Variety’s 2021 Inclusion Impact Report

Author, “Uncomfortable Conversations With a Black Man”

Building on his YouTube interview series of the same name, Acho, a former NFL linebacker, literally wrote the book on the entertainment industry’s commitment to inclusion and diver- sity with his November bestseller “Uncomfort- able Conversations With a Black Man.” Filled with honest reflections and actionable conclu- sions, his work makes sure that intention and actions align to create a community whose members can understand one another. “If everyone in your circle of friends looks like you, then you’re not doing a good enough job taking responsibility upon yourself as diversifying your life,” Acho says. “Each individual has to mandate integration and diversity in their own lives.”

Agyemang: Senior Artist Campaign Manager, Platoon
Thomas: Senior Director of Marketing, Atlantic Records

On June 2, 2020, two friends and industry colleagues, exasperated by reports of police abuse and racial injustice, turned a shared day off for healing into a convocation for revolution: #TheShowMustBePaused, a black square on social media — shared more than 700,000 times — calling out the music industry for its historic profit from Black artists while reinforcing systemic biases. Discussion groups with invitees from the Black music community led to conversations and corporate task forces to address diversity, inclusion and equity issues and, eventually, millions of dollars in donations in sup- port of racial justice.

Actors, “Sound of Metal”

Ahmed, who starred in Oscar-winning “Sound of Metal,” about a rock drummer coming to terms with his deafness, told Variety in an earlier interview that he went on a journey of learning that he hopes the industry and audience members alike will experience. More recently, he launched a multi-layered initiative for better representation of Muslims in media. Raised by two deaf parents, co-star Raci learned American Sign Language before speaking English. The actor is also a certified court sign language interpreter who strives to break down the misconceptions of the deaf community. “When you do not provide access to a venue, be it sign language interpreters, or visual aids, or wheelchair ramps, you are practicing exclusivity. Period,” Raci told Variety.

Founder, Chairman and CEO, Entertainment Studios

With the Black Owned Media Matters movement, Allen started doing webinars over a year ago to make the industry focus on the systemic racism in the advertising industry. With too little of the billions of dollars every year committed to media going to Black-owned media, he asked ad agencies for 5% to 10% of that money, amounting to as much as $25 billion a year. “It’s not a black and a white issue. It’s always been a green issue,” Allen says. “We must achieve the four Es: A great education, equal justice, economic inclusion and environmental protection for everyone.”

Exec VP, Feature Film, Village Roadshow

Despite the financial footholds lost during the pandemic, Village Roadshow wrapped shooting on the first tentpole film directed by a trans person, “Matrix 4,” and continued to support an incubator program in partnership with Loyola Marymount University focusing on diverse and underrepresented talent and stories. Unprecedented access to talent and resources made the program a proof of concept for similar initiatives with new partners across a variety of platforms. Apfelbaum says, “Village Roadshow Pictures has an inclusive standpoint when it comes to identifying and developing projects and that includes amplifying emerging BIPOC voices in filmmaking — including writers, directors, actors, cinematographers and musicians.”

Founder and CEO, Culture Collective

Working as a music executive at Red Light Management, Azu had a seat at the table. But when he noticed not enough of his colleagues looked like him, he decided to leave and start Culture Collective, a management firm with diversity and inclusion ingrained in its mission. At Culture Collective, Azu helps develop trailblazing artists, including Cory Henry and Emily King, while emphasizing diversity in leadership. In February, Azu launched Diversity in Music, an online directory that connects hiring managers with executives of color and women, and on June 14, Azu announced Coalition of Festival Producers, a cohort designed to educate current festival producers and promote diverse leadership in live music events.

Writer, Producer, Actor “I May Destroy You”

With “I May Destroy You,” Coel turned the story of her sexual assault into a deep exploration of trauma, resilience and catharsis, all within the framework of a comedy. Coel reinforced her unique voice as she works to bring viewers into the world as she’s experienced it, similar to her earlier project “Chewing Gum.” “I feel very lucky to be able to make the kind of work that I make to stimulate myself and, in turn, hopefully stimulate other people,” Coel says. Her first book, “Misfits: A Personal Manifesto,” is set to debut in September, while the BBC also teased a new collaboration.

