Beyond the Buzzword: Why DEI in the Creative Industries Still Matters

Above: still from Netflix's 'Top Boy'

Following Donald Trump’s re-election, the US has seen a wave of policies restricting Diversity, Equity, and Inclusion (DEI) initiatives by the government, raising concerns about the future of DEI in the US and beyond. Meanwhile, tightening budgets and shifting priorities have led many companies in the film, TV, and advertising industries to scale back or abandon their DEI commitments too.

Why it matters

The death of George Floyd in 2020 sparked international outrage and protests, drawing renewed attention to the ways racial injustice continues to play out around the world today. In response, many working in TV, film, and advertising pledged to address discrimination and injustice, rolling out initiatives and programmes designed to promote DEI in the workplace and industry.

My career in music supervision began around this time, in 2021. I was a writer and Music Business graduate working at a university, trying to figure out my next steps in the music industry. I attended a Netflix networking event for aspiring TV and film professionals. There, I met Toby Williams, a music supervisor at Leland, who was on a panel passionately speaking about music supervision. A few email exchanges later, I was encouraged to apply for the 'Top Boy' Mentorship Programme, a six-month initiative run by Leland, Netflix, and Cowboy Films, where aspiring composers and music supervisors are mentored by industry professionals.

That opportunity introduced me to Abi Leland, the company’s founder, and exceeded all my expectations. Not only did I gain paid, hands-on experience, but I also built a strong network and earned my first TV credit, which opened doors to future roles in the industry. Three years on, I am now a composer agent and music coordinator at Leland, where my sync career began. I am also paying it forward by mentoring young women entering the industry through programmes like Cat’s Mother.

Lorita Abazi, a music consultant at Audio Network, and Benjamin Kwasi Burrell, an acclaimed film and TV composer, orchestrator, and musical director for theatre, also participated in the mentorship programme. I spoke with them about their experiences and why initiatives like these are still so vital.

Learning through mentorship

Ben joined the programme through a mutual colleague and his long-standing connection with Tomorrow’s Warriors. Lorita grew up watching 'Top Boy', so the programme was an exciting opportunity. “When I heard about the programme, I knew I had to be a part of it. 'Top Boy' was something my family and friends grew up enjoying, so to have the opportunity to be a part of it was amazing” Lorita says. Five years before this, she was working in music but was unsure of her exact path. That changed when she attended a talk by Abi Leland and Toby Williams, who introduced her to the industry.

One of the most valuable aspects of the initiative was the insight it offered into the inner workings of a music supervision team and composing for film and TV. For Lorita, working closely with the Leland team offered a rare opportunity to contribute meaningfully to real projects and participate in open creative discussions. “It pushed me as a music supervisor, and it made me more confident in talking about music,” she shared. Ben echoed the value of that exposure, saying, “I saw that there is no one exact way that composers, directors, music supervisors and music editors work together.” Working on 'Top Boy' gave Ben a deeper understanding of how music teams operate within larger creative frameworks.

The programme also had a tangible impact on everyone's career development. For Lorita, having Leland on her CV proved a powerful endorsement, opening doors and leading to meaningful connections and a career in the industry. Ben, who came from a theatre background, found the programme instrumental in transitioning into screen work. It provided a pathway into film and television and helped him build relationships that extended beyond the initial placement, and he is now part of the Leland composer roster.

What does the future hold for diversity in creative industries?

Five years on from the death of George Floyd, and the diversity pledges made, the creative industries remain among the most exclusive in the UK, dominated by those from white and affluent backgrounds. Working-class people make up 23% of the national workforce but account for fewer than 1 in 10 arts workers. White people, meanwhile, are significantly overrepresented, comprising 90% of the sector.

While there has been some progress in representation, the industry is far behind where it needs to be. An analysis of 1.27 million on and off-screen contributions shows some improvement since 2019/20 for disabled people and people of colour, but these groups remain underrepresented compared to the wider workforce. In the US, ethnic diversity in advertising actually declined in 2023.

Where there is diversity in film, TV, and advertising, it is often concentrated to junior roles, with diverse representation dropping sharply among the leadership. The Guardian found that 30% of artistic directors and creative leaders were privately educated, compared to just 7% of the general population. And in a recent review of over 100 music companies, people of colour held only 16.7% of top leadership roles.

There are also notable gender disparities. While women contribute significantly to production roles, they remain underrepresented in key creative positions. Just 24% of creative directors in advertising are women, dropping to a mere 0.25% for Black women.

Without programmes like the 'Top Boy' mentorship scheme, the careers of Lorita, Ben, and myself may have looked very different. In today’s climate where DEI is either an afterthought or actively dismantled, it’s more important than ever to highlight the value of these programmes and how employers can play a role in fighting back to create a more inclusive industry. A diverse workforce is not only ethical,  it actively enriches creativity. However, schemes like these cannot survive without backing from larger organisations. With Netflix and Cowboy Films’ support, Leland was able to bring the programme to life. For small businesses to keep driving progress, corporate funding and collaboration are essential.