percent minority or less, down slightly from the 37 percent figure posted in 2011-12. The next largest share of the programs — 28.1 percent — was composed of shows with casts between 11 percent and 20 percent minority. Meanwhile, cable scripted shows with majority-minority casts increased from 8.4 percent of all cable scripted shows in 2011-12 to 10.8 percent in 2012-13. The diversity interval containing the 37.4 percent minority share of the U.S. population (i.e., 31 percent to 40 percent) also contained 10.8 percent of the shows in 2012-13. But this figure was down from the 13 percent figure posted in 2011-12. Shows 19 2015 Hollywood Diversity Report Figure 30: Minority Cast Share, by Share of Cable Scripted Shows, 2011-12 and 2012-13 Seasons (n=152,167) 10% or less 11% To 20% 21% to 30% 31% to 40% 41% to 50% 51% and over 40.0% 35.0% 9% 9% 37.0% 35.3% 30.0% 25.0% Figure 31: Minority Cast Share, by Share of Digital Scripted Shows, 2012-2013 Season (n=11) 10% or less 46% 18% 21% to 30% 18% 28.1% 11% To 20% 41% to 50% 51% and over 25.3% 20.0% 15.0% 10.0% 5.0% 13.0% 10.4% 8.4% 10.8% 10.2% 5.8% 4.8% 0.0% 2011-12 2012-13 that fell into this latter interval in 2012-13 include: A.N.T. Farm (Disney), Homeland (Showtime), Graceland (USA), Army Wives (Lifetime), and Major Crimes (TNT). 3. Majority of Digital Scripted Shows Feature Casts with Relatively Few Minorities Figure 31 shows 46 percent of digital platform scripted shows featured casts that were 10 percent minority or less during the 2012-13 season, while another 18 percent had casts that were from 11 to 20 percent minority. By contrast, no digital scripted shows fell into the diversity interval containing the minority share of the population in 2012-13 (i.e., 31 percent to 40 percent). Two shows, East Los High (Hulu) and Rogue (DirecTV), alone populated the majority-minority and 41 percent to 50 percent minority cast intervals, respectively. 4. White Actors Dominate Broadcast Scripted Roles Figure 32 reveals white actors claimed 81 percent of the 700 roles examined in broadcast scripted programming during the 2012-13 season, while minorities combined for just 19 percent. Minorities would have to nearly double their share of all broadcast scripted roles to reach proportionate representation for the season. Breakdowns for specific minority group shares include: Figure 32: Share of Roles, by Race, Broadcast Scripted Shows, 2012-13 Season (n=700) 2% 10% 4% 3% white 0% black Latino 81% Native Asian mixed other 20 Ralph J. Bunche Center for African American Studies at UCLA black (10 percent), Latino (2 percent), and Asian (4 percent). Representing about 17 percent of the U.S. population in 2013, Latinos were the most underrepresented among the minority groups, by a factor of more than 8 to 1. 4. White Actors Account for More than Three Quarters of Cable Scripted Roles Figure 34: Share of Roles, by Gender, Broadcast Scripted Shows, 2012-13 Season (n=700) 46% 54% male female Figure 33 presents the percentage distribution of cabled scripted roles by race during the 2012-13 season. It shows white actors claimed 77 percent of the 990 cable 5. Male Actors Claim Majority of Broadcast scripted roles, while minorities combined for Scripted Roles 23 percent. Though minorities collectively Figure 34 shows male actors accounted for 54 percent of the 700 roles examined in Figure 33: Share of Roles, by Race, broadcast scripted programming during the Cable Scripted Shows, 2012-13 season, while women claimed 46 2012-13 Season (n=990) percent of the roles. 3% 3% 3% white 0% black 14% Latino 77% Native Asian mixed other fared a bit better in cable scripted casts than in broadcast, African American actors drove most of the increase: the group surpassed proportionate representation with 14 percent of the scripted roles. The shares of cable scripted roles claimed by other minority groups were similar to the small shares observed in broadcast scripted programming. 6. Male Actors Claim a Larger Share of Cable Scripted Roles The advantage enjoyed by male actors was more pronounced in the cable arena than it was in broadcast. Figure 35 shows male actors accounted for 58 percent of the 1070 Figure 35: Share of Roles, by Gender, Cable Scripted Shows, 2012-13 Season (n=998) 42% 58% male female 21 2015 Hollywood Diversity Report roles examined in cable scripted programming during the 2012-13 season, while women claimed just 42 percent of the roles. 7. White Actors Occupy More than Three Quarters of Digital Scripted Roles 8. Male Actors Claim Majority of Digital Scripted Roles Figure 37 shows that male actors accounted for 54.2 percent of the 72 roles examined in digital scripted programming during the 2012-13 season, while women claimed 45.8 percent of the roles. Figure 36 presents the percentage distribution of digital scripted roles by race during the 2012-13 season. It shows white Figure 37: Share of Roles, actors claimed 77 percent of the 64 scripted by Gender, roles examined in digital platform programDigital Scripted Shows, ming, while minorities combined for 23 2012-13 Season (n=72) percent. The white/minority breakdown in digital scripted programming was identical to that observed above in cable scripted 46% programming. But the distribution of male 54% specific minority group shares deviated female significantly. In the digital arena, Latino actors claimed the largest share of the roles among the minority groups, 12 percent, while African Americans accounted for just 6 Show Creators percent of the roles and Asians just 3 1. Minorities Gain Ground among Creapercent. tors20 of Broadcast Scripted Shows Figure 36: Share of Roles, by Race, Digital Scripted Shows, 2012-13 Season (n=64) 12% white 3% 2% black 6% Latino 77% Native Asian mixed other By successfully selling the concept for a television show, a show’s creator sets the stage for a number of production choices that ultimately impact the degree of diversity in writing and casting. Figure 38 reveals minorities were credited as creator in 5.9 percent of the broadcast scripted shows examined for the 2012-13 season, up from the 4.2 percent share posted in 2011-12. Still, minorities were underrepresented by a factor of more than 6 to 1 among the ranks of show creators in broadcast scripted programming. Consistent with findings from the previous report, half of the six 22 Ralph J. Bunche Center for African American Studies at UCLA Figure 38: Show Creators by Race, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=96, 102) White 100.0% Minority 95.8% U.S. Pop 94.1% 80.0% 60.0% 40.0% 37.4% 20.0% 0.0% 4.2% 5.9% 2011-12 factor of more than 3 to 1 among these important industry players in cable. Examples of cable scripted shows for which minorities were credited as show creator include: Let’s Stay Together (BET), Single Ladies (VH1), The Haves and the Have Nots (OWN), and Supah Ninjas (Nick). 3. Minorities Underrepresented by a Factor of More than 7 to 1 among Creators of Digital and Syndicated Shows 2012-13 Minorities constituted just 5 percent of the minority-created shows for 2012-13 — Grey’s creators of digital platform and syndicated Anatomy (ABC), Private Practice (ABC), and programming during the 2012-13 season (see Scandal (ABC) — can be attributed to a sole Figure 40). This share consisted of a single minority show creator. Other shows created show, East Los High (Hulu), and correby minorities for the season include: Raising sponds to underrepresentation by a factor of more than 7 to 1 for minorities in the arena. Hope (Fox) and The Mindy Project (Fox). 2. Minorities Gain Ground among Creators of Cable Scripted Shows Minorities were credited as creator in 10.7 percent of cable scripted shows for the 201213 season, an increase over the 7.4 percent figure posted in 2011-12 (see Figure 39). Still, minorities were underrepresented by a Figure 39: Show Creators by Race, Cable Scripted, 2011-12 and 2012-13 Seasons (n=148, 159) White 100.0% 92.6% 80.0% Minority 89.3% 37.4% 20.0% 0.0% 7.4% 2011-12 5% White 95% Minority U.S. Pop 60.0% 40.0% Figure 40: Show Creators by Race, Digital and Syndicated, 2012-13 Season (n=19) 10.7% 2012-13 4. Women Gain a Little Ground among Creators of Broadcast Scripted Shows Figure 41 shows 28.9 percent of the creators of broadcast scripted shows were women during the 2012-13 season, up 2.4 percentage points from the 26.5 percent 23 2015 Hollywood Diversity Report Figure 41: Show Creators by Gender, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=98, 104 ) Male Female 100.0% 80.0% 73.5% 71.2% 60.0% 40.0% 20.0% 0.0% 26.5% 28.9% 2011-12 2012-13 Figure 42: Show Creators by Gender, Cable Scripted, 2011-12 and 2012-13 Seasons (n=149, 159) Male Female 78.5% 77.4% 21.5% 22.6% 2011-12 2012-13 80.0% 60.0% 40.0% 20.0% 0.0% 6. Women Underrepresented by a Factor of More than 4 to 1 among Creators of Digital and Syndicated Shows Figure 43 shows 11 percent of the creators of digital platform and syndicated programming during the 2012-13 season were figure the group posted in 2011-12. Among women. This share consisted of two shows broadcast scripted shows that credited in 2012-13 — Orange is the New Black women as show creator in 2012-13 are the following: 30 Rock (NBC), Grey’s Anatomy (Netflix) and Dr. Phil (Syndicated); it (ABC), Scandal (ABC), and New Girl (Fox). corresponds to underrepresentation by a factor of more than 4 to 1 for women among 5. Women Still Less Likely to Be Creators of the creators of digital and syndicated shows. Scripted Shows in Cable Women were credited as creator in 22.6 percent of cable scripted shows for the 201213 season, a figure similar to the 21.5 percent figure posted in 2011-12 (see Figure 42). Underrepresented by a factor of more than 2 to 1, women were less likely to create 100.0% scripted shows in cable than they were in broadcast. Among cable scripted shows that credited women as show creator in 2012-13 are the following titles: Happily Divorced (TVLand), The Big C (Showtime), Girls (HBO), and The Game (BET). Figure 43: Show Creators, by Gender, Digital and Syndicated, 2012-13 Season (n=19) 11% Male 89% Female 24 Ralph J. Bunche Center for African American Studies at UCLA TV Writers 1. Minorities Write 10 Percent or Fewer of Episodes on Nearly Two Thirds of Broadcast Scripted Shows Earlier studies have consistently found that Hollywood’s writers’ rooms are far from diverse.21 Data from the 2012-13 television season echo these findings. As Figure 44 shows, minority writers were credited for 10 percent or fewer of the episodes on 65 percent of broadcast scripted shows in 201213. The next largest share of shows, 25 percent, credited minority writers for between 11 and 20 percent of the episodes for the season. It’s worth noting that only 2 percent of the shows credited minorities for writing between 31 percent and 40 percent of the episodes — the diversity interval containing the minority share of the population (i.e., 37.4 percent). This latter interval was composed of just two shows, Criminal Minds (CBS) and Revolution (NBC). There were no broadcast scripted shows in 2012-13 for which minority writers penned the majority of the episodes. The overall minority share of writers for broadcast scripted shows that season was just 9.7 percent. 