DRIVERS OF SATISFACTION/

DISSATISFACTION WITH CONTENT AND CONTENT CREATION

Black, Indigenous and People of Colour EyeJournal participants offered insights that elaborate on the survey findings regarding satisfaction with diversity in entertainment content and content creation.

EyeJournal participants across all groups acknowledged the genuine efforts they have observed in recent years to improve diversity and representation in entertainment content, and agreed that some positive change has occurred. At the same time, participants emphasized the insufficiency of those changes, citing the inauthentic expressions of diversity and representation in media that remain common.

Several participants questioned the sincerity of the efforts publicized by various media organizations as virtue-signaling (i.e., striving for political correctness) versus a deep belief in the need for change. Such motivations come across as forced and even condescending to Black, Indigenous and People of Colour audiences.

I think we’re heading in the right direction but are consistently missing the mark. Whenever I think about this, I go back to MuchMusic, and look back at the lineup of the MuchMusic VJs. It was a super diverse cast of people, aside from not knowing where they land on the spectrum of sexuality and gender, I think they were way ahead of the curve in terms of representation. We don’t need more shows about BBQ with Black people, we don’t really need more diversity for diversity’s sake kind of line ups, but we have to start somewhere. Maybe the pendulum is on its way back and we’re about to land at a perfect middle ground, only time will tell. (Man, 25-34, Black)

Representation Black and Indigenous people and People of Colour are happy with:

    • Diverse characters occupying main roles in large-budget productions, such as the more recent development of Asian and Black Marvel Super-Heroes (Black Panther, Shang-Chi and the Legend of the Ten Rings).
    • Quality character development (i.e., characters that reflect the complexity of the human experience versus one-dimensional characters only included to be in service to other characters or to ‘check a box’).
    • Having the opportunity to see content framed from the perspectives of identities different from their own, allowing them to learn about others and to see/experience the world from different perspectives. Some participants remarked on the capacity for such content to redefine ‘otherness’ from an equity lens, rather than treating difference as a threat or judgment.
[Show] How minorities deal with their family’s cultural expectations while also balancing the cultural [sic] they were raised in outside of Canada. How multicultural relationships deal with their different cultures and even religions in a Canadian social frame. (Woman, 35-44, Middle Eastern/North African)

Strongly representative examples shared by EyeJournal participants:

    • Showcases diversity; a range of ethnicities and cultures.
    • Portrays diversity positively; not based on negative stereotypes (all genders, ethnicities, sexual orientations, relationships, body types) in strong, complex, intelligent roles; Black, Indigenous and People of Colour characters in a variety of roles, professions, etc.).
    • Characters are strong, intelligent, and powerful.
    • Storylines send a positive message and take on difficult topics with respect and dignity.

TV
Grey’s Anatomy, Modern Family, The Rookie, Mr And Mrs Chinnathirai, Euphoria, Blackish, This is Us, Never Have I Ever

Film
Moana, Hidden Figures, Coco, Crazy Rich Asians, Waves, Black Panther, Shang-Chi: The Legend of the Ten Rings

What Black, Indigenous and People of Colour audiences are unhappy with:

    • Inauthentic expressions of race and cultural background, such as the use of white actors to play characters of colour (e.g., Emma Stone in Aloha representing a Hawaiian; Tilda Swinton in Doctor Strange representing an Asian character).
    • Characters that promote negative stereotypes.
    • Lack of character development.
    • The tokenization of racialized characters (checking a box, presenting characters as a composite of stereotypes).
    • Narrow, negative, repeating storylines that tell a single kind of story about a race or culture.
When it forces diversity into the cast where you start to think that the characters were hired based on the colour of their skin rather than talent and makes you appreciate less of the talent of the person acting. (Man, 18-24, Person of Colour)

Less representative examples shared by EyeJournal participants:

    • Do not celebrate inclusion or diversity.
    • Focus on/promote White culture (even when set in a diverse city like NYC).
    • White people are portrayed as ‘superior’ and ‘elite’ (wealthier, smarter).
    • Rebooting past content with Black, Indigenous and People of Colour characters inauthentically (participants would prefer NEW content and stories).
    • Include but misuse ethnic representation. Highlight stereotypical characters and storylines.