Host, Executive Producer, “RuPaul’s Drag Race”

Considered the most commercially successful drag queen in the United States and quite possibly the most famous in the world, RuPaul has spent decades elevating and amplifying positive queer representation of queens from all backgrounds through the art of drag, and is tireless in his advocacy for more representation in mainstream media for individuals without a voice. Despite the challenges of producing Season 13 of “RuPaul’s Drag Race” mid-pandemic, the host and executive producer welcomed another diverse and fierce cast, including the series’ first trans male contestant, as he competed against queens of African American, Mexican and Scottish descent.

Cheng: COO & Co-Head of Television, Amazon Studios
Sanders: Co-Head of Television, Amazon Studios

Working with studio head Jen Salke, Cheng and Sanders spent 2020 bringing more storytellers to the Amazon Studios fold than ever, releasing and putting into production a number of Amazon Originals from Tracy Oliver, Gloria Calderón Kellett, Jason Katims, Jenny Han and others that celebrate and elevate stories from and about underrepresented communities, reflecting their humanity and diversity. “Material progress can only be made with intention and with decision-makers,” Cheng says. “We have a responsibility to drive equity in having a seat at the table.” Adds Sanders: “It’s about being intentional about inclusive, representative storytelling.”

Producers, Field/House Prods.

#MeToo movement founder Burke and communications strategist Marcano have long collaborated on narrative work for racial justice. “We felt there’s a gap in nuanced stories featuring characters of color from marginalized communities that are full and complex,” says Marcano. Partnering with CBS Studios, the duo’s Field/House Prods. will develop scripted, unscripted and documentary television and streaming content. Marcano, who’s producing an HBO civil rights docuseries, is interested in “queer, trans characters of color” and “fresh ensemble comedies and dramas that show- case the diversity of everyday life.” Following her anthology on the Black experience, Burke’s memoir “Unbound” publishes in September. In February, #MeToo helped launched We, as Ourselves for Black survivors. “We want to bring the work we’ve done in the field into the mainstream,” Burke says.

Senior VP, Diversity & Inclusion and Multicultural Strategy, Hasbro

To Bouyer, diversity and inclusion is about more than just giving people money and representation. As senior vice president of diversity and inclusion & multi-cultural strategies at Hasbro, Bouyer works at building community. A firm believer in hiring people for capability rather than experience, Bouyer’s goal is to lend people skills and equip them for the workforce. Bouyer’s work includes increasing diversity both inside Hasbro’s boardrooms and driving inclusive storytelling in Hasbro’s brands. “Diversity is a force for good and a force for growth,” Bouyer says. “The more we start to recognize it that way, the more empowered people will be.”

Exec Producers, “Bridgerton”

“Bridgerton” became Netflix’s biggest series ever within a month of hitting the streamer last Christmas. Already renewed for Seasons 3 and 4, the Regency-era tale is Shondaland’s first project as part of its deal with Netflix. Filled to the brim with hot-and-cold romances and drama, the series also notably included Black characters in its portrayal of high-class London (not to mention orchestral renditions of pop’s biggest hits). “What we attempted to do in a lot of different ways with this show was to make sure that there were enough modern elements that a modern audience can relate to, but that it still felt organically like the escapist world of Regency England,” Beers says.

Chairman, NBCU News Group

Nearly a year ago, NBCUniversal News Group launched the 50 Percent Challenge, an ambitious goal for its workforce to be 50% women and 50% people of color, in concert with a new race, equality and justice editorial unit to build a stronger, more inclusive news organization. Additionally, under Conde’s leadership, NBCU presented the first-ever bilingual collaboration between NBC News and Noticias Telemundo, and launched NBCU Academy, a multiplatform journalism scholarship program. “By doing our part to close the historic gaps that still separate too many people from equal opportunity, we can transform the dialogue about diversity, equity, and inclusion into sustainable action to drive long-term systemic change,” he says.

Producers, “Judas and the Black Messiah”

Becoming the first all-Black producing team to be nominated for best picture at the Oscars is an honor that’s indicative of the trailblazing spirit the two Kings, who are not related, and Coogler have exhibited throughout their respective careers. In the case of “Judas and the Black Messiah,” Coogler’s Proximity Media developed the project, with Charles D. King’s Macro media label putting up half the financing, which laid the foundation for filmmaker Shaka King to fearlessly execute his vision for Fred Hampton’s story on the way to six Oscar nods, with two wins. It’s a new wave of Black cinema and this trio is at the forefront. “I’d been wanting to make movies like this my entire career,” Shaka King says. “I just had a little bit more access to it now.”