2. Minorities Credited for Writing Majority of Episodes for 6 Percent of Cable Scripted Shows Minority writers were a little more prominent on cable scripted shows during the 2012 -13 season than in the broadcast scripted arena. Figure 45 shows minority writers were credited for more than half of the episodes for 6 percent of the shows that season. In the broadcast scripted arena, you will recall, there were no shows for which minority writers penned the majority of the episodes in 2012-13. The 6 percent share of shows featuring a majority of minority writers, of course, largely mirrored those with minority show creators and majorityminority casts in 2012-13. Indeed, all but one of the shows for which minorities wrote the majority of episodes — Burning Love (E!) — were black-oriented sitcoms and dramas airing on networks that cater to significant African American audiences. Figure 44: Minority Share of Writing Credits, by Share of Broadcast Scripted Shows, 2012-13 Season (n=99) 6% 2% 2% Figure 45: Minority Share of Writing Credits, by Share of Cable Scripted Shows, 2012-13 Season (n=149) 10% or less 25% 8% 3% 6% 10% or less 11% to 20% 65% 21% to 30% 11% to 20% 19% 64% 21% to 30% 31% to 40% 31% to 40% 41% to 50% 51% and over 25 2015 Hollywood Diversity Report Examples of these shows include: Are We There Yet? (TBS), Let’s Stay Together (BET), Single Ladies (VH1), The Haves and Have Nots (OWN), and Tyler Perry’s For Better or Worse (TBS). The overall minority share of writers for cable scripted shows in 2012-13 was 11.8 percent. 3. Minorities Write 10 Percent or Fewer of Episodes for More than Three Quarters of Digital Scripted Shows As Figure 46 illustrates, minority writers were credited for 10 percent or fewer of the episodes on 78 percent of digital scripted shows in 2012-13. Minority writers were more prominent on only two of the nine shows in the digital arena — Orange is the New Black (Netflix), where they penned between 21 percent and 30 percent of the episodes that season, and East Los High (Hulu), where they penned the majority of the episodes. 4. Women Write More than 30 Percent of Episodes for Half of Broadcast Scripted Shows Consistent with findings from the previous report, women writers were much more likely to be credited for television show episodes in the 2012-13 season than for theatrical film scripts during the same period. Figure 47 shows women writers penned between 31 percent and 40 percent of the episodes for 21 percent of broadcast scripted shows, between 41 percent and 50 percent of the episodes for 14 percent of the shows, and the majority of episodes for 15 percent of the shows. By contrast, you will Figure 47: Female Share of Writing Credits, by Share of Broadcast Scripted Shows, 2012-13 Season (n=100) 15% 19% 14% Figure 46: Minority Share of Writing Credits, by Share of Digital Scripted Shows, 2012-13 Season (n=9) 11% 11% 10% or less 78% 21% to 30% 51% and over 10% or less 9% 11% to 20% 21% to 30% 21% 22% 31% to 40% 41% to 50% 51% and over recall, women were credited as writers for only 12.9 percent of the theatrical films released in 2013 and 13 percent of the films released in 2012. Examples of broadcast scripted shows in which women wrote the majority of episodes in 2012-13 include: 2 Broke Girls (CBS), Grey’s Anatomy (ABC), Beauty and the Beast (CW), Don’t Trust the B---- in Apartment 23 (ABC), and Smash 26 Ralph J. Bunche Center for African American Studies at UCLA (NBC). The overall female share of writers for broadcast scripted shows in 2012-13 was 32 percent. 6. Women Write More than 30 Percent of Episodes for Majority of Digital Scripted Shows 5. Cable Scripted Writing Credits Slightly Less Gender Diverse Figure 49 shows women wrote more than 30 percent of the episodes for 55 percent of digital scripted shows in the 2012-13 season. Women wrote more than 30 percent of the That is, women received writing credit for episodes for 42 percent of cable scripted between 31 percent and 40 percent of the shows in the 2012-13 season (see Figure episodes on 11 percent of the shows, for 48) — a figure lower than the 50 percent between 41 percent and 50 percent of the share of shows for which this was true in the episodes on 22 percent of the shows, and for broadcast scripted arena. That is, women the majority of the episodes on 22 percent of received writing credits for between 31 the shows. The two shows in this arena for percent and 40 percent of the episodes on 16 which women received the majority of percent of the shows in 2012-13, for between writing credits were East Los High (Hulu) 41 percent and 50 percent of the episodes on and Orange is the New Black (Netflix). 10 percent of the shows, and for the majority of the episodes on 16 percent of the shows. Figure 49: Female Share of Writing Examples of cable scripted shows for which Credits, by Share of women penned the majority of episodes in Digital Scripted Shows, 2012-13 include: The Big C (Showtime), The 2012-13 Season (n=9) Game (BET), Single Ladies (VH1), Happily Divorced (TVLand), and Jessie (Disney). 10% or less 22% 34% The overall female share of writers for cable 11% to 20% scripted shows in 2012-13 was 29.5 percent. 31% to 40% 22% Figure 48: Female Share of Writing Credits, by Share of Cable Scripted Shows, 2012-13 Season (n=150) 16% 10% or less 25% 10% 11% to 20% 21% to 30% 31% to 40% 16% 20% 13% 41% to 50% 51% and over 11% 11% 41% to 50% 51% and over TV Directors 1. Minorities Direct 10 Percent or Fewer of Episodes for Nearly Two Thirds of Broadcast Scripted Shows As noted in the previous report, minorities have faced an uphill battle in the past when attempting to secure directing jobs in television. This also was the case during the 27 2015 Hollywood Diversity Report Figure 50: Percent of Episodes Directed by Minorities, by Share of Broadcast Scripted Shows, 2012-13 Season (n=100) 2% 2% 11% 10% or less 21% 11% to 20% 64% Figure 51: Percent of Episodes Directed by Minorities, by Share of Cable Scripted Shows, 2012-13 Season (n=152) 7% 12% 2% 10% or less 3% 6% 11% to 20% 70% 21% to 30% 21% to 30% 31% to 40% 31% to 40% 41% to 50% 41% to 50% 51% and over 2012-13 season, when for 64 percent of broadcast comedies and dramas, minorities directed 10 percent or less of the episodes (see Figure 50). By contrast, minorities directed between 31 percent and 40 percent of the episodes — the diversity interval containing the 37.4 percent minority share of the U.S. population — for only 2 percent of broadcast scripted shows. This interval was composed of two shows, Emily Owens, M.D. (CW), and Zero Hour (ABC), and both were canceled after one season. There were no shows in the broadcast scripted arena in 2012-13 for which minorities directed the majority of episodes. The overall minority share of directors for broadcast scripted shows in 2012-13 was just 7.5 percent. 2. Minority Directors Concentrated on Minority-Oriented Shows in Cable and 50 percent of the episodes for 3 percent of the shows. Cable scripted shows for which minorities directed the majority of episodes in 2012-13 — like those observed above for which minorities received the majority of writing credits — were typically blackoriented shows airing on networks with sizeable African American audiences. Examples of these shows include: Let’s Stay Together (BET), Real Husbands of Hollywood (BET), The Game (BET), The Haves and Have Nots (OWN), and Tyler Perry’s For Better or Worse (TBS). The overall minority share of directors for cable scripted shows in 2012-13 was 12.7 percent. 3. Minorities Direct 10 Percent or Fewer of Episodes for More than Three Quarters of Digital Scripted Shows Mirroring findings above regarding minority Figure 51 shows that for 70 percent of the writers in the digital scripted arena, cable scripted shows during the 2012-13 minorities directed 10 percent or fewer of the season, minorities directed 10 percent or episodes on 78 percent of digital scripted fewer of the episodes. By contrast, minorishows in 2012-13 (see Figure 52). ties directed the majority of episodes on 6 Moreover, the single digital scripted show for percent of the shows and between 41 percent which minorities wrote the majority of 28 Ralph J. Bunche Center for African American Studies at UCLA Figure 52: Percent of Episodes Directed by Minorities, by Share of Digital Scripted Shows, 2012-13 Season (n=9) 11% 11% 10% or less 78% 11% to 20% 51% and over episodes for the season, East Los High (Hulu), was the same show for which minorities directed the majority of episodes. 4. Women Direct 20 Percent or Fewer of Episodes for Nearly Three Quarters of Broadcast Scripted Shows examined in 2013, up from the 4.1 percent share observed for 2011 films. Figure 53 shows that for the 2012-13 season, women directed 10 percent or fewer of the episodes for 41 percent of broadcast scripted shows, and between 11 and 20 percent of the episodes for 33 percent of the shows. Meanwhile, women directed more than 20 percent of episodes that season for 26 percent of broadcast scripted shows, which includes the majority of episodes for a single show, Call the Midwife (PBS). The overall female share of directors for broadcast scripted shows in 2012-13 was 11.3 percent. 