Fyffe’s thoughts on the Edinburgh TV Festival
Attending the Edinburgh TV Festival 2024 was an enriching experience, offering a mix of learning, reflection, and connection. This year’s festival tackled critical issues in the television industry, particularly around classicism and accessibility, which shaped much of the conversation. The disparities were evident, especially for those from underrepresented backgrounds.
One theme that stood out was classicism. The gap between those with wealth and connections and those, like myself, navigating the industry without those advantages was stark. The cost of attending festivals like Edinburgh’s can be prohibitive, making it inaccessible to many emerging talents. However, discussions about dismantling these barriers were encouraging, with increasing recognition that the industry must be more inclusive and diverse to thrive.
Chris Curtis’s talk on the economic challenges in the industry was especially insightful. He laid bare the divide between well-funded companies and those struggling due to closures, exacerbating class inequalities. His insights underscored the need for reforms to support emerging creatives, making the industry more equitable and accessible to all.
Another key takeaway was the growing solidarity among global majority creatives. Meeting like-minded individuals who share similar struggles and aspirations was incredibly empowering. Being part of a ‘tribe’ of creatives from diverse backgrounds emphasised the need for spaces where underrepresented voices can flourish. These interactions reinforced the importance of building networks of support and ensuring that diverse creatives have opportunities to thrive.
Reconnecting with commissioners and meeting producers I’ve long admired was another highlight. Relationships in this industry are critical to success. Television is about storytelling, and the right connections can make all the difference. The festival reminded me of the importance of nurturing these relationships and ensuring we uplift one another within our networks.
The wealth gap within the industry was also a central issue. The rising costs of attending festivals like Edinburgh’s create significant barriers for many. It led me to consider how the industry could better support emerging talent, perhaps through scholarships, bursaries, or virtual participation options. These measures could ensure financial constraints don’t prevent brilliant voices from shaping the industry.
James Graham and Fatima Salaria’s discussions on the industry’s responsibility to foster inclusivity and diversity were equally impactful. They spoke about the need to address systemic issues to make real progress, emphasising that diversity must be reflected not just on screen but in decision-making rooms as well. Edinburgh plays a pivotal role in advancing these conversations. The city’s long-standing commitment to the television industry and its ability to gather influential figures makes it an ideal hub for driving change. Moving forward, I hope the festival leads in creating more inclusive, accessible events to shape a diverse future for television.
