Inclusive Media: Accessibility in TV and Film with Ade Rawcliffe and Bella Roberts

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Our key takeaways

1. Accessibility is cultural, not just procedural

Ade stressed that accessibility extends beyond processes like captioning or HR policies. It’s about the established workplace culture. ITV uses tools like Accessibility Passports and leadership education to normalise adjustments and encourage openness. 

“I do think there’s something more than just the processes; it’s about the people and how the people implement those processes, because sometimes the process is not enough, sometimes it’s about how people interact, and what they are willing to share.” – Ade Rawcliffe

2. Collaboration among competitors accelerates progress

Thanks to efforts like the TV Access Project, UK broadcasters work together to improve accessibility, even though they are competing for viewers. Ade also encouraged other industries to come together and create similar shared models that can lead to positive, sector-wide changes through teamwork.

“When we’re making television programmes, of course, we’re in competition with Netflix, which Bella worked for, and the BBC; we’re in competition with them. But when it comes to trying to change the world around accessibility, we often work together and learn from each other. We have something called the TV Access Project, something across broadcasters. So I would say to people who aren’t in broadcasting or television, think about how you can work with other people in your sector, because I think we’re stronger together.” – Ade Rawcliffe

3. Disabled leadership is essential

Representation isn’t just about hiring; Ade emphasised the importance of retention, promotion, and leadership opportunities for Disabled individuals. She highlighted ITV’s leadership programme for Deaf, Disabled, and Neurodivergent employees, which has had a positive influence on senior management.

“[The leadership programme] had an impact on the senior leadership team, because they were all being sponsored by someone on the ExCo or PLC Board. And just learning about how you have people with different needs coming together and making a space accessible for everybody. When you see that in micro, you think, how do we scale that up so all our meetings and everything we do runs like that.” – Ade Rawcliffe

4. Authentic narratives require Disabled people behind the camera

Bella highlighted that genuine representation isn’t just about featuring Disabled characters; it’s really important to have Disabled individuals in production and post-production roles too. She mentioned that without Disabled editors, writers, or crew members, stories might end up leaning on stereotypes rather than offering real, authentic perspectives. Bella’s own journey started through a BBC access scheme, which she believes should be expanded and adapted – perhaps by making it easier to skip the physically demanding entry roles like ‘Runner.’

“Why not have schemes that could bypass the runner stage and go straight into assisting, because we need assistants. And I think that’s already a barrier in place for Disabled people, especially people who are physically disabled, to even get into the industry, when it’s so drilled into you that you need to be a runner and make coffee and tea. What do we do with people who struggle physically to be able to do that? And how can we make it better? For me personally, I would love more schemes in place that would skip the runner stage and go straight into assisting.” – Bella Roberts

5. Social media as both a career tool and an advocacy platform

Bella’s TikTok and Instagram presence have effectively helped her connect with opportunities, while also sharing honest insights about working in post-production as a Disabled person. Her sincere openness challenges “inspiration porn” and sets realistic expectations for those considering entering the industry.

“It wasn’t always my intention to come into content and be that voice in the Disabled community, but it just so happened to be. I love making content; it’s given me a lot of opportunities. And I think authenticity is so important. For me, I like to be real on social media, because why lie and say it’s easy, and everyone can get in, because it creates false hope for students coming in.” – Bella Roberts

6. Access Coordinators are vital but underused in post-production

While Access Coordinators are becoming more common in production, Bella mentioned she has never seen one in post-production, which is often an afterthought. She believes having people in this role could really make a positive difference for editors and other post-production staff by improving accessibility and allowing more people to participate in these jobs. 

To find out more about Access Coordinators:

• TripleC
• Screen Skills
• Royal Television Society