5. Women TV Directors Don’t Fare Better in Cable Figure 54 shows that for 59 percent of the cable scripted shows examined in 2012-13, While previous studies document that women directed 10 percent or fewer of the women have had a harder time securing episodes. The comparable figure in the directing employment in television than their broadcast scripted arena, you will recall, was male counterparts,23 their directorial just 41 percent of the episodes. Meanwhile, prospects in television have far exceeded women directed the majority of the episodes those in theatrical film. Recall that women for just 3 percent of the cable scripted shows directed only 6.3 percent of the films examined in 2012-13. Examples of these Figure 53: Percent of Episodes Directed by Women, by Share of Broadcast Scripted Shows, 2012-13 Season (n=101) 10% 3% 1% 12% 10% or less 41% 33% 11% to 20% Figure 54: Percent of Episodes Directed by Women, by Share of Cable Scripted Shows, 2012-13 Season (n=153) 7% 6% 20% 10% or less 5% 3% 11% to 20% 59% 21% to 30% 21% to 30% 31% to 40% 31% to 40% 41% to 50% 41% to 50% 51% and over 29 2015 Hollywood Diversity Report shows include: Hit the Floor (VH1) and The Fosters (ABC Family). The overall female share of directors for cable scripted shows in 2012-13 was just 11.2 percent. Figure 56: TV Executives Chair/CEO (n=48) 96% White 71% Male 6. Women TV Directors Fare Worst in Digital Sr. Mgmt. 93% White 73% Male Figure 55 shows that for 67 percent of the (n=142) digital scripted shows examined in 2012-13, women directed 10 percent or fewer of the 86% White 55% Male episodes. Women directed more than 30 Unit Heads percent of the episodes for a single show in (n=167) this arena — Quick Draw (Hulu) — for which they directed the majority of the episodes. or chairs running the 48 networks/TV studios examined was 96 percent white and Figure 55: Percent of Episodes just 71 percent male (compared to 100 Directed by Women, percent male for film). Meanwhile, the by Share of Digital Scripted Shows, studios’ senior management corps23 was 93 2012-13 Season (n=9) percent white and 73 percent male. An accounting of television industry unit 11% 11% heads24 revealed the most gender diversity — 10% or less just 55 percent male — though whites still 11% to 20% 67% 11% claimed a dominant 86 percent share of the 21% to 30% positions. 51% and over Summary Table 2 summarizes the various film and television arenas examined for 2012-13 by degree of underrepresentation for minorities TV Executive Suites Dominated by Whites, and women (see Appendix). It shows that but More Gender Diverse than Film across all arenas, for both minorities and Counterparts women, pronounced underrepresentation is While the corps of television executives still the norm, though minorities posted positioned to green-light projects is far from notable gains in key film and television diverse, women executives were notably arenas since the last report. In a couple of more prominent in television than they were arenas, women also enjoyed gains but they in film. Figure 56 shows that at the time of actually regressed in a couple of others. this report’s writing, the corps of CEOs and/ Executives 30 Ralph J. Bunche Center for African American Studies at UCLA Accolades In the Hollywood industry, members of professional academies each year come together to recognize and celebrate excellence in film and television production. Awards are presented in globally televised ceremonies that serve to crown new Hollywood royalty or to reinvigorate old bloodlines. But as the previous Hollywood Diversity Report noted, these ceremonies are often rather short on meaningful minority participation, an awkward reflection of academy memberships that are overwhelming white and male.25 Moreover, the standards these members invoke to recognize artistic merit tend to reinforce a taste culture that has traditionally overlooked more diverse talent. Meanwhile, the paucity of diversity in accolades reaffirms the idea that the pool of minority talent isn’t very deep. We come full circle. The following headlines survey the diversity of talent celebrated in film for 2012 and 2013 and television during the 2012-13 season. Particular attention is paid to any changes in the racial and gender distribution of Oscar and Emmy winners26 since the previous report. Oscar 1. Minority-Directed Films Gain at Oscars Figure 57 shows minority directors led 25 percent of the eight films examined for 2013 that won at least one Oscar and 9.1 percent of the 11 films for 2012. Both figures mark notable gains for minority-directed films since the last report, given that none of the 21 films directed by minorities in 2011 won any Oscars. In 2012, the minority-directed share of Oscar winners was composed of a single film, Life of Pi. In 2013, Oscar 31 2015 Hollywood Diversity Report Figure 57: Oscar Winners by Director Race, Theatrical Films, 2011-2013 (n=11, 11, 8) White Minority 100.0% 80.0% 100.0% 90.9% 75.0% 60.0% 40.0% 20.0% 25.0% 9.1% 0.0% 0.0% 2011 2012 2013 3. Films with Minority Leads Gain at Oscars As Figure 59 illustrates, the share of Oscarwinning films with minority leads has increased since the last report. That is, while no films with minority leads won at least one Oscar in 2011, 18.2 percent of the 11 Oscarwinning films had a minority lead in 2012 and 25 percent of the eight Oscar winners did so in 2013. Of course, 12 Years a Slave accounted for half of the Oscar-winning films winners included two minority-directed films, Gravity and 12 Years a Slave. 2. Share of Oscar-Winning Films Directed by Women Declines Figure 58 shows women directed only 9.1 percent of the eight films that received at least one Oscar in 2012 and none in 2013. This latter figure marks a decline since the previous report, which noted that women directed 9.1 percent of the 11 films that won at least one Oscar in 2011. The one womandirected Oscar winner in 2012 was Zero Dark Thirty. FIgure 58: Oscar Winners by Director Gender, Theatrical Films, 2011-2013 (n=11, 11, 8) Male Female 100.0% 80.0% 90.9% 90.9% 9.1% 9.1% 2011 2012 100.0% 60.0% 40.0% 20.0% 0.0% 0.0% 2013 Figure 59: Oscar Winners by Lead Actor Race, Theatrical Films, 2011-2013 (n=11, 11, 8) White Minority 100.0% 80.0% 100.0% 60.0% 40.0% 20.0% 81.8% 75.0% 18.2% 25.0% 2012 2013 0.0% 0.0% 2011 with a minority lead in 2013 as well as half of the Oscar-winning films directed by a minority. The other Oscar-winning film with a minority lead in 2013 was 20 Feet from Stardom. For 2012, the share of Oscar winners with a minority lead was composed of two films, Django Unchained and Life of Pi, which, you will recall, was also the single Oscar winner directed by a minority that year. 32 Ralph J. Bunche Center for African American Studies at UCLA 4. Films with Women Leads Reach Parity with Those with Male Leads at Oscars The previous report noted that more than 80 percent of films that won at least one Oscar in 2011 featured a male lead. By 2013, however, films with a woman lead reached parity with their male-led counterparts at the Oscars. That is, half of the eight Oscarwinning films for 2013 featured women leads (see Figure 60). These films included: Frozen, Gravity, Blue Jasmine, and 20 Feet from Stardom. For 2012, women actors led 27.3 percent of the 11 films that won at least one Oscar. These three films included: Brave, Zero Dark Thirty, and Anna Karenina. Figure 60: Oscar Winners by Lead Actor Gender, Theatrical Films, 2011 (n=11, 11, 8) Male 100.0% 82.0% 80.0% 0.0% 72.7% 50.0% 18.0% 2011 2013 10.0% 6.8% 8.0% 8.3% 7.9% 6.0% 7.1% 4.0% 5.5% 2.0% 4.5% 4.2% 0.0% <10% 11% to 20% 21% to 30% 31% to 40% 41% to 50% 2013, however, 4.2 percent of the 24 films examined with casts greater than 50 percent minority won at least one Oscar. This share was composed of a single film, 12 Years a Slave. 1. Share of Emmy-Winning Shows Created by Minorities Increases in Broadcast 60.0% 20.0% 2011 12.0% Emmy27 Female 40.0% Figure 61: Likelihood of Winning Oscar, by Minority Cast Share, Theatrical Films, 2011 and 2013 For the 2012-13 season, minorities created 16.7 percent of the broadcast scripted shows that won at least one major Emmy, up from none in 2011-12 (see Figure 62). The 27.3% 2012 Figure 62: Emmy Winners by Creator Race, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=5, 6) 2013 5. Likelihood of Winning Oscar Plummets with Casts Greater Than 30 Percent Minority Figure 61 charts a film’s likelihood of winning at least one Oscar for 2011 and 2013, given the minority share of the cast. The previous report noted that the likelihood of winning an Oscar fell to zero for casts greater than 30 percent minority (blue line). By White Minority 100.0% 80.0% 100.0% 83.3% 60.0% 40.0% 20.0% 16.7% 0.0% 0.0% 2011-12 2012-13 Over 50% 33 2015 Hollywood Diversity Report Emmy-winning, broadcast scripted shows created by minorities in 2012-13 was composed of a single show, Scandal (ABC). 2. Share of Emmy-Winning Shows Created by Women Increases in Broadcast Figure 63 illustrates that women created half of the broadcast-scripted shows that won at least one Emmy in 2012-13, up from just 20 percent a season earlier. The Emmywinning, broadcast scripted shows created by women in 2012-13 included the following: 30 Rock (NBC), Scandal (ABC), and The Good Wife (CBS). FIgure 63: Emmy Winners by Creator Gender, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=5, 6) Male Female 100.0% 80.0% 80.0% 60.0% 50.0% 40.0% 20.0% Figure 64: Emmy Winners by Creator Race, Cable Scripted, 2011-12 and 2012-13 Seasons (n=7, 9) White Minority 100.0% 80.0% 100.0% 100.0% 0.0% 0.0% 2011-12 2012-13 60.0% 40.0% 20.0% 0.0% 4. Share of Emmy-Winning Shows Created by Women Increases in Cable Women created 22.2 percent of the cable scripted shows that won at least one Emmy in the 2012-13, up from none the previous season (see Figure 65). The Emmywinning, cable scripted shows created by women in 2012-13 consisted of The Big C (Showtime) and The Hour (BBC America). 20.0% Figure 65: Emmy Winners by Creator Gender, Cable Scripted, 2011-12 and 2012-13 Seasons (n=15, 9) 0.0% 2011-12 2012-13 3. No Cable Shows Created by Minorities Win Emmy Consistent with findings from the previous report, white show creators were responsible for 100 percent of the cable scripted shows that won at least one Emmy in 2012-13. This figure, as Figure 64 shows, was unchanged from the previous season. Male Female 100.0% 80.0% 100.0% 77.8% 60.0% 40.0% 20.0% 22.2% 0.0% 0.0% 2011-12 2012-13 34 Ralph J. Bunche Center for African American Studies at UCLA 5. Broadcast Scripted Shows with Casts 21 Percent to 30 Percent Minority Most Likely to Win Emmy 6. Cable Scripted Shows with Casts 11 Percent to 20 Percent Minority Most Likely to Win Emmy Consistent with findings from the previous report for the 2011-12 season, broadcast scripted shows with casts that were from 21 percent to 30 percent minority were most likely to win at least one Emmy in 2012-13. Figure 66 reveals that 13.3 percent of the 15 shows in this diversity interval won at least one major Emmy that season. These two shows were Saturday Night Live (NBC) and The Good Wife (CBS). The previous season, a comparable 12.5 percent of the shows with casts that were from 21 percent to 30 percent were Emmy winners. It’s worth noting that while no broadcast scripted show with a cast more than 30 percent minority won an Emmy in 2011-12, a single show did so in 2012-13. That is, Scandal (ABC), which featured a cast that was from 31 percent to 40 percent minority, was an Emmy winner for 2012-13. Figure 67 charts the likelihood of a cable scripted show winning a major Emmy, by minority cast share, for the 2011-12 and 2012 -13 seasons. Relative to the pattern evident above in broadcast, the casts of Emmy winners