TV
The 100, Sex Education, Kim’s Convenience, Glee, 90 Day Fiancée, Superstore

Film
Hustlers, Cobra Kai, American Pie, Twilight, Daredevil

It reflects that People of Colour don’t have the means to amass wealth. That you have to look a certain way to achieve or gain opportunities. That the beauty standards are measured against one group and when they did infuse one Person of Colour on the show, she is so close to white (likely of mixed race) in her features, hair, etc. that she could probably pass for a white person of maybe Spanish, Italian, Portuguese origin. Again, painting the ugly picture that darker/Black/Person of Colour is not ‘beautiful/glamorous’. This can be damaging to the young, vulnerable, little girl trying to find where she fits in this society. (Woman, 45-54, Black, Referring to the television series, “All American”.)

The least representative examples shared by EyeJournal participants:

    • Overt stereotyping and racism.
    • Deplorable and irresponsible content.
    • Whitewashing storylines.
    • Race-baiting.
    • False ‘reality’ TV.
    • Forced/inappropriate humour.
    • Forced inclusiveness – checking boxes/tokenism.

TV
Family Guy, The Simpsons, South Park, Real Housewives, Ozark, The Grand Tour, You

Film
Me Before You, The Meg, Lady & The Tramp (Siamese cats), Peter Pan (Indian Chief)

WHAT MATTERS MOST TO BLACK, INDIGENOUS AND PEOPLE OF COLOUR AUDIENCES?

 
    • Broad representation of different races, cultures, and intersectional identities (e.g., 2SLGBTQIA+, Disability, Gender).
    • Authentic portrayal of diverse characters and storylines.
    • Complex, well-developed narratives that reflect the whole human experience from the perspective of Black, Indigenous and People of Colour characters.
    • Content written and directed by Black, Indigenous and People of Colour creatives. This is true for all content and is non-negotiable when the material centres the perspective/experience of a character who identifies as Black, Indigenous or a Person of Colour.
    • The educational power of screen media and its role in introducing a broad cultural landscape to viewers. Participants noted the responsibility of Canadian media in authentically representing that landscape.
    • The availability of strong, authentic role models for children that share their race and/or cultural background – a particularly urgent priority for Black audience participants.

WHAT’S GETTING IN THE WAY?

Black, Indigenous and People of Colour EyeJournal participants were invited to share their observations about the factors currently limiting improvements in diverse representation and inclusion in media today.

Recognizing that what is onscreen is an outcome, participants’ explanations clearly outlined the relationships between who is making decisions and how and what is driving those choices. Overall, participants consistently pointed to sector biases and processes that slow the process of systemic change.

I suspect it’s a reflection on who sits at the top table of the networks. If we were talking about a mid-western city, rural franchise, perhaps this could be the norm, but most definitely not in New York City. Examine reality for what it really is and not for one’s perceived notion of reality…also to recognize that your viewers are diverse. (Woman, 45-54, Black)
    • Media companies view diversity as a promotional/PR tactic, rather than a true need for change.
I think too often people are portrayed as characters based on their stereotypes… I don’t like this… also, in some shows, it’s as though they will add someone in who is other than the majority of the other characters and they are clearly there as a token of diversity… (Woman, 35-44, Indigenous)
    • Lack of funding supporting diverse content – limiting the number of projects undertaken and reducing the quality of those productions.
    • Unwillingness on the part of producers to pursue diverse stories/productions.
    • Narratives about ‘pleasing the masses’ that are based on assumptions about what the masses do/do not want, justified as business decisions.
      • Here, the observations of EyeJournal participants underscore how the absence of data on the viewing preferences of Black, Indigenous, and People of Colour audiences drive assumptions that do not represent the total Canadian population.
    • Lack of Black and Indigenous people and People of Colour writers and authentic stories written by and about historically underrepresented groups.
Oftentimes in the film industry, the writers are generally the same. Maybe if there was a more diverse group of writers, there would be fewer stereotypes in the movies. (Man, 45-54, Black-European)
    • Lack of Black and Indigenous people and People of Colour in decision-making and creative roles leads to a mishandling of ethnicity, and of diversity and representation overall.
    • Lack of ‘seeing’ diverse actors/characters on screen. Participants noted a cycle of “you see, you get adapted, you want to see more”.
Unfortunately, I still feel that (the) media lacks diversity and tries to shoehorn individuals into roles that they do not represent. For example, multiple shows have various Asian descents (such as Chinese, Japanese, Korean) represented by the same set of actors who themselves do not belong to any of these backgrounds (Man, 25-34, Person of Colour)