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Women and people of color still less likely to helm big-budget TV shows

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Latest Hollywood Diversity Report from UCLA signals potential challenges ahead in writers’ rooms

Bridgerton cast photo

Netflix’s period romance “Bridgerton” enjoyed broad appeal among Asian, Black, Latino and white households in 2020–21; it also generated plenty of buzz on Instagram and Twitter. | Image credit: Netflix

Jessica Wolf | October 27, 2022

UCLA researchers see signs that could foretell a retreat in the industry’s gender and racial diversity — especially on big-budget shows and in writing positions.

That’s among the conclusions of a study of the 2020–21 TV season in the new Hollywood Diversity Report, which is produced by the Entertainment and Media Research Initiative at UCLA.

“The next few years may be a true test of whether Hollywood is truly committed to the changes they promised during the nation’s reckoning on race following the murder of George Floyd,” said Ana-Christina Ramón, director of the initiative.

The report did also find that shows with diverse casts — such as “FBI” on CBS, “Snowpiercer” on TNT and “Bridgerton” on Netflix — continued to draw large, diverse audiences.

But with programmers increasingly shelling out big bucks for high-concept shows, the UCLA report reveals that those opportunities weren’t equal for women and people of color — despite the fact there were more minority and women show creators across all distribution platforms than there were during the 2019–20 season.

“We saw an uptick in opportunity for people of color and women having their shows greenlit, which should be a marker of progress,” Ramón said. “However, when we examined the episodic budgets of all the TV series, we see a strong pattern indicating that shows created by people of color and women tended to receive smaller budgets than those created by white men, particularly in the digital arena.”

Nearly 1 in 2 shows for which white men were credited as show creators enjoyed a budget of more than $3 million per episode, but far fewer women or people of color reached that level.

In broadcast, 71.4% of show creators of color (both men and women) had per-episode budgets of less than $3 million; among white women creators, 86.9% did so; and among white men, just 58.5% worked with less than $3 million per-episode budgets. The discrepancies were similar for streaming and cable series.

Netflix’s “The Crown” and other high-profile projects continued to make streaming services the industry’s biggest-budget playground. There, too, white men show creators received the biggest sums for their projects.

Among streaming series, 21% of those created by white men enjoyed per-episode budgets of $7 million or more. Just 11.1% of streaming shows created by people of color had budgets in that range, and only 2.9% of shows created by white women did. (Disney+’s “WandaVision” was the lone member of that group.)

Overall, in the digital arena, a plurality of white women (42.9%) show creators had budgets between $3 million and $4.99 million; among people of color, the greatest number of show creators (66.6%) had budgets below $3 million per episode.

The report also tracks the gender and racial profile for those who held key jobs for 107 broadcast, 109 cable and 191 digital scripted shows from the 2020–21 season. Women made up 31.8% of show creators in broadcast, 31.2% in cable and 36.1% in digital. People of color held 13.1% percent of those roles in broadcast, 26.6% in cable, and 25.6% in digital. All six of those figures were improvements over the prior year, but they still fall short of proportionate representation for either group.

Darnell Hunt, UCLA’s executive vice chancellor and provost, and co-founder of the Hollywood Diversity Report, said there are ominous signs for the future of the industry’s diversity efforts.

“Diversity initiatives traditionally are the first to be sacrificed when there are economic downturns,” Hunt said. “We’re already seeing it start with cutbacks at Warner and HBO. But rolling back efforts before equity has been truly achieved for women and people of color would be a major miscalculation.

“Any cost-savings studios realize now will come at the expense of alienating increasingly diverse viewers who expect increased representation in their TV shows, and do not make good business sense in the long term.”

Over the course of 11 TV seasons, the report has repeatedly drawn correlations between shows’ ratings and the diversity of their casts and writers. For example, ratings in 2020–21 were highest for cable scripted shows with casts made up of at least 41% minority actors. In digital, ratings were highest for shows with casts that were 21% to 30% minorities.

Representation in writers’ rooms for both women and people of color improved in 2020–21. Women made up about 45% of writers, and minorities made up more than 30% of writers, both small increases from previous TV seasons.

But that progress could be tenuous given the TV industry’s continued shift to releasing more content on digital platforms, which typically have shorter seasons — and therefore fewer slots for all writers.

