In the month since police killed George Floyd, the United States is finally reckoning in a very real way with how racial inequity is baked in to every level of society. As people take to the street…
has prided itself on cutting through the wild west of television to highlight the best and brightest the medium has to offer. But the times when TCA physically convenes for its biannual press tour always throws its largely white membership into stark relief; clueless questions about race from white reporters to exceedingly patient non-white panelists are all too expected and dismissed.
Out of 35 Program of the Year winners, only two non-white creators have ever won . The Individual Achievement in Comedy and Drama categories have only ever seen three non-white winners out of 46 overall . The Outstanding Achievement in Comedy has one of the “best” track records with 5 entire non-white wins out of 35 . For Outstanding New Program, which has honored 22 shows over all, Sam Esmail of “Mr. Robot” is the only non-white creator to win, period.
As a member of the TCA, this history of exclusion is both embarrassing and infuriating. There’s no justification for overlooking non-white producers and writers for this long, this consistently. There’s no excuse for only honoring white performers in the Drama category after Andre Braugher’s wins in the late ’90s. There’s no good reason why increasingly diverse nominations shouldn’t be resulting in increasingly diverse wins .
In the grand scheme of things, no, TCA isn’t exactly the Television Academy. But its traditionally narrow view of what “Good TV” is represents an awful failure that’s indicative of a much larger issue, namely: which shows and talent get more notice, consideration, accolades, and “mainstream” cultural capital to spend.We’re not gatekeepers, but we do have some influence, and white critics in particular should be more mindful and deliberate of how they wield it.
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