Actor, “The United States vs. Billie Holiday”

Earlier this year, Day wowed audiences with her performance as the famed singer in Lee Daniels’ “The United States vs. Billie Holiday.” Then she made headlines at the 78th annual Golden Globes Awards ceremony as only the second Black star to win lead actress in a drama. In the press room, Day said, “The thing I take from Billie, more than anything, is the strength of a Black woman. To know that the last person who won this award was Whoopi Goldberg in ‘The Color Purple’ is so not representative of how many Black women’s stories have been told sensationally and need to be told by the amazing talented actresses who do this.” While the method acting approach she adopted made her want to quit acting, the win changed her mind. On reflection, she says, “It’s difficult to get these stories funded and to get off the ground, so I want to tell stories in movies and music.”

Exec Producer, “Deaf U”

After winning “America’s Next Top Model” on the CW in 2015, DiMarco segued from a career of modeling to acting. “I think it was quite tricky — not necessarily shifting careers because I was excited about the challenge — but I wasn’t met with a similar intrepid attitude at the time,” he says. “Deaf roles were not being written and no one seemed willing to switch characters from hearing to deaf for a new narrative.” Undeterred, he executive produced the unscripted “Deaf U” on Netflix. “For the first time, I was listened to and was part of this bigger thing, bringing my culture to the screen.” With deaf stories such as “Sound of Metal” and “Feeling Through” being told, DiMarco says, “This isn’t a trend that will fade out in a year, people want to see stories that reflect their neighbors, teachers, favorite barista, extended family, etc. As a culture, we’re not one thing, and the variety of content coming out that celebrates inclusion across the spectrum is monumental.”

President, CBS Studios/NAACP Production Partnership

Ducksworth became president of CBS Studios’ production partnership with NAACP in October, seeking to establish a presence in the Black community and create a pipeline to tell fresh and entertaining stories with strong points of view. With a slate of more than 20 projects packaged with high-level attachments already in the works, she’s now expanding her time zones to seek out distinct international voices and deliver intriguing content for global consumption. “True inclusivity is full representation,” Ducksworth says. “Continuous and renewed exposure to a full spectrum of people, places and things is critical for growth in all of us individually and collectively.”

President, Freeform and Onyx Collective

Working under the Disney umbrella, Duncan will lead Hulu’s Onyx Collective: a collection of projects from creators of color and underrepresented voices that will include projects from Ryan Coogler and Natasha Rothwell. As Freeform’s lead, she also has shows including “Good Trouble,” “The Bold Type” and “Grown-ish” under her belt. “We’re also just at the beginning of creating a more inclusive environment that will foster more creativity for more people,” Duncan says. “I think it’s just even bigger than simply the conversation around diversity and inclusion. It’s really about innovation and how are we moving the entire medium forward?”

Producer, Director, Founder, Array Now

For multihyphenate DuVernay it was not enough to direct and produce her own films and TV shows, she is also helping other voices tell their stories via distributor/arts and advocacy collective Array Now. Her advice to Hollywood’s talk of changes for better representation: “Stop talking about it and actually do something meaningful and durable.” She is following her own advice. Array recently teamed with Google for a $500,000 feature film grant. Array will also staff the project with below-the-line crew. “Inclusive storytelling is at the heart of Array’s mission and we’re proud to also provide access to Array Crew in order to further ensure that the set of the grantee’s film reflects the full array of the world around us,” she said in a statement when announcing the initiative. For herself, DuVernay has “a busy and beautiful summer” with Array’s 10th anniversary celebration, shooting “Naomi” for the CW, “Home Sweet Home” for NBC, “Cherish the Day” for OWN, along with DMZ, and “One Perfect Shot” for HBO Max, among other projects.