“Like other industry watchers, we are closely monitoring these trends and exploring what impact they might have on opportunities for women and people of color to tell authentic stories,” said Michael Tran, a UCLA graduate student studying sociology and a co-author of the report. “The racial and gender dynamics in a collaborative writers’ room have an enormous impact on the types of stories that are told.”

The Hollywood Diversity Report uses independently gathered information about the race, ethnicity and gender identity of actors, writers, directors and show creators. The Entertainment and Media Research Initiative, which was formed in September, is under the auspices of the UCLA Institute for Research on Labor and Employment. The initiative will expand UCLA’s study of the entertainment industry to explore equity and access issues affecting industry workers with other underrepresented identities — based on their disability status, sexual orientation and religion, and how those identities intersect with race, ethnicity and gender.

“With a continued focus on workers’ rights, we are currently working with partners to examine ways to gather information and uncover the experiences of those from other underrepresented communities that are often overlooked,” Ramón said.

Other findings from the new report:

• Diversity of TV casts continued to improve, extending a longstanding trend. In the 2020–21 season, 34.9% of broadcast, 35.8% of cable and 30.7% of digital featured majority-minority casts.
• Women were well represented in lead acting roles on scripted shows on cable, as well as on digital platforms.
• Actors of color were underrepresented in lead roles on broadcast TV (just 27.4%), but were nearly proportionally represented — relative to the U.S. population overall — in lead roles on cable (39.6%) and digital (37.6%).
• Women of color made gains as writers for broadcast shows, holding 17.8% in 2020-21, up from 13.6% in 2019-20.
• A higher percentage of TV directors were women of color than in the previous year, across all three platform types.
• Social media engagement was highest for digital shows that had diverse casts. Netflix’s “The Chair,” Disney+’s “Loki” and “The Falcon and the Winter Soldier, Netflix’s “Bridgerton,” Hulu’s “The Handmaid’s Tale” and HBO Max’s “Hacks” all generated major buzz on Instagram and Twitter.
• Transgender and nonbinary actors had nominal representation. The report tracked five transgender and two nonbinary actors in broadcast shows; three transgender and five nonbinary actors among cable TV casts. In digital, just one transgender and seven nonbinary actors appeared across all shows tracked.

Budget per episode of digital TV programs, segmented by race and gender of show creator; click each image for full description and download:

This article originally appeared in the UCLA Newsroom. For more news and updates from the UCLA College, visit college.ucla.edu/news.

Image of actor Vin Diesel with director Justin Lin on the set of “F9: The Fast Saga.”Courtesy of Universal Studios

People of color helped keep movie business afloat during pandemic

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UCLA Hollywood Diversity Report emphasizes importance of minority audiences

Image of actor Vin Diesel with director Justin Lin on the set of “F9: The Fast Saga.”

Actor Vin Diesel, left, with director Justin Lin on the set of “F9: The Fast Saga.” The movie, which featured a cast that was more than 50% minority, was the year’s third highest-grossing film at the box office. Image Courtesy of Universal Studios

By Jessica Wolf |

A large percentage of the movie business’s box office revenue and home viewership was driven by consumers of color in 2021, according to UCLA’s latest Hollywood Diversity Report. The report examines the 252 top-performing English-language films — based on box office receipts and streaming data — during the second year that the COVID-19 pandemic forced movie studios to adopt unconventional release strategies.

The report tracks progress for women and minorities in acting, directing and writing roles, and analyzes audience segments by race and ethnicity, focusing on Asian American, Black, Latino and white audiences, and age, focusing on viewers 18 to 49.

Published twice a year — with one analysis of movies and another for TV — the Hollywood Diversity Report has consistently shown increases in the percentages of women and people of color in key jobs in front of the camera. Researchers have also tracked sustained, albeit stubborn, growth for women and minorities in Hollywood writing and directing jobs.

Chart showing that The largest single category of films considered in this report includes those that were released solely on streaming platforms12 (45.6 percent), which is down from the share of streaming-only films considered in the previous report for 2020 (54.6 percent). By contrast, only 17.9 percent of films were released solely in theaters in 2021.13 Meanwhile, 20.2 percent of films were released both on streaming platforms and in limited theaters,14 while 13.1 percent were released both on streaming platforms and widely in theaters.15 Finally, only 1.6 percent of films were released both theatrically and through transactional video on demand,16 and 1.6 percent were released on streaming after a modified theatrical release window (45+ days).17

The report’s authors noted that 2021 was the first year since they began tracking such statistics that the majority of Academy Awards went to films that were directed by people of color and featured minority actors in lead roles. And the year’s third highest-grossing film at the box office was “F9: The Fast Saga,” which featured a cast that was more than 50% minority and was directed by Taiwanese American filmmaker Justin Lin. Sixty-five percent of opening weekend ticket sales for “F9” were to minority audiences, the highest figure among all films in the top 10.

