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

Feeling privileged to be in the role, Schibli tells me that the care she has for her work filters through in her day-to-day. "I guess all of the work we're doing is to look at – how do we affect that sort of change in embedding more diversity and inclusion across our content? I think that what's brilliant to see now is that creative diversity is really, really embedded into the commissioning strategy at the BBC and that's reflected in the work that I do, that my team does.

"We are really plugged in to the production lifecycle, right from development [and] green light, going into production, post-production, release, when things TX as well."

Part of the job also means that Schibli and her team are involved in the training side of things, supporting the career development of individuals as well as setting the strategy for the BBC in terms of diversity ambitions and then supporting teams to deliver against those targets and commitments. "I love what I do, it's a really brilliant space to affect impactful and meaningful change," she beams.

While it is meaningful work, it's also part of the BBC's public service, Schibli says. "Obviously, as a public service broadcaster, [our purpose] is to serve to reflect all audiences, but also in our charter is about supporting the creative economy of the UK as well – and that's across all of the UK.

"So, how do we make sure we're building those relationships with key screen bodies as well, all across the country?"

It's no easy feat having a job that is all about "really looking at how we transform the industry", but part of that is also meeting those who are making some of the very best TV right now. From building relationships with different sized production companies and "looking at the diversity of our suppliers, but also production talent", which means getting to know upcoming directors and writers to build those relationships and identify possible opportunities.

Much of the conversation around diversity within the TV industry is rightfully concerned with on-screen representation, but what about those behind the camera?

Sitting at the heart of BBC's creative strategy is a commitment not just regarding on-screen representation, but also to behind-the-scenes and off-screen opportunities for those from ethnically diverse, deaf, disabled, neurodivergent and socioeconomically diverse backgrounds.

Having told Schibli about the fact that plenty of Pass the Mic interviewees have previously expressed their disappointment in the lack of off-camera representation (in regards to racial diversity), I ask her about how the BBC is going about fostering a more inclusive, diverse environment – one that we'd hope would be innate on many productions anyway.

"It's a really good point and it's actually something that, I would say, sits at the very heart of our creative diversity commitment. It's at the heart of our strategy when it comes to representation. You'll see that in our creative diversity commitments," Schibli says.

"So we have, last September, announced a commitment that we would spend at least £80 million of our existing TV and radio commissioning budget on content that meets a specific criteria. For a programme to qualify under this criteria, it must meet our criteria around on-air representation and senior production leadership, representation and/or the leadership of the company that we're commissioning from.

"I think that's what's really game-changing about it is we're looking at representation in such a holistic way, with the ambition that our content is authentic. That we're serving audiences with the best creative content that is rooted in authenticity and lived experience, and not in entry level roles. It's about production leadership so it's these influential roles that really make an impact on the editorial.

"So, for this year, you will have seen that it's £140 million of our content. We surpassed that target. It's £140 million of our existing commissioning budget of content that met that criteria. There's been year-on-year increases. So that number was £105 [million] last year. The year before, it was around £66 million. So, we're really looking to continue to push the dial on that."

As well as having "proactive conversations with our producers at point of commission, or even before point of commission in the development space", Schibli is positively brimming about the targets that the BBC has now.

"So, the £80 million is a key one – we have another one around diversity across all production roles. That's a 25% target and that's across ethnicity, disability, deaf, disabled, neurodivergent representation and class. In addition to that, we have a £2 million plus fund, which is specifically to support indies, nurture and develop careers of underrepresented production talent in mid to senior level roles. Because it's not just about opening the doors, it's about making sure people can thrive once they're in, and how do they progress? I think the conversation has to be about mid to senior, particularly senior roles," Schibli explains.

The other important pillar of focus is one around inclusion culture and the experiences people have. "Last year, we – for the first time in creative diversity – announced a set of inclusive production principles," Schibli says, adding that there's a commissioning specification document that any new commission has to go through at the point of commission.

Inclusion goes further than some may realise, with Schibli referencing "hair and makeup equity", "accessibility" due to the BBC's part in the TV Access Project (TAP) and making "the commitment that finance should not be a barrier to access".

"So we've just reported we spent £1.3 million on funding access adjustments in addition to production budgets this year. And I think, hopefully, it comes across. I feel so passionately about it because I just feel that it's absolutely key that when people are working either at the BBC, working on shows for the BBC or collaborating with the BBC, we are thriving.

"We're doing our best work. We are growing. We're really striving to create because the creative industry is striving to create the best creative content. It has to be in an environment people feel that they thrive [in], that people feel that they belong, where they can do their best work."

Recent BBC drama successes include the BAFTA award-winning Mr Loverman, which boasted a "diverse production leadership team across ethnicity, sexuality, gender but also things like hair and makeup" as well as bilingual thriller Reunion, a production that Schibli describes as "brilliant".

"I've spoken with the team at length and they really enjoyed making it because of the environment and the culture that was created. But it's for us to say: how do we create that consistently? How do we hold teams to account? How do we set expectations of all this – setting the expectation and then providing support? Is there training we can help with?"