Hairstylist, “Coming 2 America”

Farmer’s hairstyles added to the authenticity of Amazon’s “Coming 2 America,” which drew a large audience. She looked to Afro-centric and Afro-punk aesthetics when creating the hair designs for Amazon’s “Coming 2 America.” Inspired by the traditional Amasunzu hairstyle worn by Rwanda’s Tutsis, which often indicates a certain social status among the tribe, she folded this traditional style into the characters’ hair. She also drew inspiration from Ruth E. Carter’s wardrobe designs. For Jermaine Fowler, who plays Lavelle, the royal heir to the throne and son of King Akeem (Eddie Murphy), Farmer added a regal touch. “Lavelle sports two different hairstyles,” she says. “When we first meet him, he’s got this high-top hairstyle, and then he goes to Zamunda where he has a haircut and has a long royal braid.”

Gertler: Executive Producer of “Crip Camp”
LeBrecht: Co-Director of “Crip Camp”
Newnham: Co-Director of “Crip Camp”

“Crip Camp” took the documentary world by storm after it premiered at Sundance last year. It received the Audience Award and was later nominated for an Oscar. American pop culture lore certifies Woodstock ’69 as a generation-defining moment, but this documentary finally captures that Camp Jened — just up the road — was equally as revolutionary. The summer camp for teens with disabilities fostered a sense of belonging and rebellion that would help ignite the Disability Rights Movement that fought for the successful passage of the American Disabilities Act in 1990. “This is an educated audience,” said Judy Heumann, a leading activist, at Sundance 2020. “If you don’t know, maybe you weren’t listening.”

Executive Head of Global Diversity, Equity & Inclusion, Amazon Studios

For the past 21⁄2 years, Gillespie has “been digging into our data to ensure we are telling really representative stories.” That process has given the Amazon team “an opportunity to inspect our systems and implement mechanisms that help us make better decisions,” per Gillespie. To that end, the company’s global greenlight process features a diversity, equity and inclusion assessment that examines how each project contributes to Amazon’s core mission: making content that reflects its customers.

Exec VP, Human Resources, A+E

Over the past year, Gray led A+E to “super-charge” its equity and inclusion effort with the Voices Magnified programming initiative to create content with people making positive change for the community. It also simultaneously gets more women in internal spaces with thriving executive advisory councils, multiple subcommittees and regular cultural town halls to discuss a variety of intersectional topics. “You have to make sure that all the systems and processes within your organization are set up to allow for inclusivity,” Gray says. “It’s making sure that it becomes so much part of the fabric that people don’t even think about it.”

Founder, Standing Arrow Prods.

A representative of the Oneida Indian Nation since 1975 and CEO of its enterprises since 1990, Halbritter has steered the Oneida people to a pop cultural and economic renaissance. He has created health and social welfare programs, constructed new housing and established language and cultural programs. A trustee of the Academy of Motion Pictures Arts & Sciences Museum, Halbritter is also executive producer of “Rumble: The Indians Who Rocked the World.” This year, Halbritter founded Standing Arrow Prods., a privately funded independent film and television production company that will champion the narratives of Native Americans and Indigenous peoples. His first project: adapting “The Real All Americans: The Team That Changed a Game, a People, a Nation” by award-winning sports journalist and Washington Post columnist Sally Jenkins. “Representation on the movie screen and throughout popular culture is tremendously important for marginalized communities, and especially important for young people to see images of themselves on screen,” Halbritter told Variety. “That’s the biggest single factor in my decision to launch Standing Arrow Prods.”

Director and Writer, “Reservation Dogs”

Set to debut on FX later this summer, “Reservation Dogs” is a comedy series about four Native American teens growing up on a reservation in eastern Oklahoma. The storyline came out of the friendship between Harjo and Taika Waititi, who had always been telling one another stories about “the quirky, beautiful communities that we came from,” Harjo says. “One of the byproducts of the show, I think, is that it will amplify Native voices. We’ve been really represented as stoic for so long that we finally get to shake the frost off of all of that and show people that we laugh and make them laugh, as well.”

President, Array

Jones wants to share Hollywood’s secrets. As president of Array, the independent film distribution company founded by Ava DuVernay, Jones helms Array Releasing, which has put out more than 20 films by women and people of color. Jones’ goal of making the entertainment industry more accessible is even more evident in Array Crew, a hiring platform connecting women and POC staffers with studio executives, and Array Creative Campus, where independent filmmakers can hone their craft and build community. Above all, Jones, who recently joined Peabody’s board of directors, emphasizes the importance of letting people tell their own stories and shape the industry so that no one enters a room and feels alone.