in cable tended to be a little less diverse. That is, shows with casts from just 11 percent to 20 percent minority were most likely to be Emmy winners in cable both seasons (7.7 percent of the shows in 2011-12 and 8.5 percent of 47 shows in 2012-13). These latter Emmy winners consisted of Boardwalk Empire (HBO), Nurse Jackie (Showtime), The Big C (Showtime), and Veep (HBO). No cable scripted shows with casts more than 40 percent minority won an Emmy in either season. Figure 66: Likelihood of Winning Emmy, by Minority Cast Share, Broadcast Scripted, 2011-12 and 2012-13 Seasons 2011-12 15.0% 13.3% Figure 67: Likelihood of Winning Emmy, by Minority Cast Share, Cable Scripted, 2011-12 and 2012-13 Seasons 2012-13 2011-12 10.0% 2012-13 8.5% 12.5% 10.0% 7.7% 5.0% 5.0% 0.0% 0.0% <10% 11% to 20% 21% to 30% 31% to 40% 41% to 50% Over 50% <10% 11% to 20% 21% to 30% 31% to 40% 41% to Over 50% 50% 35 2015 Hollywood Diversity Report Gatekeeping The previous Hollywood Diversity Report concluded that the dominant talent agencies contributed very little to film or television diversity in 2011. Not only did these gatekeepers represent the lion’s share of major talent credited in film and television that year but this talent was typically less diverse than the credited talent on the rosters of the remaining agencies. The following headlines report on relationships between agency representation and talent diversity in film and television for 2012-2013, paying particular attention to any changes since the last report. Film 1. Dominant Talent Agencies Increase Their Share of Film Directors The directors of the top films examined for 2012 and 2013 were represented by a collection of 11 different talent agencies. But as noted in the previous report, three of these agencies claimed on their rosters the lion’s share of credited film directors. Indeed, these dominant agencies increased their collective share of directors from 70 percent in 2011, to 85.5 percent in 2012 and 82.4 percent in 2013 (see Figure 68). Figure 68: Dominant Agency Share of Directors, Theatrical Films, 2011-2013 (n=172, 152, 153) Dominant 100.0% 80.0% Remaining 85.5% 82.4% 14.5% 17.6% 2012 2013 70.0% 60.0% 40.0% 20.0% 30.0% 0.0% 2011 36 Ralph J. Bunche Center for African American Studies at UCLA 2. Minority Film Directors Underrepresented by Factor of More than 2 to 1 at Dominant Talent Agencies The minority share of film directors represented by the three dominant talent agencies increased between 2011 and 2013 (see Figure 69). In 2012, 130 of the films Figure 69: Minority Share of Directors, Dominant vs. Remaining Agencies, Theatrical Films, 2011-2013 (n=172, 152, 153) Dominant Remaining U.S. pop 80.0% 3. Dominant Talent Agencies Increase Their Share of Film Writers Between 2011 and 2013, the three dominant talent agencies increased their combined share of the film writers credited each year (see Figure 70). In 2012, the writers credited for 74.8 percent of the 151 films examined that year were on the rosters of one of the dominant agencies, up from the 65.1 percent figure noted in the previous report. By 2013, the dominant agency share of credited writers had increased further to 76.3 percent. 60.0% 20.0% 0.0% Figure 70: Dominant Agency Share of Writers, Theatrical Films, 2011-2013 (n=172, 151, 152) 37.4% 33.3% 40.0% 20.0% 11.5% 9.0% 2011 15.9% 4.5% 2012 Dominant 2013 examined that year featured directors who were on the rosters of the three dominant firms, and 15 of these directors were minorities (11.5 percent). In 2013, 126 of the films examined credited directors represented by the dominant agencies, and 20 were minorities (15.8 percent). While both of these figures are notable increases over the 9 percent minority share for directors the dominant agencies posted in 2011, they remain far below proportionate representation (gray line). By contrast, the combined minority share of credited film directors on the rosters of the remaining firms, 33.3 percent, approached proportionate representation in 2013. 100.0% 80.0% 65.1% Remaining 74.8% 76.3% 25.2% 23.7% 2012 2013 60.0% 40.0% 20.0% 34.9% 0.0% 2011 4. Minority Film Writers Remain Underrepresented at Dominant and Remaining Talent Agencies Figure 71 shows the minority share of film writers represented by the dominant agencies increased between 2011 and 2013 — from the 6.3 percent figure for 2011 noted in the previous report, to 7.1 percent in 2012 (8 of 113 writers), and to 11.2 percent in 2013 (13 of 116 writers). The minority shares of writers for the remaining firms were 37 2015 Hollywood Diversity Report marginally better over the period, though the 2013, both increases over the 72.1 percent shares at neither dominant nor remaining figure reported for 2011 in the previous agencies approached anything close to report (see Figure 72). proportionate representation (gray line). Figure 71: Minority Share of Writers, Dominant vs. Remaining Agencies, Theatrical Films, 2011-2013 (n=172, 151,152) 6. Minority Film Leads Underrepresented by Factor of More than 3 to 1 at Dominant Talent Agencies Figure 73 compares the minority share of film leads for the dominant and remaining talent agencies between 2011 and 2013. In 2013, you will recall, the remaining talent agencies represented just 18 of the 165 leads 37.4% credited in the films examined (10.9 13.9% 10.5% 7.8% percent). But half of these leads (9 of 18) 11.2% 6.3% 7.1% were minorities, which pushed the minority 2011 2012 2013 share of leads for the remaining agencies beyond proportionate representation that year (gray line). By contrast, only 12.2 5. Dominant Talent Agencies Increase Their percent of the credited leads represented by Share of Film Leads the three dominant agencies in 2013 were Between 2011 and 2013, the dominant minorities (18 of 147 leads) — a figure agencies each year tightened their hold on corresponding to underrepresentation by a the talent credited as film leads. The three factor of more than 3 to 1. agencies combined to represent 79.9 percent of these leads in 2012 and 89.1 percent in Dominant 80.0% 60.0% 40.0% 20.0% 0.0% Remaining U.S. pop Figure 72: Dominant Agency Share of Leads, Theatrical Films, 2011-2013 (n=172, 159, 165) Dominant 100.0% 80.0% 72.1% Remaining 79.9% Dominant 89.1% Remaining U.S. pop 80.0% 60.0% 60.0% 40.0% Figure 73: Minority Share of Leads, Dominant vs. Remaining Agencies, Theatrical Films, 2011-2013 (n=172, 159, 165) 50.0% 27.9% 21.1% 20.0% 40.0% 10.9% 0.0% 20.0% 0.0% 2011 2012 2013 18.8% 7.3% 2011 37.4% 15.0% 12.2% 9.4% 2012 2013 38 Ralph J. Bunche Center for African American Studies at UCLA Television 1. Dominant Talent Agencies Increase Their Share of Show Creators in Broadcast Figure 75: Minority Share of Show Creators, Dominant vs. Remaining Agencies, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=99, 92) The creators of the 92 broadcast scripted Dominant Remaining U.S. pop shows examined for the 2012-13 season were 50.0% 40.0% represented by a collection of 10 talent 37.4% 30.0% agencies. The same three agencies that 23.5% 20.0% dominated talent representation in film also 14.3% 10.0% did so in television. Collectively, these three 4.2% 1.4% 0.0% agencies claimed on their talent rosters 77.2 2011-12 2012-13 percent of the show creators that season (71 of 92 show creators), which exceeded their creators). Despite this increase, minorities combined 73.7 share noted in the previous were still far from reaching proportionate report for the 2011-12 season (see Figure representation among the ranks of broadcast 74). show creators at the dominant agencies (gray Figure 74: Agency Share of Show Creators, line). Dominant vs. Remaining Agencies, Meanwhile, the minority share of the show Broadcast Scripted, creators represented by the remaining talent 2011-12 and 2012-13 Seasons (n=99, 92) agencies declined between the seasons, from Dominant Remaining 23.5 percent of the show creators on their 100.0% 77.2% 73.7% rosters in 2012-12 to 14.3 percent in 2012-13 80.0% (3 of 21 show creators). 60.0% 40.0% 20.0% 0.0% 26.3% 22.8% 2011-12 2012-13 3. Dominant Talent Agencies Increase Their Share of Broadcast Scripted Leads Figure 76: Agency Share of Leads, Dominant vs. Remaining Agencies, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=99, 104) 2. Minority Show Creators in Broadcast Underrepresented by Factor of Nearly 9 to 1 at Dominant Talent Agencies Figure 75 reveals that the minority share of the creators of broadcast scripted shows represented by the three dominant agencies actually increased since the previous report, from just 1.4 percent for the 2011-12 season to 4.2 percent in 2012-13 (3 of 71 show Dominant Remaining 100.0% 80.0% 60.0% 40.0% 69.2% 55.6% 44.4% 30.8% 20.0% 0.0% 2011-12 2012-13 39 2015 Hollywood Diversity Report Fourteen talent agencies represented the lead talent credited on broadcast scripted shows examined for the 2011-12 and 2012-13 seasons. Figure 76 shows the three dominant agencies have increased their share of this talent since the last report, from 55.6 percent of leads in the 2011-12 season to 69.2 percent in 2012-13 (72 of 104 leads). 4. Minority Leads in Broadcast Underrepresented by Factor of Nearly 7 to 1 at Dominant Talent Agencies When we consider lead actor diversity in the broadcast arena for 2011-12, the dominant talent agency rosters actually looked a bit better than those of the remaining agencies (see Figure 77). But by the 2012-13 season, the minority share of leads represented by the remaining agencies surpassed that of the dominant agencies (6.3 percent and 5.6 percent, respectively), though minority leads were still far below proportionate representation at either (gray line). Indeed, for the 2012-13 season, minority leads on broadcast scripted shows were underrepresented by a factor of nearly 7 to 1 at the dominant talent Figure 77: Minority Share of Leads, Dominant vs. Remaining Agencies, Broadcast Scripted, 2011-12 and 2012-13 Seasons (n=99, 104) Dominant Remaining U.S. pop 50.0% 40.0% 37.4% 30.0% 20.0% 10.0% 0.0% 5.5% 2.4% 2011-12 6.3% 5.6% 2012-13 agencies and nearly 6 to 1 at the remaining agencies. 