The BBC launched the Creative Diversity Commitment back in 2020 in a major move that – like many companies, broadcasters and streamers within the industry – was prompted by the worldwide outrage sparked by the murder of George Floyd in 2020.

At the time, the BBC's former Director-General Tony Hall said: “The senseless killing of George Floyd – and what it tells us about the stain of systemic racism – has had a profound impact on all of us. It’s made us question ourselves about what more we can do to help tackle racism – and drive inclusion within our organisation and in society as a whole.

“This is our response – it’s going to drive change in what we make and who makes it. It’s a big leap forward – and we’ll have more to announce in the coming weeks.”

Why did it take such a cataclysmic societal shift to spur the BBC to reflect on their own lack of diversity, their failings and publicly acknowledge the need to do better? Although Schibli herself wasn't holding her position at the BBC at the time (it was June Sarpong that was appointed as Director of Creative Diversity in 2020), I pose the question to Schibli.

2020 was a period that made everyone reflect, Schibli says, saying that "it was really recognised that the change in the media industry wasn't happening quickly enough, things were happening but not at the pace maybe that it was needed. I think there was a real sense that concrete action is what was needed to bring about that real change".

Schibli says that it's nice now to be in her position and see that the BBC delivered on their initial targets, but says that the commitment goes beyond the numbers, it's about making sure there's real momentum.

Citing unscripted shows like Gladiators, Race Across the World, BACKLASH: The Murder of George Floyd, Rose Ayling-Ellis: Old Hands, New Tricks and Amol Rajan Goes to the Ganges to scripted productions like Boarders, Dreaming Whilst Black, Black Ops and Virdee, Schibli underlines the "amazing breadth of content" that the BBC has under its belt currently.

"No one else does [it], actually in terms of that real breadth of content that we serve. But then how do we continue to keep the momentum to go further? Keep being ambitious, keep being bold about our creative diversity commitments. I think for us, it's really going further with that," she explains.

"I think we set that out in our strategy around, how do we then further increase that off-screen representation and have that authenticity in our content? So that it really connects with audiences, that people feel seen and people feel celebrated. So, it's part of the mission, right? It's such a central component of why the BBC exists. Our mission to provide value to all audiences, making sure that everyone across the UK – so it's across the biggest form of diversity, from all backgrounds, all communities – feels like the BBC is for them."

Five years on from the events of 2020, many feel as though the commitment to diversity in the media has slowed down recently. But what does the BBC have to say to those concerns?

Schibli says that despite market conditions (which are challenging in terms of both work and volume), the BBC is seeing year-on-year progress in their data for both on and offscreen representation.

"Black, Asian, minority, ethnic representation onscreen this financial year rose to 30.2% and just to give a bit of context, that was previously 29%. Five years ago, that was 26.8%. The trend is that it's increasing offscreen. We know there's more work to be done, but the trend is there's been year-on-year increase."

She continues: "We've invested in real structural change because I think it's so important to think about the long term cultural shifts that we're making to transform the industry. So, it's a more equitable industry for everybody. I think it's also important to say that it's a long term journey and it's important to acknowledge that audiences are changing. Audiences are evolving. The UK is evolving. So, we absolutely have to keep pushing forward."

Schibli adds: "I think our public service mission demands that we don't stay still. There is so much more to do to ensure that diversity is consistently reflected across our content, across casting, commissioning. For me, I think it's just really clear that it's about lasting transformation. Yes, we have milestones and we have these measurables, but it's about that real systemic cultural change as well."

A lot of recent conversations in the UK drama space have revolved around the lack of funding, described by some as a "crisis" and only indicating possible further trouble for the scripted TV landscape.

With reports of some shows being stuck in limbo due to the lack of funding, how is the BBC ensuring that this doesn't disproportionately affect dramas from or about those from racially diverse backgrounds?

Asking Schibli just that, the BBC's diversity boss said: "I think the important thing to say, first of all is, despite the market challenges, we are commissioning more drama than anyone else in the UK. If we look, just even at some of the recent content, the sheer breadth and range of our shows means that we can create culturally relevant and really distinctive content.

"I think that it goes without saying that diversity is always a key priority for us. Volumes may change, but what doesn't change is the proportion of shows that have landmark portrayals of representation, that are about or made by those from underrepresented groups. Actually, I think if you look at what we brought out in the last year, I think it speaks for itself as well. It's our way of showing that these shows continue to be really important to us."

As well as long-running shows like Waterloo Road and EastEnders (ones where "representation is so much at the heart of those titles"), Schibli also takes the time to mention some upcoming exciting productions like The Split Up and the adaptation of Caleb Azumah Nelson's Open Water.

It's about making sure there "isn't disproportionate impact", Schibli says, making sure that shows like the aforementioned are "very much at the heart of our slate and what we're bringing to audiences".

While the BBC is seen by many as leading the way, Schibli says that it's also an opportunity for the industry to work together, share and collectively improve to serve audiences.

"The BBC's remit and mission is to inform, to educate and entertain all audiences across the UK – and that has to be done by reflecting, representing and serving everyone."

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