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We have committed to investing at least £80m per year of our existing television and radio budget in content meeting specified criteria. This financial commitment ensures we are looking for, developing and choosing programmes that represent all audiences across the UK as well as accelerating the pace of change on diversity and inclusion across the sector as a whole.

To qualify programmes must meet two of three specific criteria outlined below. Additionally, to ensure we commission authentic content and continue to grow representation across industry leadership roles we have a particular focus on commissioning programmes where landmark diverse portrayal (storyline/subject matter) on-screen is aligned with diverse representation in the senior production and / or company leadership.

Our commitment is a floor not a ceiling – and are always looking to increase opportunities for diverse-led companies and talent across our whole slate.

Our criteria:

Programmes must meet two of the following criteria to count towards the commitment:

1. Diverse stories and portrayal on-screen

2. Diverse production leadership

3. Diverse company leadership

Each criteria is underpinned by detailed definitions which are set out below: 

1. Diverse stories and portrayal on-screen

Representing all audiences around the UK

On screen representation includes all protected characteristics: age, disability, gender reassignment, marriage/civil partnership, pregnancy and maternity, race, religion or belief, sex, sexual orientation. We also include social class. Find out more about protected characteristics on the .

Within this criteria, a programme must comply with at least two of the following on-screen measures to be considered as diverse:

a. Landmark portrayal

Has an underrepresented storyline or subject matter front and centre of the content and narrative.

Examples of landmark portrayal include Dinosaur, Blue Lights, Dreaming Whilst Black, We Might Regret This, Better off Dead?, Big Zuu Goes to Mecca, Inside Our Autistic Minds, Dog Squad, I Kissed a Boy, A Kind of Spark, The Caribbean with Andi and Miquita, Inseparable Sisters, and Rose Ayling-Ellis: Signs for Change.

Landmark portrayal titles where strong on-screen storytelling is aligned with representation in senior production and company leadership roles are a particular commissioning focus for us. 

b. Incidental portrayal

Includes diverse representation, where it is relevant to that particular story, character or contributor. Incidental portrayal means there is no direct comment on that characteristic, the character or contributor just ‘happens to be’ from an underrepresented background or characteristic. For instance a disabled contributor in a cookery competition or a gay character in a continuing drama. Examples include Strictly Come Dancing, Gladiators, The Traitors, Blue Peter, This Is Going to Hurt, Malory Towers, Ambulance, Between the Covers, DIY SOS, Dodger, ³ÉÈË¿ìÊÖs Under the Hammer, Rip Off Britain, Sort Your Life Out, Jamie Johnson, River City, Boot Dreams: Now or Never and Glow Up: Britain's Next Make-Up Star.

c. Diverse on-screen talent

The talent most regularly associated with the programme or series are from underrepresented groups. For scripted programmes this means two or more of the main/regular actors. For unscripted programmes, one or more of the regular talent must be from an underrepresented group. Examples include Man Like Mobeen, Juice, Granite Harbour, Boiling Point, Champion, Ranger Hamza’s Eco Quest, Mastermind, Blue Peter, Jerk, Ghosts and Doctor Who.

2. Diverse production leadership

Senior off-screen decision makers involved in shaping and making the programme

To qualify against this criteria at least two individuals in senior decision-making roles on the production must be from one of three underrepresented groups:

• Black, Asian or minority ethnic
• Deaf, disabled and/or neurodivergent
• Working class

We now expect all the production teams we work with to be at least 25% diverse, and you can find out more about this target on the diverse production teams page, so to qualify in this category we focus only on the senior creative roles within the production.

For scripted programmes the following roles qualify as senior creative decision makers:

• Executive producer
• Director
• Writer
• Script editor
• Story producer
• Line producer
• Head of development

For unscripted programmes the following roles qualify as senior creative decision makers:

• Executive producer
• Series producer
• Head of development
• Production executive
• Line producer
• Production manager
• Director
• Producer

We appreciate that some productions have bespoke roles such as lead writers or casting producers who may make key decisions, and so there can be some flexibility around which roles can be counted. This will need to be agreed as part of the formal discussion between the commissioner and the producer ahead of the programme being commissioned.

3. Diverse company leadership

Senior roles involved in shaping creative or operational strategy within the production company

To qualify as a diverse led company at least two individuals in leadership roles must be from one of the following three underrepresented groups:

• Black, Asian or minority ethnic
• Deaf, disabled and/or neurodivergent
• Working class

Individuals must have been in their role for a minimum of six months.