Exec VP of Inclusion — Talent & Content, Film, TV & Streaming, NBCUniversal

Jones-Clark’s enthusiasm for her professional calling is palpable, and in a way, the rest of the world has caught up to what NBCU has been doing with diversity and inclusion for 20 years. Jones-Clark started out in the film division but now her remit includes TV and streaming. “We also get into the culture within NBC Universal, because we really believe that if you’re truly building an inclusive culture where all voices and perspectives are embraced, that’s going to inform our content,” she says. “So where we may be looking at writers and directors, we also are tapping into composers, we’re looking now to expand to below the line and what are we doing with talent in front of the camera as well.” Jones-Clark and her team of 20 look at leadership and aim to “demystify” the biz for fresh talent outside the L.A.-NYC bubble. Notable talent that has emerged from the NBCU pipeline includes composer Amie Doherty (“Spirit Untamed”), writer Leon Hendrix III (“Cointelpro” for Peacock), showrunner Jenny Hagel (“The Amber Ruffin Show”) and director Katie Locke O’Brien (“Kenan”). “And even though I’ve been working in this space for 15 years, I am so excited with the talent wins,” says Jones-Clark.

Actor, “Judas and the Black Messiah”

In April, Kaluuya won the Oscar for supporting actor for his portrayal of Fred Hampton in “Judas and the Black Messiah,” embodying the former Black Panther party leader, who was assassinated in 1969 at only 21 years old. “How blessed we are that we lived in a lifetime where he existed,” Kaluuya said onstage at the ceremony, after thanking Hampton’s widow, Mama Akua, and son Fred Hampton Jr. for their support. Next, Kaluuya is set to reunite with Jordan Peele for a top-secret film, after the pair earned four Oscar nominations (and an original screenplay win) for 2017’s “Get Out.”

Kessel: Exec VP, Narrative Film, Participant Media
McLaren: Exec VP, Narrative Film, Participant Media
Weyermann: Chief Content Officer, Participant Media

Weyermann is responsible for Participant’s documentary, feature film and TV slate, and oversaw production of docs “Final Account” and “My Name Is Pauli Murray,” as well as recent Oscar-winner “American Factory” and double-nominee “Collective.” “People are suffering, even dying, because we don’t see each other as human beings,” she says. McLaren co-heads the busy development and production arm of narrative film for Participant, having spearheaded the Oscar-winner “Judas and the Black Messiah,” as well as recently announced projects “Shirley,” starring Regina King and directed by John Ridley, and “Sea Fog,” produced by Bong Joon Ho. “The first project I championed at Participant was ‘Judas and the Black Messiah.’ Films like this are crucial to cinema,” McLaren says. Kessel has overseen such recent films as “Stillwater,” starring Matt Damon, from director Tom McCarthy, as well as the upcoming “White Bird: A Wonder Story,” the follow-up to “Wonder,” which Kessel executive produced. He’s currently in development on a variety of upcoming films, including “Silver Seas,” from director Nicole Kassell. “What stories we tell, who tells them, and who we portray on screen has a major impact on the culture,” Kessel says.

EVP of Film Production, Warner Bros.

Kuykendall uses her role at Warner Bros. to mentor and hire those who inspire her.

“By having a seat at the table, I am able to advocate for people and stories that would not traditionally have a platform but that I believe are just as resonant, universal and commercial as any other story,” she says. Transformative change, says Kuykendall, has often come from the top. Therefore, she believes the industry needs more diversity in all positions of leadership that help make content successful on a global platform — including marketing, distribution, legal and physical production.

Partner, Del Shaw Moonves Tanaka Finkelstein & Lezcano

With such high-profile clients as Wise Entertainment (“East Los High”) and Daniel Krauze, showrunner on Netflix’s hit series “Luis Miguel: The Series,” entertainment attorney Lezcano is at the forefront of representing showbiz talent in the Latino space. In an industry in which “so much is about relationships formed and nepotism,” his aim is to “open the door for more people.” Lezcano, who’s been at Del Shaw for more than 20 years, cites foundation partner Nina Shaw as an inspiration. “I’m most proud of the fact that the rest of the business has caught up to our firm,” says Lezcano, who also serves as a board member of the National Hispanic Media Coalition. “Fifty percent of our attorneys are people of color, and 50% of our attorneys are women—and that was intentional from the start.”