5. Dominant Talent Agencies’ Share of Show Creators in Cable Unchanged Nineteen agencies represented the talent credited with creating the cable scripted shows examined for the 2012-13 season. Figure 78 shows the dominant agencies’ combined share of these show creators has remained virtually the same since the last report — 70.5 percent of credited show creators in 2011-12 and 69.2 percent in 201213. Figure 78: Agency Share of Show Creators, Dominant vs. Remaining Agencies, Cable Scripted, 2011-12 and 2012-13 Seasons (n=139, 143) Dominant Remaining 100.0% 80.0% 70.5% 69.2% 29.5% 30.8% 2011-12 2012-13 60.0% 40.0% 20.0% 0.0% 6. Minority Show Creators in Cable Underrepresented by Factor of More than 4 to 1 at Dominant Talent Agencies Figure 79 reveals that the minority share of cable show creators represented by the dominant agencies has actually increased since the last report, from 6.1 percent for the 2011-12 season to 9.1 percent in 2012-13 (9 of 99 show creators). Still, minorities were underrepresented by a factor of more than 4 40 Ralph J. Bunche Center for African American Studies at UCLA Figure 79: Minority Share of Show Creators, Dominant vs. Remaining Agencies, Cable Scripted, 2011-12 and 2012-13 Seasons (n=139, 143) Dominant Remaining U.S. pop 50.0% 40.0% 30.0% 20.0% 10.0% 0.0% from the 46 percent share they claimed on their rosters in 2011-12 (see Figure 80). 8. Minority Leads in Cable Underrepresented by Factor of More than 2 to 1 at Dominant and Remaining Talent Agencies Figure 81 shows the minority share of cable leads represented by the dominant agencies has increased a bit since the last report, from 15.9% 12.2% 9.1% 13 percent for the 2011-12 season to 15.1 6.1% percent in 2012-13 (11 of 73 leads). Mean2011-12 2012-13 while, the minority share for the remaining to 1 among the ranks of cable show creators agencies was only marginally better that year, 16.9 percent. Minorities were thus at the dominant agencies in 2012-13. By contrast, they were only underrepresented by underrepresented by a factor of more than 2 to 1 among the ranks of cable leads at both a factor of about 2 to 1 at the remaining the dominant and remaining agencies in agencies that season. 2012-13. 7. Dominant Agencies Increase Their Share of Cable Scripted Leads Figure 81: Minority Share of Leads, Twenty-six talent agencies represented the Dominant vs. Remaining Agencies, actors credited as leads on the cable scripted Cable Scripted, 2011-12 and 2012-13 Seasons (n=150, 144) shows examined for the 2012-13 season. The Dominant Remaining U.S. pop three dominant talent agencies combined to 50.0% represent 50.7 percent of these leads, up 37.4% 40.0% 37.4% 30.0% Figure 80: Agency Share of Leads, Dominant vs. Remaining Agencies, Cable Scripted, 2011-12 and 2012-13 Seasons (n=150, 144) Dominant Remaining 100.0% 80.0% 60.0% 40.0% 54.0% 46.0% 50.7% 49.3% 20.0% 0.0% 2011-12 2012-13 20.0% 10.0% 16.0% 13.0% 16.9% 15.1% 0.0% 2011-12 2012-13 41 2015 Hollywood Diversity Report Images of Diversity For the first time in the Hollywood Diversity Report series, this report goes beyond questions of employment and bottom-line performance to consider the images of minorities and women that circulate on popular television shows. inclusive society. How did these shows depict women and minority characters compared to their male and white counterparts? 1. Blacks Overrepresented, Latinos Underrepresented in “Diverse” Shows Figure 82 presents the racial shares of all 536 characters31 coded. White characters A sample of 16 “diverse” television shows was selected from the 1105 shows examined accounted for 63.1 percent of the total, a figure that approximates the white share of for the 2012-13 season (see Table 3, the overall U.S. population in 2013. Appendix).28 Five of the shows were Meanwhile, black characters were somewhat situation comedies and the remaining 11 overrepresented in the analysis, constituting were dramas. Researchers viewed and coded29 four episodes for each show,30 for a 17.4 percent of all characters coded, though the African American share of the population total of 64 episodes or about 39 hours of programming (excluding commercials). The was just 13.2 percent. By contrast, Latino characters were notably underrepresented in idea was to examine the content of shows the shows, accounting for just 5.6 percent of that were most likely the best examples of programming that is successful both in terms the characters. Latinos constituted 17.1 percent of the population in 2013. Asian of the bottom line and in modeling an 42 Ralph J. Bunche Center for African American Studies at UCLA Figure 82: Share of Characters, by Race, Select TV Shows, 2012-2013 Season (n=536) 80.0% 70.0% 60.0% 50.0% 40.0% 30.0% 20.0% 10.0% 0.0% claimed .2 percent and .4 percent of the total, respectively. 3. Latino Characters Post Highest Scene Time in “Diverse” Shows, Followed by Whites and Blacks 63.1% By considering the amount of time a character interacts with other characters 5.6% 1.1% 0.4% 0.4% 1.9% within a scene, a useful measurement of character prominence can be established.32 Figure 84 charts mean “scene time” by race for the characters examined in the 64 episodes. It shows that though Latinos were American characters and Native (Pacific underrepresented among all characters Islander) characters accounted for 10.3 coded, when they were present in a show, percent and just .4 percent of the total, they were quite prominent. Latinos respectively. exceeded all other racial and ethnic groups in 2. Males Overrepresented on “Diverse” terms of scene time, a mean of 652 seconds Shows per episode/appearance (about 10 minutes Figure 83 presents the shares of all and 52 seconds). White characters followed characters coded by gender. It shows males next in terms of scene time, a mean of 623.7 were overrepresented among the characters, seconds per episode/appearance (about 10 accounting for 58.1 percent of the total. minutes and 24 seconds). It’s worth noting Women, by contrast, were underrepresented that not only did Native characters account with a 41.3 percent share, while transgender for the smallest share of characters but they characters and unclear gendered characters were also the least prominent in terms of 17.4% 10.3% Figure 84: Overall Mean Scene Time, by Race, Select TV Shows, 2012-2013 Season Figure 83: Share of Characters, by Sex, Select TV Shows, 2012-2013 Season (n=537) 80.0% 60.0% 800 58.1% 50.0% Seconds 70.0% 41.3% 40.0% 600 400 30.0% 200 20.0% 0 10.0% 0.2% 0.4% Trans Unclear 0.0% Male Female 623.7 599.6 568.3 652 455.5 493.6 305.7 196.5 43 2015 Hollywood Diversity Report scene time, a mean of just 196.5 seconds per episode/appearance (about 3 minutes and 17 seconds). While black characters were second behind whites in terms of total number of characters, they ranked third in terms of scene time, a mean of 599.6 seconds per episode/appearance (about 9 minutes and 59 seconds). 4. Minority Leads in “Diverse” Sitcoms More Prominent than White Counterparts Figure 85 charts the minority-white breakdown of mean scene time in situation comedies, by the credit rank of the actor playing the role (i.e., lead through ninth credited actor). As expected, it shows that mean scene time generally decreases as credit rank increases. It also shows that among the sitcom leads examined, minority characters posted a slightly higher mean Figure 85: Mean Scene Time, by Credit Rank, White vs. Minority Characters, Select Sitcoms, 2012-2013 Season White 900 Minority 814.8 800 700 772.1 Seconds 600 518 498 500 400 411 300 316.1 315.9 200 100 0 Lead 2nd 3rd 4th 5th 6th 7th 8th 9th scene time than their white counterparts (814.8 seconds versus 772.1 seconds). But the only other times the minority mean scene time exceeded the corresponding white figure were for the fourth credited actor (498 seconds versus 315.9 seconds) and for the sixth credited actor (518 seconds versus 316.1 seconds). That is, the white mean scene time exceeded the corresponding minority figure for six of the nine credit ranks. It’s worth noting here that the ninth credited actor, typically a guest star or major recurring character, posted a mean scene time of 411 seconds and was uniformly white in the sample of situation comedies examined. 5. White Leads in “Diverse” Dramas More Prominent than Minority Counterparts Figure 86 graphs the minority-white breakdown of mean scene time in dramas, by the credit rank of the actor playing the role. It shows that in dramas mean scene time also generally decreases as credit rank increases. But in contrast to what we observed above in sitcoms, the graph shows that among the drama leads examined, white characters occupied considerably more scene time on average than their minority counterparts (1505.9 seconds versus 943.1 seconds). For the other credit ranks no clear pattern emerged regarding the relative prominence of white or minority characters in terms of mean scene time. 44 Ralph J. Bunche Center for African American Studies at UCLA credited actors and move in opposite directions. Recall that the ninth credited actor in this analysis is typically a guest star or major recurring actor. White actors also dominated these positions, accounting for 71 percent of the total across all 64 episodes examined. Figure 86: Mean Scene Time, by Credit Rank White vs. Minority Characters, Select Dramas, 2012-2013 Season White Minority 1600 1505.9 1400 1200 Seconds 1000 7. Women Well-Represented among Top Credited Actors in “Diverse” Shows 943.1 688.8 800 590.2 589.9 502.9 600 400 525.3 503.3 388.9 200 257.3 0 Lead 2nd 3rd 4th 5th 6th 7th 8th 9th 6. White Actors Dominate Top Credits in “Diverse” Shows Figure 87 presents the share of characters examined by race and credit rank. It shows that white characters accounted for the majority of the first three credited actors (including 75 percent of leads), after which the lines cross between the fourth and sixth Figure 88 graphs the share of characters examined by gender and credit rank. It shows that among leads, males and females both posted a 50 percent share of the characters. With the exception of the second and fourth credited actors — for which women held an advantage relative to their male counterparts — the male shares for all of the other credit ranks exceeded those for women. In other words, though only 41.3 percent of all 537 characters coded were women (see above), women were well represented among the most prominent credited actors on the shows examined. Figure 88: Share of Characters, by Gender and Credit Rank, Select TV Shows, 2012-2013 Season Figure 87: Share of Characters, by Race and Credit Rank, Select TV Shows, 2012-2013 Season White Male Minority 80.0% 75.0% 71.0% 55.6% 60.0% 40.0% 20.0% Female Other 100.0% 100.0% 83.9% 80.0% 60.0% 50.0% 29.0% 50.0% 44.4% 40.0% 57.8% 56.3% 42.2% 43.8% 16.1% 20.0% 25.0% 3.2% 1.6% 0.0% 0.0% Lead 2nd 3rd 4th 5th 6th 7th 8th 9th Lead 2nd 3rd 4th 5th 6th 7th 8th 9th 45 2015 Hollywood Diversity Report 8. LGBT Characters Relegated to Lower Credited Actors in “Diverse” Shows Figure 89 charts the share of characters by sexuality and credit rank. A number of findings emerge from this graph. First, the heterosexual share of characters is dominant at every credit rank, particularly among leads, where heterosexual characters accounted for 88.9 percent of the characters. Second, the sizable shares of characters for which sexuality is “unclear”33 were distributed across each of the other credit ranks. Finally, the small shares of bisexual and homosexual characters in the sample were not very prominent relative to their heterosexual and unclear counterparts. Indeed, bisexual and homosexual characters did not appear before the fourth credited actor (1.6 percent homosexual and bisexual shares), after which other relatively larger shares emerged — the sixth credited actor (11.3 homosexual share and 3.2 percent bisexual share), the seventh credited actor (4.7 percent homosexual share), and the eighth credited actor (4.9 percent homosexual share). 