The report tracks the numbers of writers, directors and actors who identify as Asian American, Black, Latino, Middle Eastern/North African, multiracial and Native American. People in those groups make up 42.7% of the U.S. population, and they form an important consumer bloc for entertainment, including movies.

For six of the 10 top-grossing films that opened in theaters in 2021, people of color accounted for the majority of opening-weekend U.S. ticket sales.

The report also analyzed box office performance based on the diversity of the movies’ casts — whether minority actors made up less than 11% of the cast, 11% to 20%, and so on, up to 51% or more. The study revealed that films with 21% to 30% minority actors had higher median global box office receipts than films in any other tier. That echoed a pattern since the report began tracking box office performance in 2011.

The report also found that, as in previous years, films with the least diverse casts (11% or less minority) were the poorest performers at the box office.

Chart showing that Median global box office peaked for films with casts that were from 21 to 30 percent minority in 2021 ($107.4 million). Twenty-five films fell into this cast diversity interval, including Venom: Let There Be Carnage ($501.0 million), A Quiet Place Part II ($297.4 million), and Cruella ($233.3 million). In a year in which theater attendance began to rebound after a COVID-decimated 2020, theatrically released films with relatively diverse casts again outshined their less-diverse counterparts at the box office. Indeed, the 14 films with the least-diverse casts (less than 11 percent minority) were again the poorest performers in 2021. “Last year, every time a big movie exceeded expectations or broke a box office record, the majority of opening weekend audiences were people of color,” said Ana-Christina Ramón, a co-author of the report and the director of research and civic engagement for the UCLA College division of social sciences. “For people of color, and especially Latino families, theaters provided an excursion when almost everything else was shut down. In a sense, people of color kept studios afloat the past couple of years.

“Studios should consider them to be investors, and as investors, they should get a return in the form of representation.”

Overall, 43.1% of actors in the movies analyzed by the report were minorities. That’s more than double the percentage from 2011, the first year of data collected by the authors, when 20.7% of actors were minorities. And 31.0% of the top-performing films in 2021 had casts in which the majority of the actors were minorities.

“Minorities reached proportionate representation in 2020 for the first time when it comes to overall cast diversity in films, and that held true again in 2021,” said Darnell Hunt, dean of the social sciences at UCLA and co-author of the report.

Hunt said the phenomenon is probably due in part to the greater number of movies that are initially released on streaming services: Of the films analyzed in the report, 45.6% were released on streaming services only.

Chart showing that During the second full year of the pandemic, the volume of major films released via streaming platforms continued to increase, from 87 films in 2020 to 164 in 2021. Again, for all groups, median ratings were highest for relatively diverse streaming films in 2021. That is, for viewers 18-49 (3.08 ratings points) and Black households (12.49 ratings points), ratings peaked for streaming films with majority-minority casts. Seventy-two films fell into this cast diversity interval in 2021, including: Raya and the Last Dragon, Coming 2 America, Vivo, and Mortal Kombat. For viewers 18-49, though, it should be noted that streaming films with casts that were from 21 percent to 30 percent minority came in a close second (2.94 ratings points). For White (5.10 ratings points), Latinx (7.34 ratings points), Asian (5.90 ratings points), and other-race households (5.48 ratings points), streaming films that were from 21 percent to 30 percent minority also enjoyed the highest ratings in 2021. Examples of the 36 films that fell into this diversity interval include: Don’t Look Up, The Boss Baby: Family Business, and The Suicide Squad.

“We do think this dual-release strategy is here to stay,” Hunt said. “And it could have a lasting impact on diversity metrics in front of and behind the camera as studios think about how to finance content for different platforms.”

For example, the report found that women and people of color were far more likely than white men to direct films with budgets less than $20 million.

“A small production budget usually means that there is also little to no marketing and studio support, unless it’s from a production company known for making art house films,” Ramón said. “And that makes it more difficult for filmmakers to get the next opportunity if their films have to fight for attention.”