Head of Global Inclusion Strategy, CAA

“Our work begins and ends with people, and inclusion is not a part of that, it is the business,” says Little, a PhD, scholar, author and former vice dean and diversity officer at USC Marshall School of Business. Since joining CAA last November, she’s championed inclusive hiring, a Full Story Initiative to shape more representative content and community Amplify events. Virtual town halls on anti-Blackness, civic engagement and education featured leaders and clients including U.N. ambassador Susan Rice, Time’s Up CEO Tina Tchen, BLM co-founder Patrisse Cullors, America Ferrera and Yara Shahidi. “The goal was to have a thoughtful — not only conversation — but call to action.”

Martin: Chief Diversity Officer, Sony Pictures Entertainment, Co-Chair Sony Pictures Action
Weaver: Exec VP, Global Policy and Government Affairs and Corporate Responsibility; Co-Chair, Sony Pictures Action

As co-chairs of Sony’s racial equity and inclusion initiative program, Martin and Weaver have pulled together an array of committed individuals, from executives to entry-level folks leveraging their respective experiences to devise a strategy around inclusion and diversity and come up with solutions that help the external community. “The people making important business decisions for our company and leaders within the industry are people of color and women, and there was a degree of intentionality around that,” Weaver says. “I like to look at inclusion more of like, instead of counting heads, how do we make every head count,” adds Martin. “We want to make sure that we’re really leveraging the benefits diversity can bring, and creating a platform where people feel like they have a voice.”

Co-founder, Black Theatre United

Following George Floyd’s murder, Tony winners McDonald and LaChanze sought to address the systemic racism in the country and theater community. “We gathered our friends and colleagues to see what we could do to raise our voices,” says McDonald, who founded Black Theatre United with 21 artists including Brian Stokes Mitchell, Billy Porter and Vanessa Williams. The coalition hosted sessions on activism with Sherrilyn Ifill, Viola Davis and Stacey Abrams. Currently, they’re creating mentor- ships, fighting voter suppression and ensuring that as the theater reopens, “the space we come back to is safe and anti-racist, and we do not go back to the status quo of before.”

Senior Political Strategist, ICM

Since joining ICM Politics at the start of 2020, Merriweather focused heavily on issues of racial equality, voter mobilization and education, and political engagement for ICM’s clients and employees, coordinating multiple mandatory anti-racism/anti-hate/unconscious bias and LGBTQ-plus training seminars, as well as AAPI and Juneteenth Town Halls, organized by affinity groups. “Education is the foundation for growth,” Merriweather says. “The lessons we learn from a diverse, inclusive workplace have the power to transform how we think in our communities and across our country. We start by setting real goals for numbers on diversity, practicing empathy and committing to learning from each other’s points of view to achieve winning solutions.”

McNeal: SVP, Creative Talent Development & Inclusion, Walt Disney Television: DMA: VP, Creative Talent Development & Inclusion, Walt Disney Television

“There was so much credentialed talent already out in the marketplace that we weren’t taking advantage of,” says McNeal, a former development executive at The WB who joined Walt Disney Television in 2006. Since recruiting DMA — a strategic consultant, entertainment executive and tech entrepreneur — in 2017, the Creative Talent Development & Inclusion team has connected thousands of diverse above and below-the-line creatives with DGE executives. “We had become this very concierge service,” says DMA, who as the company expanded, employed data-driven approaches to widen their reach. Through networking events, talent programs, community partnerships, self- service technology and professional development, they’ve championed underrepresented voices. “There is this incorrect belief that there was a scarcity out there,” says DMA, “when really, working professionals were not being given the same beacon of a pipeline and access.”

President, BET

BET mobilized aid to address the disproportionate impact of COVID on the Black community, raising close to $20 million for critical needs. Additionally, the network’s Content for Change initiative utilized the power of the creative community to combat racist narratives and beliefs that perpetuate racial violence and inequality. “To ensure diversity and inclusion is not compromised when important business decisions are being made requires fortitude,” Mills says. “Generally, as we expand our interactions with a diverse array of people, we become more comfortable with our differences, and recognize our shared experiences.”