9. Law Enforcement, Professional, and Student: Top 3 Character Occupations in “Diverse” Shows Figure 90 presents, by race, the top occupations for the 536 characters examined in the 64 episodes. It shows that the occupational profiles for white and black characters were remarkably similar for the selected shows. That is, “law enforcement” was the most frequent occupation for both groups, accounting for 21.3 percent of the occupations for white characters and 20.4 percent of the occupations for black characters. This occupation was followed for both groups by “professional” and “student,” which each accounted for about 10 percent of group occupations. For Latino and Asian American characters, however, “law enforcement” dwarfed all other occupations, accounting for 60 percent and 36.4 percent of the groups’ occupations, respectively. Unlike whites and blacks, Asians and Latinos were rarely if ever depicted as students in the 64 episodes examined. Meanwhile, one of the two Native characters in the sample was depicted as working in law enforcement (50 Figure 89: Share of Characters, by Sexuality and Credit Rank, Select TV Shows, 2012-2013 Season Hetero 100.0% Homo Bi Figure 90: Top Character Occupations, by Race, Select TV Shows, 2012-2013 Season Unclear Law enforcement Professional 80.0% 67.7% 60.0% 60.0% 50.0% 60.0% 32.3% 40.0% 20.0% 11.1% 11.3% 1.6% 0.0% Lead 2nd Student 80.0% 88.9% 3rd 4th 5th 36.4% 40.0% 21.3% 33.3% 20.4% 20.0% 4.7% 4.9% 3.2% 6th 7th 0.0% 8th 9th White Black Latino Asian Native Mixed 46 Ralph J. Bunche Center for African American Studies at UCLA percent of the group’s occupations), while mix-raced characters were the most likely to be depicted as students (33.3 percent of the group’s occupations). 10. Racial and Gender Stereotypes Muted in “Diverse” Shows Researchers coded each of the 537 characters examined for a variety of qualities associated with prominent racial and gender stereotypes. These qualities included: intelligence (“dumb, average, smart”); economic class (“poor, middle, upper”); laziness (“yes, no, unclear”); helpfulness34 (“gives help, receives help, both, unclear”); whether the character is defined by his or her race (“yes, no”); and whether or not the character’s primary function is to provide comic relief (“yes, no”). A series of cross tabulations for these character qualities by race and gender suggested that — while present at times in certain episodes35 — common racial and gender stereotypes were not typical features of the 64 episodes examined. Not Just Entertainment In the final analysis, these findings are meaningful because, as noted in the previous report, media images contribute greatly to how we think about ourselves in relation to others. When marginalized groups in society are absent from the stories a nation tells about itself, or when media images are rooted primarily in stereotype, inequality is normalized and is more likely to be reinforced over time through our prejudices and practices.36 Given that our society is becoming more diverse with each passing day, media images that work against diversity also undermine the democracy we claim to be. 2015 Hollywood Diversity Report Diversity and the Bottom Line: Casting and Writing,37 Box Office and Ratings 47 diversity interval for 164 films released in 2012 and 163 in 2013. As a benchmark for comparison, it includes the analysis presented in the previous report for films released in 2011. Several findings emerge The previous Hollywood Diversity Report documented important positive relationships from the chart. First, consistent with findings from the previous report, median between cast diversity and bottom-line global box office peaked in 2013 for the 28 performance in film and television. Films films with casts that were from 21 percent to with relatively diverse casts were found to 30 percent minority ($143.3 million). Films excel in terms of box office receipts and that occupied this cast diversity interval in return on investment. Similarly, television 2013 included: The Hunger Games: shows with casts that reflected the nation’s Catching Fire, Iron Man 3, Star Trek Into diversity were found to shine in terms of audience ratings. Fast forward a year and the question is as follows: Do previous findings linking cast diversity to bottom-line performance hold up in the face of new data? The following headlines summarize the relationships between box office and cast diversity in theatrical films released in 2012 and 2013, and between cast and writer diversity and audience ratings during the 2012-13 television season. Film 1. Films with Relatively Diverse Casts Continue to Excel at Box Office Figure 91 presents an analysis of median global box office by cast 48 Ralph J. Bunche Center for African American Studies at UCLA Figure 91: Global Box Office (000,000s), by Minority Cast Share, Theatrical Films, 2011-2013 (n=172, 164, 163) 2011 $200.0 2012 2013 2011 2012 6 $160.1 $150.0 Figure 92: Return on Investment, by Minority Cast Share, Theatrical Films, 2011-2013 (n=160, 147, 153) $143.3 $130.5 2013 5 4 $100.0 2.2 2 $50.0 2.1 0 $0.0 10% or less 11% To 20% 21% to 30% 31% to 40% 41% to 51% and 50% over Darkness, and G.I. Joe: Retaliation. (Note that median worldwide box office was only $53.2 million for the 50 films with casts that were 1o percent minority or less in 2013.) Meanwhile, for 2012, median worldwide box office was actually highest for the 15 films with casts that were from 31 percent to 40 percent minority ($130.5 million), the cast diversity interval that contains the minority share of the U.S. population. Films occupying this cast diversity interval in 2012 included: Madagascar 3: Europe’s Most Wanted, MIB 3, and Django Unchained. (Note that the median global box office was only $50.7 million for the 64 films with casts that were 10 percent minority or less in 2012.) 10% or less 11% To 20% 21% to 30% 31% to 40% 41% to 50% percent to 30 percent minority interval in 2013 posted the highest median return on investment (2.1), while the 15 films in the 41 percent to 50 percent minority interval in 2012 celebrated the highest return (5.0). Television39 1. Broadcast Scripted Shows with Diverse Casts Continue to Excel in Ratings Figure 93 presents an analysis of median ratings (18-49, white households, black households, and Latino households) by minority cast share for broadcast scripted shows from the 2012-13 season. It mirrors findings from the previous report that suggest diversity has a meaningful, positive impact on the ratings bottom line. Among 2. Films with Relatively Diverse Casts black and white households, median ratings Continue to Excel in Terms of Return on peaked for shows with casts that were from Investment 41 percent to 50 percent minority (4.27 If we consider return on investment,38 which ratings points and 5.42 ratings points, factors a film’s budget into the analysis, we respectively). Meanwhile, median ratings see a similar pattern, which echoes the were highest among Latino households and findings from the previous report. Figure among viewers 18-49 for shows with casts 92 shows the 28 films that fell into the 21 51% and over 49 2015 Hollywood Diversity Report percent cast diversity interval for the season include: Under the Dome (CBS), New Girl (Fox), and Scandal (ABC). Shows that fell into the 41 percent to 50 percent cast diversity interval included: Elementary (CBS), Grey’s Anatomy (ABC), and Hawaii Five-0 (CBS). Figure 93: Median Ratings by Minority Cast Share, 18-49 and HH Race, Broadcast Scripted, 2012-13 Season (n=102) 18-49 white black Latino 8.00 7.00 6.00 5.42 5.00 4.27 4.00 3.00 2.12 2.00 2.06 1.00 0.00 <10% 11% to 20% 21% to 30% 31% to 40% 41% to 50% that were from 31 percent to 40 percent minority (2.12 ratings points and 2.06 ratings points, respectively). This cast diversity interval, of course, is the one that contains the minority share of the U.S. population. Examples of broadcast scripted shows that fell into the 31 percent to 40 2. Ratings Continue to Peak among Cable Scripted Shows with Casts that Reflect Nation’s Racial Diversity Figure 94 replicates the previous analysis for cable scripted shows from the 2012-13 season. It reveals that median white household (.87 ratings points), Latino household (.60 ratings points), and 18-49 ratings (.31 ratings points) all peaked for shows with casts that were from 31 percent to 40 percent minority — the cast diversity interval containing the minority share of the U.S. population. Cable scripted shows that fell into this interval for the season included: Suits (USA), Major Crimes (TNT), and White Collar (USA). 50 Ralph J. Bunche Center for African American Studies at UCLA Figure 94: Median HH Ratings by Minority Cast Share, 18-49 and HH Race, Cable Scripted, 2012-13 Season (n=167) 18-49 white black Latino 3.00 2.50 2.05 2.00 1.50 1.00 0.87 0.50 0.60 from 31 percent to 40 percent minority enjoyed the highest median white household (3.42 ratings points40), black household (3.47 ratings points), Latino household (1.92 ratings points), and 18-49 viewer ratings (1.16 ratings p0ints) during the 2012-13 season. Examples of the eight broadcast reality and other shows that fell into this cast diversity interval for the season include: The Voice (NBC), Dancing with the Stars (ABC), America’s Got Talent (NBC). Figure 95: Median Ratings, by Minorty Cast Share, 18-49 and HH Race, Broadcast Reality and Other Shows, 2012-13 Season (n=92) 0.31 0.00 <10% 11% to 20% 21% to 30% 31% to 40% 41% to Over 50% 50% 18-49 white black Latino 4.00 3.47 3.47 Meanwhile, an altogether different pattern 3.50 emerged for cable scripted programs among 3.42 3.00 black households. Median black household ratings peaked for shows with casts that were 2.50 1.92 2.00 over 50 percent minority (2.05 ratings points). This extraordinarily high figure for 1.50 black households, of course, was driven by 1.00 1.16 black viewers’ attraction to several black0.50 oriented, cable scripted shows airing on niche-marketed networks during the season. 