These roles are:

• Managing director
• Creative director
• Director of production
• Executive producer
• Head of development

Please note, for smaller companies who have fewer than three of the listed roles, a target of 50% will apply. For co-production partnerships, the criteria for diverse-leadership will be applied to the production company who owns the intellectual property.

Both the criteria and the definitions were initially established in consultation with the in 2020, and have been welcomed by Ofcom. They enable complete transparency of ³ÉÈË¿ìÊÖ expectations on commissions that will make a significant contribution to diversity and inclusion.

How we will decide and monitor if a commission meets our criteria

Our commissioning teams will decide whether a commission falls into any of the three categories, supported by the ³ÉÈË¿ìÊÖ Creative Diversity Unit.

We have created opportunities for production companies to flag if they meet any of the three criteria throughout the commissioning process, via the company leadership questionnaire, the commissioning specification, and the production progress reports.

To ensure we are meeting our commitment we will monitor our slate on an annual basis and adjust our strategy if we are falling short. We will report our progress every year.

We will always commission programmes based on the strength of the idea, and its appeal to our audiences. If an idea doesn’t meet these criteria, there are other opportunities for it to be commissioned elsewhere on the slate if it meets our strategy.

The definitions allow for complete transparency of ³ÉÈË¿ìÊÖ expectations on commissions that will make a significant contribution to diversity and inclusion.

Company leadership questionnaire

To help us determine if a company has diverse leadership (criteria three) and to provide greater visibility of representation across the industry we ask all our suppliers to complete a company leadership questionnaire. This is completed within the admin area of the PiCoS submission system. The questionnaire can be resubmitted if the company leadership changes between pitching an idea and its commission. Find out more about accessing PiCoS.

Commissioning specification, progress report and end of production report

Information included in the commissioning specification along with the progress report allows us to record whether a programme has diverse production leadership (criteria two). Additionally, producers are asked to report on the diversity of their production leadership roles within the end production report.

The end of production report, progress report and sample commissioning specification can be accessed via the Production and delivery website.

Underrepresented groups: the definitions

The definitions for the three underrepresented groups are as follows:

People from Black, Asian or minority ethnic backgrounds

Defined as:

• Black/African/Caribbean/Black British. Selection: Black African, Black British, Black Other, Black Caribbean, Other Black background
• Asian/Asian British. Selection: Asian British, Bangladeshi, Chinese, Indian, Other Asian background, Pakistani
• Mixed/Multiple Ethnic Groups. Selection: Mixed Ethnicity
• Other Ethnic Group. Selection: Middle/Near Eastern/Arab, any other Ethnic Group

People who are deaf, disabled and/or neurodivergent

Defined as:

• Under the Equality Act 2010 a person is disabled if they have a physical or mental impairment that has a ‘substantial’ and ‘long-term’ negative effect on their ability to do normal daily activities.
• A person may not identify as disabled but as deaf and/or neurodivergent.

People from low-income backgrounds – to achieve socio-economic diversity (SED)

We use ‘parental occupation’ as the key factor to determine this group ie anyone whose parents were in ‘routine and manual occupations’ at the age of 14. For example:

• Semi-routine manual and service occupations such as: postal worker, machine operative, security guard, caretaker, farm worker, catering assistant, sales assistant.
• Routine manual and service occupations such as: HGV driver, cleaner, porter, packer, labourer, waiter/waitress, bar staff.

As members of the TV Access Project, we are working with other broadcasters, streamers and industry organisations to ensure consistency of definitions for people who are deaf, disabled and/or neurodivergent. We appreciate that socio-economic diversity is not as established an industry standard as ethnicity and disability – and we are working with other Broadcasters, The Creative Diversity Network and Pact to improve the consistency of definitions, monitoring protocols and reporting through Diamond. In the meantime, we will work with producers to make positive progress, and you can find useful resources to help in the sections below.

Support for new diverse-led companies

We will hold an open event for production companies that don’t have a current relationship with the ³ÉÈË¿ìÊÖ. For those with exciting ideas that meet our strategy we will introduce them to commissioners to discuss their ideas further, and where we think a company is of particular interest we will give them a commissioning mentor and/or support them through the small indie fund.

Resources to help companies

The ³ÉÈË¿ìÊÖ Creative Diversity team are available to provide guidance and identify potential opportunities for productions in terms of talent.

Please note the ³ÉÈË¿ìÊÖ is not responsible for the content of external websites.