President, Animation, Nickelodeon

Animation has always been at the forefront of inclusivity, and Naito sees that as a necessary foundation of Nickelodeon. “Fifty-one percent of kids under the age of 12 years old are non-white,” she says, “and this defines our audience and underscores the importance for the culture of inclusivity.” Naito is excited about “Star Trek Prodigy,” among other Nick shows, noting that the original series “was the first time I saw an Asian-American character on screen that was not a villain.” Fostering acceptance and inclusion onscreen is also a great business model, as the kids that comprise Nick’s audience want to see them- selves reflected in their shows. “When I started at Nickelodeon, I focused on three pillars: culture, leadership and content. We built a team focused on representation in leadership. And that is key — I believe that real change in the area of inclusivity and diversity starts with leadership.”

Co-Screenwriter, “Raya and the Last Dragon”

Nguyen says he is “always writing a love letter to the 16-year-old in me who never got to see themselves in any Hollywood blockbuster.” Those are the stories he is seeking to tell through his work. His latest outing follows Raya (voiced by Kelly Marie Tran), a lone warrior who seeks the last dragon. “Raya and the Last Dragon” incorporates the cultures of Southeast Asia, a first for Disney. “I know what that hunger feels like, my passion is to cook meals for anyone who’s starving for that kind of attention,” says Nguyen, who co-wrote the screenplay with Adele Lim. “Everyone deserves to have a pop culture hero that looks like them.” Nguyen understands the importance of the script serving as a blueprint for inspiration. “It’s both my honor and my responsibility to make sure that diversity is part of the foundation of my films and not just some last-minute addition that can easily be painted over. The better my blueprint, the better it is for everyone who either gets to make or see the final product.”

Creator, Executive Producer, Co-Showrunner, “Diary of a Future President”

Shooting Season 2 of “Diary of a Future President” in the thick of a pandemic, Peña worked with her cast and crew to practice genuine empathy and compassion while telling a nuanced story about a Latino family. With a few other projects in development — some her own and some collaborations — she’s committed to supporting and empowering emerging writers to ensure they have the same opportunities she did. “I strive to create an inclusive environment that values all voices,” she says. “Knowing that every single voice is valuable doesn’t just create a generous work environment, it legitimately makes every facet of a production stronger.”

Founders, ColorCreative

When Rae and Davis founded ColorCreative in 2014, diversity and inclusion were not the hot-button topics in Hollywood that they are today. “It really started because of my and Issa’s passions to see something different,” Davis says. “We thought, ‘Why is it so hard to bring amazing creatives and talent that we knew mostly from the digital space and find a way to get into traditional mainstream opportunities?’ ” What began with funding three independent TV pilots has turned into a full-fledged management company, led by president Talitha Watkins and adjacent to Rae’s Hoorae media label. A perfect example of ColorCreative’s pipeline to success — Syreeta Singleton, who crafted one of those three pilots, is now the showrunner for Hoorae’s upcoming HBO Max series “Rap Sh*t.”

Director of Production, Picturestart

Reeves-Darby shepherds Picture Lift, Picturestart’s joint venture with Get Lifted Film Co. that seeks to identify diverse filmmakers with strong voices who have commercial and genre appeal. Recent projects include “Am I OK?” from directors Tig Notaro and Stephanie Allynne, starring Dakota Johnson, and Eli Roth-directed video-game adaptation “Borderlands,” starring Cate Blanchett and Jack Black. “It’s immoral not to have diversity and inclusion in all movies and shows. The world’s a diverse place and it’s our responsibility to reflect that by elevating voices of color that haven’t had their chance to speak and create,” says Reeves-Darby.

Exec VP, Development and Content Strategy, ABC Entertainment

Working at a “female-forward network” featuring LGBTQ and BIPOC characters in hit series such as “Modern Family” and ‘How to Get Away With Murder,” Sethi, and ABC as a whole, “are thinking a lot about intersectionality,” she says. “We’ll want to continue that tradition with a new wave of characters to tell BIPOC stories and explore the joy and truth of the human experience through a lens of race, gender, disability and sexuality. We just passed our first deadline with the inclusion standards we announced last fall. Working with our creative partners to have the most inclusive series in front of and behind the camera.”