0.00 <10% 11% to 21% to 31% to 41% to Over 50% Examples include: The Game (BET), The 20% 30% 40% 50% Haves and the Have Nots (OWN), Real Husbands of Hollywood (BET), and Let’s 4. Ratings Peak for most Groups among Stay Together (BET). Cable Reality and Other Shows with Diverse 3. Ratings Continue to Peak among Diverse Casts Broadcast Reality and Other Shows As Figure 96 illustrates, the relationship Consistent with the ratings analyses between cast diversity and ratings for cable presented above, Figure 95 shows reality and other shows was similar in 2012broadcast reality and other shows that were 13 to the one observed above for cable 51 2015 Hollywood Diversity Report Figure 96: Median HH Ratings, by Minority Cast Share, 18-49 and HH Race, Cable Reality and Other Shows, 2012-13 Season (n=544) 18-49 white black Latino 1.50 1.00 0.80 0.50 0.30 0.31 0.30 0.20 0.00 <10% 11% to 20% 21% to 30% 31% to 40% 41% to Over 50% 50% scripted shows, but with one exception — median white household ratings peaked for shows with casts that were only from 11 percent to 20 percent minority and for those with casts from 31 percent to 40 percent minority (both .30 ratings points). Meanwhile, median Latino household ratings (.31 ratings points) and 18-49 viewer ratings (.20 ratings points) were highest for shows that fell into the 31 percent to 40 percent interval. Black household ratings (.80 ratings points) again crested for shows with casts that were majority minority. Examples of cable reality and other shows that fell into the 31 percent to 40 percent cast diversity interval for 201213 include: Kung Fu Panda: Legends of Awesomeness (Nick), Iron Chef America (Food) and Aqua Teen Hunger Force (Cartoon). Cable reality and other shows in the 11 percent to 20 percent cast diversity interval that were popular among white households include: Jersey Shore (MTV), Big Rig Bounty Hunters (History), and Archer (FX). Finally, examples from the majority-minority cast interval popular among black households include: Basketball Wives (VH1), 106th & Park: BET Top 10 Live (BET), and Deon Cole’s Black Box (TBS). 5. Ratings Peak among Broadcast Scripted Shows with Relatively Diverse Writings Corps Recall that in the 2012-13 season, the overall minority share of writers for broadcast scripted shows was just 9.7 percent and that minorities constituted 10 percent or fewer of the writers for nearly two-thirds of all broadcast scripted shows. Against this backdrop, Figure 97 reveals median ratings peaked in 2012-13 among all groups for broadcast scripted shows featuring relatively diverse writing corps. Median household ratings peaked among whites and Latinos for shows whose episodes were written between 31 percent and 40 percent of the time by minorities (6.98 ratings points and 2.81 ratings points, respectively), though this writer diversity interval contained only two shows in 2012-13 — Criminal Minds (CBS) and Revolution (NBC). Meanwhile, six shows constituted the 21 percent to 30 percent writer diversity interval for which 18 -49 ratings peaked (2.20 ratings points). Examples of these shows for the season include: Scandal (ABC), Grey’s Anatomy (ABC), and New Girl (Fox). Finally, median household ratings peaked among black households in 2012-13 for shows written 52 Ralph J. Bunche Center for African American Studies at UCLA Figure 97: Median HH Ratings, by Minority Writer Share, 18-49 and HH Race, Broadcast Scripted, 2012-13 Season (n=96) 18-49 white black Figure 98: Median HH Ratings, by Minority Writer Share, 18-49 and HH Race, Cable Scripted, 2012-13 Season (n=149) Latino 18-49 white black Latino 3.00 8.00 2.99 6.98 7.00 2.50 6.00 2.00 5.00 4.00 1.50 4.14 2.81 3.00 1.00 2.20 2.00 0.65 0.50 1.00 0.00 0.32 0.00 <10% 11% to 20% 21% to 30% 31% to 40% 41% to 50% between 11 percent and 20 percent of the time by minorities. These shows included: NCIS: Los Angeles CBS), Chicago Fire (NBC), and The Big Bang Theory (CBS). 0.47 <10% 11% to 20% 21% to 30% 31% to 40% Over 50% Sullivan & Son (TBS). Median Latino household ratings peaked for cable scripted shows in the 31 percent to 40 percent writer diversity interval (.47 ratings points), which included shows like Devious Maids 6. Ratings Also Peak among Cable Scripted (Lifetime) and House of Lies (Showtime). Shows with Relatively Diverse Writing Finally, median black household ratings Corps peaked for cable scripted shows that were Figure 98 reveals that median ratings for written more than 50 percent of the time by cable scripted shows were also highest minorities (2.99 ratings points). Shows among all groups in 2012-13 when writing falling into this writer diversity interval corps were relatively diverse. For white mirrored those noted above for the majorityhouseholds and viewers 18-49, median minority cast diversity interval. Examples ratings peaked that season when the shows include: The Game (BET), Real Husbands of were written between 21 percent and 30 Hollywood (BET), and Let’s Stay Together percent of the time by minorities (.65 ratings (BET). points and .32 ratings points, respectively). Cable scripted shows that fell into this writer diversity interval for 2012-13 include: True Blood (HBO), The Client List (Lifetime), and 2015 Hollywood Diversity Report Conclusion: Flipping the Script 53 the full gamut of industry stakeholders in an effort to better understand how day-to-day business practices may either erect barriers The Hollywood race and gender problem to or provide opportunities for advancement documented in this report is nothing new. on the Hollywood diversity front. The talent From the earliest days of the industry, white agencies tell us they are in the business of males have dominated the plum positions in selling to the networks and studios the kinds front of and behind the camera, thereby of packaged projects they demand. marginalizing women and minorities in the Networks and studios — whose executive creative process by which a nation circulates suites are almost exclusively white and male popular stories about itself. — ironically suggest that packaged projects could be more inclusive were it not for overly What’s new is that business as usual in the Hollywood industry may soon be unsustain- narrow talent rosters. Dominated by white male members, the academies continue to able. Evidence from this report (and its predecessor in the series) shows clearly that celebrate the work of white males as a matter of course, insisting that they do so in the America’s increasingly diverse audiences prefer diverse content created with the input name of talent and artistic merit. of diverse talent. Diversity sells. The Meanwhile, women and minority talent disconnect between this increasingly obvious decry being relegated to lower-tier projects fact and the stubborn fact of Hollywood’s or being excluded altogether from industry race and gender problem poses an interest- employment. But the idea that the pool of ing conundrum: How can we flip the script? diverse talent is relatively small motivates employment guilds, networks, and studios to Over the course of several years, the researchers behind this report have met with offer an array of “pipeline” initiatives that 54 Ralph J. Bunche Center for African American Studies at UCLA scarcely impact the overall diversity numbers television academies must overhaul their confronting us each year. memberships. The guilds must better understand their respective membership Conflicting Interests? pipelines and find ways to increase access Part of Hollywood’s race and gender problem and professional development for minorities may lie in a latent conflict between individand women. Individual producers and ual and institutional interests. Industry writers must finally accept the notion that employment can be incredibly lucrative for having diverse voices and perspectives in the individuals privileged enough to have it. room actually increases their odds for Because of the high risk associated with the success. typical project — most new television shows Unfortunately, there’s no magic bullet for fail, most films underperform — individual Hollywood’s race and gender problem. It’s a stakeholders in the industry (typically white multi-dimensional problem that requires and male) look to surround themselves with innovative interventions on every front. It’s other individuals with whom they feel not a problem that will simply fix itself in the comfortable, with whom they feel they have normal course of business. The ongoing the best prospects for producing a successful disconnect between the marginalization of project. These latter individuals, of course, minorities and women in Hollywood and tend to think and look like the former, what we know today’s audiences desire thereby reproducing an industry culture that should make this clear. Flipping the script routinely devalues the talent of minorities will require a genuine commitment and and women. Institutional interests thus considerable persistence. This report series suffer as revenue is left on the table due to aims to provide the data necessary for the failure of business as usual to provide for facilitating these efforts. increasingly diverse audiences what they really want. In the end, every industry stakeholder — individual and institutional — has a role to play if meaningful industry advancement is to be achieved on the diversity front. Broadcast networks must begin to treat the airwaves as a public good through which diverse content promotes profits and democracy. Studios must cast the net much more widely when they entertain pitches for film and television projects. Talent agencies must diversify their rosters, packaged projects, and their own ranks. The film and 55 2015 Hollywood Diversity Report Endnotes 1. These films included the top 200 theatrical films for 2012 and 2013, ranked by worldwide box office, minus foreign films. 2. The 2012-13 season is defined as television programming that originally aired between September 1, 2012 and August 31, 2013. 3. Digital platform and syndicated programming were considered together in many analyses due to the relatively small number of shows in these arenas for the season. 10. Genres were derived from the primary genre The Studio System identified for each film. 11. “Other” programming includes news, sports, and animated. 12. According to the Los Angeles Times, the number of top-grossing films made in California has dropped 60 percent in the last 15 years (Horsey, January 8, 2014). A large share of television production has also left the state for other locales, where incentives offered to television producers enhance the bottom line (Watt, August 28, 2013). 