Hunt said studios are likely to bank on big-budget tentpole movies and sequels as traditional box office drivers, even as they continue to experiment with release platforms and adjust the amount of time between films’ theatrical releases and their arrival on streaming services or on DVD or Blu-ray.

Among the 2021 films released to streaming services, those with casts in which a majority of actors were non-white enjoyed the highest ratings among viewers aged 18 to 49 and in Black households. Seventy-two films with majority-minority casts were released on streaming in 2021, including “Raya and the Last Dragon,” “Coming 2 America,” “Vivo” and “Mortal Kombat.”

Chart showing that Among the White,24 Black, Latinx, multiracial, and MENA directors helming 2021 films, women lagged far behind men. Only among Asian and Native directors did women approach or reach parity with their male counterparts in securing these important positions.

“In 2021, diversity in front of the camera did not equate to more opportunities behind the camera for filmmakers who are women and people of color,” Ramón said. “They continue to receive less financing, even when they make films with white lead actors. Most of these filmmakers are relegated to low-budget films. For women of color, directing and writing opportunities are really the final frontier.”

Of the filmmakers who directed the movies analyzed in the report, 21.8% were women and 30.2% were people of color. Among the screenwriters for those films, 33.5% were women and 32.3% were people of color. Diversity in both jobs increased incrementally from 2020.

Out of the 76 minority directors of 2021’s top films, just 23 were women. And among Black, Latino and multiracial directors, at least twice as many were men as women in each racial or ethnic classification.

Although there was gender parity among Asian American and Native American directors, the overall numbers of directors from those groups were very small: just 17 Asian American directors and and just two Native American directors were represented in 2021. Among white directors, 32 were women and 143 were men.

The authors counted one trans woman among the directors of the 2021 films they analyzed.

This article originally appeared in the UCLA Newsroom. For more news and updates from the UCLA College, visit college.ucla.edu/news.

TV shows with diverse writers rooms, casts resonated with pandemic audiences

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By Jessica Wolf

The latest UCLA Hollywood Diversity Report, published today, reveals that television viewers during the COVID-19 pandemic leaned into content that came out of diverse writers rooms and that featured diverse casts.

“We have seen this appetite for diverse content repeated over the history of our analyses,” said Darnell Hunt, co-author of the report and UCLA’s dean of social sciences. “The fact that shows with diverse writers rooms did well last year also illustrates that audiences are looking for authentic portrayals.”

The report, which covers statistics for the 2019–20 TV season, tracks racial and gender diversity among key job categories, as well as ratings and social media engagement for 461 scripted shows across 50 broadcast, cable and streaming providers.

The new study found a continued correlation between the racial makeup of shows’ writers and TV ratings. For example, among households of all races in 2019–20, the scripted broadcast shows that earned the highest ratings were those in which people of color made up between 31% and 40% of the credited writers.

Overall, racial diversity improved in almost every job category tracked by the report, and representation among women improved in about half of the job titles.

And for the first time in the report’s history, people of color had a higher percentage of scripted broadcast TV acting roles, 43.4%, than their overall percentage of the U.S. population.

Across all three platform types, there were more people of color credited as writers than in the previous report. Overall, people of color made up 26.4% of the credited writers for broadcast series last season (up from 23.4%), 28.6% of credited writers for cable (up from 25.8%) and 24.2% of credited writers for streaming (up from 22.8%). Most of those modest gains were recorded by women, according to the study.

But people of color are still largely underrepresented among TV writers, given that 42.7% of Americans are nonwhite.

Lagging representation among Latino actors, directors

Latino representation in all job categories remained flat from the previous year, and Latinos hold far fewer TV jobs than their share of the U.S. population overall would predict. Latino actors held just 6.3% of broadcast TV roles, 5.7% in cable and 5.5% in streaming. Meanwhile, Latino directors were responsible for only 5.4% of broadcast TV episodes, 3.5% of cable episodes and 3.0% of streaming episodes.

“This UCLA report clearly demonstrates that more work is necessary to achieve more accurate representation and truly authentic portrayals in American television,” said U.S. Rep. Joaquin Castro of Texas. ”I hope this report encourages entertainment executives to reevaluate their systems for recruiting, retaining, and promoting Latinx talent, work in earnest to make changes, and create a more inclusive culture.”

According to the report, a significant proportion of 2019–20 TV content — 35% of broadcast shows, 22.9% of cable and 25.7% of streaming — was made in Los Angeles, where census data shows that 48.6% of the population is Hispanic or Latino.

