Disability Representation in Production

from makers - Real insight Into Global Production #10

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Ralph & Katie © ITV Studios & BBC.

Disability representation on screen has been a topic on the tongues of the industry for years. But a year on from Jack Thorne’s call to action to improve representation in the sector, makers explores the current reality of the forgotten diversity and what is being done to make that change.

His Dark Materials and Enola Holmes screen writer Jack Thorne laid it all bare during his MacTaggart Lecture at the Edinburgh film festival in 2021. Expressing his disappointment in the television industry, and recognising his own inadequacies, he made it clear that the disabled community is no longer settling for the sidelines when it comes to representation.

“The TV world is stacked against the telling of disabled stories with disabled talent,” stated Thorne.

While pockets of the industry, from television to film to advertising, makes use of disabled characters at the forefront of their productions, the proportions in relation to the realities of audiences is still falling short. Like the case for many marginalised communities, moments of authentic storytelling can be few to none.

Although making up about 20% of the UK population, disabled people continue to be excluded, both in front of and behind the camera. Despite the steps that have been made, the visual industry is still riddled with token peripheral appearances and painful stereotypes in film, television and commercial content.

Deborah Williams, executive director at Creative Diversity Network who use the online system Diamond to gather diversity data, said: “It’s a challenge to celebrate when five years on from our first report, the vast majority of our industry’s power-brokers – who commission content and run indies and broadcasters – are still from such a narrow range of backgrounds. Our analysis is that too much activity has been focused on increasing diversity at entry levels rather than breaking down the barriers to senior level representation. Diamond is a measuring tool, not the end product. Five years of data shows that concerted industry action is more important than ever.”

With less than 6% of the screen sector including disabled people in senior roles, according to the Creative Diversity Network’s fifth annual report, the lack of inclusivity in senior roles is limiting the change that can be made to achieve a more diverse workforce. In turn, the diversity displayed in programming suffers also.

“There appears to be nowhere in the industry where disabled people thrive,” the report states.

A year on from Thorne’s impassioned speech, the industry has seemed to take note and take some action, resulting in an overdue shift towards rectifying the longstanding issues. No longer exhibiting minimal efforts towards creating diverse spaces, industry professionals are responding to the need for more all-round disability representation and are making definitive actions to achieve such.

ITV’s October About Time event brought together, broadcasters, commissioners, casting agents, producers, and agents, for a night of entertainment that urged industry professionals to acknowledge

“THE TV WORLD IS STACKED AGAINST THE TELLING OF DISABLED STORIES WITH DISABLED TALENT.”

THE BBC DRAMA SERIES POSES NOTHING OUT OF THE ORDINARY FROM ANY OTHER LOVE STORY – THE LEADS JUST HAPPEN TO HAVE DOWNSYNDROME. their subconscious biases. Appealing to those at the pinnacle of production, attendees were encouraged to commit to promoting the inclusion of deaf, disabled and neurodivergent talent.

Aiming to champion those who have spent years fighting for better inclusion of disabled individuals in the industry, ITV brought on board Hot Coals production. From crew to casting, writing to production, the inclusion of disabled people is at the forefront of the commitment.

“This is not the first time our community has asked for better opportunities, these conversations have been happening for decades, but it’s only now that the industry seems ready to listen,” stated Clare-Louise English and Jo Sargeant of Hot Coals Productions. “There is a thirst for more inclusive work and diverse characters.”

Hot Coals Productions’ Backstage Bodies programme champions the voices of deaf, disabled an neurodivergent creatives. With hands-on mentoring. Guest speakers passing on their expertise and experiences, as well as number of networking experiences and future placements, the organisation’s commitment is setting the example for what should be the norm in catering to inclusivity.

Sara Johnson, a collaborator of Hot Coals Production’s English and Sargeant, is also creating spaces for disabled industry professionals to thrive. As an ally, Johnson launched Bridge06 bringing the necessary conversations that need to be had surrounding action amongst companies’ diversity and inclusivity models.

With Bridge06’s access coordinators, there is no room for excuse for excluding the underrepresented disabled community in the production space. The initiative bridges the gap between productions and any deaf, disabled and/or neurodivergent cast or crew they have hired or intend to hire.

“The process is simple and cost effective, with the AC on hand to support, advise, and in the carrying out of their role encourage disclosure and the safe and expertly supported provision of all access requirements needed by any member of cast, crew or staff.”

Following the success of The A Word, Peter Bowker’s Ralph and Katie is continuing to make strides for the disabled communities on screen representation. The BBC drama series poses nothing out of the ordinary from any other love story – the leads just happen to have down-syndrome.

As disabled actors are often excluded from roles that are written about their experiences, roles are often handed over to their non-disabled counterparts. With the assumption that disabled characters need to be written for the screen, many disregard the already existing talent that comes from the disabled community, leading to misinformed representation.

“There is so much talent bubbling away within these [disabled] stories,” stated Bowker to Deadline. “The hunger to be heard is there and there is no real excuse why disabled writers shouldn’t get work.”

Not only contributing to a more inclusive space for disabled industry professionals, Bowker’s use of an all-disabled writers room contributes to the authenticity of the stories being told. Beyond the on screen representation, the talent behind the scenes is not only catering to the demographics, but also creates a more accepting working environment.

There’s a special feeling that comes when watching a show with characters you can relate to. Whether it’s a personality trait, or a physical attribute, representation matters. From the unapologetically confident Jocelyn, played by Lauren Spencer, in Hulu’s Sex Lives of College Girls, to the physical skill of Alaqua Cox’s Echo from Marvel’s Hawkeye, disabled characters on screen are slowly shifting away from being labelled as their disability and appreciated more for their contribution to the overall narrative.

Whilst there is evidently still a long journey to go for disability representation, the collective efforts made across the board are a positive start. As inclusion and diversity moves beyond a simple tick box in the processes of production, and becomes more of an integrated norm, the create possibilities are endless.

With programming expanding alongside new stories being told, production spaces opening to new voices and programmes being brought on to teach an eager to learn industry, the future of disability inclusivity is promising.