4. Total numbers for the various analyses in this 13. “Lead role” is defined in this report as the report may deviate from the overall total for first credited actor/performer for a given the number of films (n=172, 175) or television project’s list of cast members. shows considered (n=1105) due to focused 14. http://www.nytimes.com/2013/06/02/ analyses on a subset of the data (noted movies/coming-soon-a-breakout-for-blackbelow) or missing values for some cases (e.g., filmmakers.html?pagewanted=all&_r=0 many reality shows do not identify a cast, directors, or writers). 15. The cast diversity measure used in this report for both film and television is based only on 5. Household ratings (HH) are defined as the the first eight credited actors for a given title. percentage of the universe of households tuned to a particular TV program during the 16. Women and minorities were counted as average minute of the program. This “writer” for the film analyses if they were includes incremental viewing to programs credited as the sole writer or at least as part watched at the time of the telecast as well as of a writing team. watched in DVR playback that occurs within 17. Examples of titles coded as part of “senior 7 days of the original telecast. The HH management” for film include: CFO, ratings presented by race are based on the president, co-chairman, co-president, and race of the head of household, while 18-49 COO. By contrast, the “Chair/CEO” was ratings are based on individual viewers. coded as the person at the very top of a given 6. Theatrical Market Statistics: 2013. MPAA studio’s organization chart. (2013), p. 4. 18. The heads of the following types of film units 7. These figures include films that received any were counted in the analysis: animation, domestic box office in a given year. Ibid, p. production, creative affairs, acquisitions, and 22. casting. 8. Ibid., p. 11. 9. Ibid, p. 12. 19. Digital platform and syndicated programming consisted of scripted as well as unscripted shows. 56 Ralph J. Bunche Center for African American Studies at UCLA 20. The analysis of creator racial status and gender was limited to individuals clearly credited as “creator.” 21. For example, see Hunt, D. (2014). “Turning Missed Opportunities Into Realized Ones: The 2014 Hollywood Writers Report.” Los Angeles: Writers Guild of America, West. 22. http://variety.com/2015/tv/news/dga-studyshows-women-minorities-lagging-as-firsttime-tv-directors-1201395895/ 23. Senior management titles in television included the following examples: president, co-president, and CFO. 24. The heads of the following types of television units were counted in the analysis: current programming, alternative programming, comedy development, drama development, scheduling, casting, and production. Outstanding Guest Actor in a Drama Series; Outstanding Writing for a Drama Series; Outstanding Directing for a Drama Series; Outstanding Drama Series; Outstanding Lead Actress in a Comedy Series; Outstanding Lead Actor in a Comedy Series; Outstanding Supporting Actress in a Comedy Series; Outstanding Supporting Actor in a Comedy Series; Outstanding Guest Actress in a Comedy Series; Outstanding Guest Actor in a Comedy Series; Outstanding Writing for a Comedy Series; Outstanding Directing for a Comedy Series; Outstanding Comedy Series. 28. Show selection was based on the following criteria: the minority share of the first eight credited actors had to be at least 35 percent; overall household ratings had to exceed 1.00 for cable shows (with the exception of premium cable shows) and 2.00 for broadcast shows. 25. According to the Los Angeles Times, the Motion Picture Academy’s membership today 29. To maximize intercoder reliability, researchers reached agreement in a series of coding is about 93 percent white, 76 percent male, pretests before beginning work on data used and has an average age of 63 years Horn & in the analysis. Smith (December 21, 2013). 30. For each show, these episodes included the 26. In the analyses for this section, a film or season premiere or pilot, the season finale, television show that received an Oscar or and two randomly selected episodes from the Emmy in any category is counted as an season. “Oscar winner” or “Emmy winner.” No distinction is made between films or 31. Because the characters played by the first television shows that won a single or multiple nine credited actors were coded for each of awards. the four selected episodes of a given show, most of the characters were counted multiple 27. “Emmy winners” for each season are defined times for the analyses that follow. The as shows that won at least one major Emmy figures for the overall number of characters award. The relevant categories include the used in each chart may vary slightly due to following: Outstanding Lead Actress in a missing values for race, gender, or some Drama Series; Outstanding Lead Actor in a other variable. Drama Series; Outstanding Supporting Actress in a Drama Series; Outstanding 32. For a lengthier discussion of this type of Supporting Actor in a Drama Series; measure, see Hunt, D. (2005). Channeling Outstanding Guest Actress in a Drama Series; 57 2015 Hollywood Diversity Report Blackness: Studies on Television and Race in America. NY: Oxford University Press. 33. Characters coded as “unclear” in terms of sexuality were those for which there were no clear signifiers within the episode regarding their sexual orientation. 34. This variable was included to identify the presence of the “magical negro,” a stock supporting character whose primary function in Hollywood productions is to provide help for the protagonist, who is usually white. See Glenn, C. and Cunningham, L. (2009), “The Power of Black Magic: The Magical Negro and White Salvation Films.” Journal of Black Studies, 40(2), 135-152. 35. For example, in an episode of Elementary (CBS) from the sample, a call girl gives her business card to Watson (played by the Asian American actress Lucy Liu) in order to solicit a threesome, thus invoking the attractiveAsian-female-as-sex-goddess trope. The same episode reinforces a racial pecking order through the power dynamics between three major characters based on their relative intelligence: Sherlock (white male) >Watson (Asian American woman) >Detective Bell (black male). 36. See Entman, R. and Rojecki, A. (2000). The Black Image in the White Mind. Chicago, IL: University of Chicago Press. 37. For the film bottom-line analyses we only consider cast diversity due to the exceedingly small number of films in 2012 and 2013 written by minorities. 38. For these analyses, simple return on investment is computed as follows: (Revenue – Budget)/Budget. That is, the higher the ratio, the higher the rate of return. 39. Only dramas and comedies are considered in these analyses. 40. The median black household ratings for shows between 41 percent and 50 percent minority was also 3.47 ratings points. 58 Ralph J. Bunche Center for African American Studies at UCLA About the Authors Dr. Darnell Hunt is director of the Ralph J. Bunche Center for African American Studies and professor of sociology and African American Studies at UCLA. Dr. Hunt has written extensively on race and media. He is editor of Channeling Blackness: Studies on Television and Race in America, (Oxford University Press, 2005), an anthology of classic and contemporary studies examining television access and images of race. He also authored (with Dr. Ana-Christina Ramon and Dr. Zachary Price) “The 2014 Hollywood Diversity Report: Making Sense of the Disconnect,” released by the Bunche Center in February of 2014. Over the past 20 years, Dr. Hunt has contributed to numerous projects addressing the issues of access and diversity in the entertainment industry, including work with the WGA, SAG, AFTRA, NAACP and U.S. Commission on Civil Rights. Dr. Ana-Christina Ramón, Assistant Director and Associate Researcher of the Bunche Center, is a social psychologist trained in quantitative and qualitative methods. She currently manages the Hollywood Advancement Project and supervises and trains its graduate student research team. For the past ten years, she has worked extensively on social justice issues related to equity and access in higher education and the entertainment industry. Her past research has also focused on conflict perceptions and racial and gender stereotypes. She co-edited (with Dr. Darnell Hunt) Black Los Angeles: American Dreams and Racial Realities (New York University Press, 2010). On behalf of California Social Science Researchers, she co-authored (with Dr. Hunt) amicus briefs in support of affirmative action which were submitted to the U.S. Federal Court of Appeals and to the U.S. Supreme Court. She previously worked at a market research company and was a summer research associate at the RAND Corporation. 59 2015 Hollywood Diversity Report Appendix Esquire Table 1: Networks and digital platforms included in the study FX A&E Fox ABC GAC ABC Family HBO AMC HGTV Adult Swim Hallmark Channel Animal Planet History Channel BBC America Hub BET Hulu Bravo IFC CBS ION Television CMT Investigation Discovery CNN Lifetime CW Logo Cartoon Network MSNBC Cinemax MTV Comedy Central NBC DIY National Geographic Destination America Nat Geo Wild DirecTV Netflix Discovery Nickelodeon Disney Nick Jr. Disney XD OWN E! Oxygen ESPN PBS Food Network 60 Ralph J. Bunche Center for African American Studies at UCLA Reelz TruTV Science Channel USA Showtime VH1 Spike WEtv Starz Sundance Channel Syfy TBS TLC TNT TVLand TeenNick Travel Channel Table 2: Underrepresentation Factors, by Arena, Minorities and Women, 2012-13* Arena Minorities Women Film Leads (2013) Film Directors (2013) Flm Writers (2013) Broadcast Scripted Leads Cable Scripted Leads Broadcast Reality/Other Leads Cable Reality/Other Leads Digital/Syndicated Leads Broadcast Scripted Creators Cable Scripted Creators Digital/Syndicated Creators >2 to 1 2 to 1 3 to 1 <6 to 1 <2 to 1 >2 to 1 >2 to 1 <2 to 1 >6 to 1 >3 to 1 >7 to 1 2 to 1 8 to 1 <4 to 1 2 to 1 >4 to 1 *Gains since the previous report highlighted in green, losses in red. 2015 Hollywood Diversity Report Table 3: Content analysis sample of “diverse” TV shows 1. A.N.T. Farm (Nickelodeon) 2. Castle (ABC) 3. Chicago Fire (NBC) 4. Community (NBC) 5. Dexter (Showtime) 6. Elementary (CBS) 7. Grey’s Anatomy (ABC) 8. Hannibal (NBC) 9. Hawaii Five-0 (CBS) 10. House of Lies (Showtime) 11. Major Crimes (TNT) 12. Mistresses (ABC) 13. New Girl (Fox) 14. Parks and Recreation (NBC) 15. Scandal (ABC) 16. Treme (HBO) 61 62 Ralph J. Bunche Center for African American Studies at UCLA Ralph J. Bunche Center for African American Studies at UCLA 160 Haines Hall, Box 951545 ● Los Angeles, CA 90095-1545 310.825.7403 www.bunchecenter.ucla.edu www.facebook.com/BuncheCenter.UCLA www.twitter.com/BuncheUCLA www.youtube.com/user/uclabunchecenter