“Diversifying the workforce means bringing equity to the economy and ensuring inclusionary practices in Hollywood,” said California State Assemblywoman Wendy Carrillo. “As Latinos make up the largest population in the state of California, yet only a dismal percentage in Hollywood, I’m looking forward to ensuring the Latinx community is not subsidizing its own exclusion via California’s Film Tax Credit Program, which the legislature oversees.”

The Hollywood Diversity Report recently received funding from the state of California that will enable UCLA researchers to continue to support such progress.

Diversity in acting

Over the decade since the Hollywood Diversity Report began, diversity has improved the most among acting jobs, especially in TV, compared with all other TV and movie job types. In 2019–20, television shows with majority-nonwhite casts were more prevalent than ever.

For the first time since the researchers began tracking data, a plurality of shows on cable (28.1%) and streaming platforms (26.8%) featured casts in which the majority of actors were nonwhite. And 32.1% of broadcast shows had majority-nonwhite casts, up from just 2.0% in the first report, which covered the 2011–12 season.

Photo of Darnell Hunt and Ana-Christina Ramón

Darnell Hunt and Ana-Christina Ramón. Photo: Mike Baker

The new report provides further support for the fact that audiences favor shows with diverse casts. During 2019–20, among white households, ratings for scripted broadcast shows were highest for shows whose actors were 31% to 40% nonwhite. Among Black households, scripted broadcast shows with the highest ratings where those in which casts were more than 50% nonwhite.

For streaming programming, which is dominated by Netflix, ratings among white, Black and Asian households were highest for shows with casts that were from 31% to 40% nonwhite.

The report’s authors also analyze audiences’ interaction with TV programs on social media, and how those trends correspond with cast diversity. For scripted cable shows during 2019–20, for example, they found that programs with majority nonwhite casts had the highest engagement on Facebook, Instagram and Twitter. And for streaming shows, audience engagement on Twitter specifically was highest for programs with majority nonwhite casts.

Mixed progress among show creators

Another area in which diversity improved was among show creators. That’s an important datapoint because show creators have influence over which stories are developed, whose stories they represent and how they’re told, said Ana-Christina Ramón, co-author of the report and the director of research and civic engagement in the UCLA Division of Social Sciences.

Women made up 29.0% of the creators of scripted cable shows, up nearly 7 percentage points over the prior season, marking the largest one-year gain for women in that job category since the report began. And people of color made up 20.6% of scripted cable show creators in 2019–20, up from 14.5% the previous season and nearly triple the share (7.4%) from 2011–12.

However, women held creator positions for fewer broadcast shows in 2019–20 (24.1%) than they did the prior year (28.1%) — and even fewer than women held in 2011–12 (26.5%).

“We also see that when women and people of color hold high-level creative positions, there is greater diversity down the line in casting and likely for crew hiring,” Ramón said. “Women and people of color are still very underrepresented in these and other behind-the-camera jobs, which is why this report continues to exist.”

Other takeaways:

  • The number of acting roles for women in 2019–20 was nearly equal to those of men across all three platform types. Women made up 46.3% of total cast in scripted broadcast shows, 45.3% in cable and 46.9% in streaming.
  • Trans and nonbinary actors were virtually absent across all platforms.
  • Out of a total 2,932 credited actors, just 13 were Native people, including just three Native women.
  • People of color directed 25.8% of broadcast episodes, 27.2% of cable and 21.4% of streaming, up from 24.3% and, 22.9% and 18.2% in the 2018–19 season.
  • Women directed 30.6% of broadcast episodes, 31.3% of cable and 33.4% of streaming, up from 29.3%, 29.7% and 29.1% the prior season.
  • Latinos made up just 4.8% of the credited writers for broadcast programs, 4.7% in cable and 4.3% in streaming.

This article originally appeared in the UCLA Newsroom.

2020 Hollywood Diversity Report: A different story behind the scenes

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Image from the 2019 film "Aladdin"

Mena Massoud and Will Smith in the 2019 film “Aladdin,” which sold more than $1 billion in tickets worldwide, and whose cast was more than 50% minority.

Oscars viewers this weekend might see the predominantly white nominees and think Hollywood still has a diversity problem.

It does.

But there are indications that the film industry is starting to get the message that diversity sells. The numbers of acting jobs for women and people of color are getting closer to being proportionate with the U.S. population overall, according to UCLA’s latest Hollywood Diversity Report.

