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DGA's Grim Stats on Director Diversity in Television: 'Our Industry Has to Do Better'

Thompson on Hollywood By Sophia Savage | Thompson on Hollywood September 27, 2012 at 4:10PM

The Directors Guild of America's findings on the diversity of directors in episodic television are grim. Included in their analysis were 3,100 episodes of over 190 scripted shows produced across network and cable channels throughout 2011-2012. After the DGA adjusted their parameters to allow more accurate statistics for this year's report, they adjusted the prior year's results.
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DGA’s “WORST OF” Lists : Following are the shows with the worst records of hiring women and minority directors for the 2011-2012 television season:

SHOWS THAT HIRED NO WOMEN AND NO MINORITY DIRECTORS:  Percentage of Episodes by Women or Minority Directors:
 
·         Chemistry (Chemistry Series/Cinemax) – 0%
·         Dallas (Horizon Scripted Television/TNT) – 0%
·         The Inbetweeners (On Site Productions/MTV) – 0%
·         Leverage (Leverage Productions/TNT) – 0%
·         Retired at 35 (King Street Productions/TV Land) – 0%
·         Supernatural (NS Pictures/CW) – 0%
·         Veep (Home Box Office/HBO) – 0%
·         Workaholics (50/50 Productions/Comedy Central) – 0%

SHOWS THAT HIRED WOMEN OR MINORITY DIRECTORS FOR FEWER THAN 15% OF EPISODES:
 
·         CSI: Crime Scene Investigation (CBS Broadcasting/CBS) – 5%
·         Hart of Dixie (Bonanza Productions/CW) – 5%
·         Nikita (NS Pictures/CW) – 5%
·         Once Upon A Time (Digital 49 Productions/ABC) – 5%
·         Boardwalk Empire (Home Box Office/HBO) – 8%
·         Justified (Woodridge Productions/FX) – 8%
·         Modern Family (Twentieth Century Fox Television/ABC) – 8%
·         The Office (Universal Network Television/NBC) – 8%
·         Supah Ninjas (Uptown Productions/Nickelodeon) – 8%
·         True Blood (Home Box Office/HBO) – 8%
·         Community (Remote Broadcasting/NBC) – 9%
·         Two Broke Girls (Bonanza Productions/CBS) – 9%
·         Fringe (Warner Bros. Television/FOX) – 10%
·         Hell on Wheels (Entertainment One Television USA/AMC) – 11%
·         The Newsroom (Home Box Office/HBO) – 11%
·         Perception (FTP Productions/TNT) – 11%
·         The Wedding Band (Terrapin Productions/TBS) – 11%
·         Castle (ABC Studios/ABC) – 13%
·         Cougar Town (FTP Productions/ABC) – 13%
·         Gossip Girl (Warner Bros. Television/CW) – 13%
·         New Girl (Twentieth Century Fox Television/FOX) – 13%
·         Rizzoli & Isles (Horizon Scripted Television/TNT) – 13%
·         Shake it Up (It’s a Laugh Productions/Disney Channel) – 13%
·         Parks & Recreation (Open 4 Business Productions/NBC) – 14%
·         Revenge (ABC Studios/ABC) – 14%
·         The Vampire Diaries (Bonanza Productions/CW) – 14%

DGA’s “BEST OF” List : At the same time, the following shows are highlighted for hiring above the industry average in the 2011-2012 production cycle:

SHOWS THAT HIRED WOMEN OR MINORITY DIRECTORS FOR AT LEAST 30% OF EPISODES:
 
·         The Game (Breakdown Productions/BET) – 100%
·         Let’s Stay Together (Breakdown Productions/BET) – 100%
·         Reed Between the Lines (Breakdown Productions/BET) – 100%
·         Single Ladies (Bling Productions/VH1) – 100%
·         Lab Rats (It’s a Laugh Productions/Disney XD) – 80%
·         Scandal (FTP Productions/ABC) – 67%
·         Suits (Open 4 Business Productions/USA) – 64%
·         Pair of Kings (It’s a Laugh Productions/Disney XD) – 62%
·         Nurse Jackie (Nurse Productions/Showtime) – 60%
·         Treme (Home Box Office/HBO) – 60%
·         Jessie (It’s a Laugh Productions/Disney Channel) – 58%
·         Drop Dead Diva (Woodridge Productions/Lifetime) – 54%
·         The Walking Dead (Stalwart Films/AMC) – 53%
·         Awkward (On Site Productions/MTV) – 50%
·         Grimm (Open 4 Business Productions/NBC) – 48%
·         The Middle (Warner Bros. Television/ABC) – 46%
·         Girls (Home Box Office/HBO) – 44%
·         90210 (CBS Broadcasting/CW) – 42%
·         Covert Affairs (Open 4 Business Productions/USA) – 43%
·         Dexter (Showtime Pictures Development Company/Showtime) – 42%
·         Don’t Trust the B---- in Apartment 23 (Twentieth Century Fox Television/ABC) – 42%
·         The Big C (Remote Broadcasting/Showtime) – 40%
·         Level Up (Alive and Kicking/Cartoon Network) – 40%
·         Suburgatory (Bonanza Productions/ABC) – 38%
·         Warehouse 13 – Universal Network Television/SyFy) – 38%
·         Boss (Boss Kane Productions/Starz!) – 38%
·         30 Rock (NBC Studios/NBC) – 36%
·         The Good Wife (CBS Broadcasting/CBS) – 36%
·         Raising Hope (Twentieth Century Fox Film Corporation/FOX) – 36%
·         Smash (NBC Studios/NBC) – 36%
·         Sons of Anarchy (Pacific 2.1 Entertainment Group/FX) – 36%
·         Austin & Ally (It’s a Laugh Productions/Disney Channel) – 33%
·         CSI: NY (CBS Broadcasting/CBS) – 33%
·         Grey’s Anatomy (ABC Studios/ABC) – 33%
·         Fairly Legal (Open 4 Business Productions/USA) – 33%
·         Body of Proof (FTP Productions/ABC) – 31%
·         Psych (Universal Network Television/USA) – 31%
·         Alphas (Open 4 Business Productions/SyFy) – 30%
·         Falling Skies (Turner North Center Productions/TNT) – 30%
·         Franklin & Bash (Woodridge Productions/TNT) – 30%
·         Torchwood: Miracle Day (Bad Wolf Productions/Starz!) – 30%

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This article is related to: Television, TV, Directors, Women in Film, News


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.