Actor, “A Quiet Place Part II”

During the filming of 2018’s “A Quiet Place,” Simmonds contributed an invaluable level of authenticity, not just as star, director and co-screenwriter John Krasinski’s onscreen daughter, but as daily consultant for the tone of each character’s sign language. In the sequel, she assumes the lead role, expanding representation for disabled characters and actors — and paving the way for others. “This year alone we’ll have three deaf female leads in blockbuster movies,” says Simmonds, who partnered in 2020 with fashion brand Rafi Nova to design a clear COVID mask for the deaf and hard of hearing community. “I feel a big responsibility to help educate more people in this industry that it’s really no big deal to hire or work with people with disabilities,” she says.

Smith-Anoa’i: Exec VP, Entertainment Diversity & Inclusion, West Coast, ViacomCBS
Mau: SVP, Global Inclusion, ViacomCBS

As shepherds for ViacomCBS to expand access for diverse talent, Smith-Anoa’i and Mau prioritized innovation and intentionality across the entire company, with writers’ room and alternative commitments, heritage month events and more. This responsibility includes recruiting, retaining and nurturing talent from diverse backgrounds by hosting and expanding initiatives and programs that will help foster and break emerging talent into industry to elevate a sense of ownership and responsibility to create change for audiences and employees alike. “When all perspectives are brought to the table, we cultivate an inclusive environment as well as introduce new and innovative ideas,” Smith-Anoa’i says. Mau adds: “We’ll continue fighting the good fight and focus on getting into good trouble and necessary trouble, to create authentic storytelling that is representative of our ever-changing landscape.”

Senior VP and Chief Inclusion Officer, Endeavor

During her 13 years at MTV Networks, Williamson learned to ask a question that would continue to guide her public affairs work at the Raben Group and now, Endeavor: “Who should be here and is not?” Since joining in June 2019, she’s introduced employee resource groups, diversity working groups to advise business decisions and more inclusive employee engagement and recruiting practices. This year, she prioritized education. “That meant engaging in conversation around books about white fragility or anti-racism and deciding that we were moving into being an anti-racist, ally-oriented company,” she says. “This work is about having everyone understand and lead through this lens.”

Head of Good Robot, Bad Robot

Woodard leads with the belief Good Robot, Bad Robot will be most successful if all team members feel safe and empowered. This starts with the Bad Robot Rule, which makes recruiting in proportion to the U.S. population an intentional practice, and in the summer of 2020, Bad Robot announced a $10 million commitment over the next five years to organizations and efforts committed anti-racist agendas. “True inclusivity and diversity is doing the hard work to dismantle the systems and structures designed to exclude people of color,” Woodard says. “We must continue to find ways to recognize our common humanity.”

Author, “Interior Chinatown”

In the ’90s and early ’00s, L.A. native Yu saw little Asian representation on police procedurals and hospital dramas. “That invisibility, it struck me as this weird parallel dimension,” says Yu. “What are these hospitals where there are no Asian doctors whatsoever?” Written as a teleplay, his National Book Award-winning novel “Interior Chinatown” examines stereotypical Asian-American roles on a “Law & Order” inspired show. Yu recently created student writing prizes with TaiwaneseAmerican.org, and the “Westworld” and “Legion” writer is adapting his novel for Hulu. “Someone like Willis who’s usually relegated to the background, I really wanted to share the perspective from his eyes.”

Partner & Chief People Officer, UTA

Not only does Zetrenne lead UTA’s global human resource ops, he also drives the agency’s diversity, equality and inclusion commitments, bringing years of experience from ad giant Ogilvy North America. Zetrenne has also formed a partnership with Icon Mann, an organization committed to positively transforming the dialogue and imaging of Black men within the African diaspora through content and community engagement, and works with the Alvin Ailey Theater. “I’ve always believed in order to drive things forward, my role is to help colleagues stay connected to the ‘why’ we are doing something, which energizes them into action.”

Director, “Nomadland”

Oscar-winning director Zhao leaped from “Nomadland” to Marvel’s “Eternals,” for which she is now in post-production. The adaptation of Jack Kirby’s comic book features an ensemble cast that includes Gemma Chan, Salma Hayak, Kumail Nanjiani and Angelina Jolie. Only the second woman to win the Oscar for director and the first Asian woman, she told Variety’s Kate Aurthur: “The one thing that I learned really early on is that you’ve got to surround yourself with the right people. Because you can’t change how people think — you can’t control how they’re going to think, how they’re going to behave. But what you can do is make sure the people that are around you not only protect you but want to be with you because of who you are as an individual.”