The report focuses on the top-grossing films of 2018 and 2019. (A related report covering the past two seasons of television data will be published in April.)

Although minorities were largely ignored for Academy Award nominations, films with diverse casts continued to resonate with increasingly diverse audiences, a fact emphasized by each new edition of the Hollywood Diversity Report.

When it comes to key jobs in the film world, the seventh annual report tells the story of two Hollywoods.

“As of 2019, both women and minorities are within striking distance of proportionate representation when it comes to lead roles and total cast,” said Darnell Hunt, dean of the UCLA College division of social sciences and the report’s co-author. “But behind the scenes, it’s a very different story. That begs the question: Are we actually seeing systematic change, or is Hollywood just appealing to diverse audiences through casting, but without fundamentally altering the way studios do business behind the camera?”

Women make up about 50% of the U.S. population and minorities slightly more than 40%. A majority of the nation’s population will be minorities by 2050, according to U.S. Census estimates.

The numbers of acting roles for women and people of color in film have been progressively increasing since UCLA researchers first started tracking data. And results from the last two years of film are heartening.

The researchers analyzed 139 films with the highest gross global ticket receipts of 2018. They found that 41.0% of lead roles went to women and 26.6% to minorities. And among all acting roles in those films, 40.4% went to women and 30.9% to people of color.

Things improved somewhat in most casting roles in 2019. Women had 44.1% of lead acting roles and 40.2% of the total cast in the 145 films from 2019 examined in the report; people of color made up 27.6% of lead actors and 32.7% of all film roles in 2019.

Each year, the report also analyzes the range of cast diversity among the top-grossing movies. In every previous report, films with the least diverse casts — those in which less than 11% of the cast were minority actors — made up the largest share of the top-grossing movies.

By 2019, that was not the case: Just 15.9% of the top-grossing movies had casts that were less than 11% minorities. By comparison, more than half of the top films in 2011 had less than 11% minority casts.

When it comes to writing and directing, minorities and women have gained a little ground on their white and male counterparts in recent years, but still have a long way to go.

In 2018, just 7.1% of the directors of top-grossing films were women and 19.3% were people of color. In 2019, women posted meaningful gains to reach 15.1%, but minorities directed just 14.4% percent of the top box office movies, a slight increase over recent years.

Women earned 14.8% of writing credits on the films analyzed in 2018, and minorities claimed 10.4%. Both figures improved for 2019, with 17.4% of writing credits going to women and 13.9% to people of color.

“Getting writing, directing and acting jobs is a critical step for women and people of color because success in the industry is largely driven by the credits you have,” Hunt said.

The statistics for people of color in key entertainment roles are particularly striking considering their visibility, buying power, ideas and experiences in the population at large — including as consumers of entertainment. People of color accounted for at least 50% of domestic ticket sales for six of the top 10 films in 2018. In 2019, minorities bought at least 50% of tickets for nine of the top 10 films.

In 2018, films with casts made up of 21% to 30% minority actors had the highest median global ticket receipts. In 2019, the films that tended to perform the best at the box office were even more diverse, with casts in the 41% to 50% minority range.

Despite that buying power, the analysis suggests, fundamental structural change in Hollywood is not yet evident.

The 2020 Hollywood Diversity Report also includes a workplace analysis of 11 major and mid-major studios, which found that 91% of C-level positions are held by white people and 82% are held by men. Among all senior executive positions, 93% percent are held by white people and 80% by men.

Further down the org chart, gender equality is somewhat better: Studios’ film unit heads are 86% white, but only 69% male.

“What’s being green-lit matters,” said the report’s co-author, Ana-Christina Ramon, director of research and civic engagement for the UCLA College division of social sciences. “And although the industry is changing in front of the camera, white men are still doing the overwhelming majority of the green-lighting and making the major decisions behind the scenes at the studios.”

That phenomenon largely dictates what stories get told and who gets the all-important jobs in front of and behind the camera, she said.

The report’s authors in 2019 published an analysis of inclusivity practices across several entertainment sectors. That report included a five-part strategy that could help push the needle on Hollywood diversity.

This article originally appeared in the UCLA Newsroom.

‘Black Panther’ success amplifies findings of UCLA’s Hollywood Diversity Report

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“In part, we hope this serves as tool for artists, producers, writers, directors and actors who are seeking funding and support for future projects that appropriately and creatively reflect the gender and ethnic diversity of the United States.”