1、From margins to mainstream:Asians and Pacific Islanders in mediaApril 2024Improving the representation and authenticity of Asians and Pacific Islanders in film and on TV could unlock billions of dollars for the film and television industry.ContentsForeword Introduction Chapter 1The evolution of API

2、representation in media Chapter 2Examining API representation in film and television Chapter 3A multibillion-dollar opportunity for the industry and ideas for API representation Appendix:Methodology 12361522The US film and television industry has an unmatched influence on popular culture and broader

3、 attitudes.The stories it tells and the trends it sparks reverberate in every corner of the country.This report explores the representation within the industry of the Asian and Pacific Islander(API)populationboth actors on-screen and professionals in roles behind the scenes.It builds on previous McK

4、insey research examining the experiences of Black and Latino professionals in the entertainment industry,as well as on research about the representation and experience of Asian American workers.1 Our in-depth analysis finds API representation has made significant gains over the past several decades.

5、API stories on the big and small screens have become more prevalent,received critical accolades,and reached mainstream audiences.This progress is encouraging.But much work still remains before API actors and professionals catch up to their non-API peers on nearly all metrics.Industry executives shou

6、ld take note:API consumers represent one of the fastest-growing segments in the United States,and capturing their attention and imagination could generate billions of dollars in additional spending in the coming years.However,our research finds API consumers dont perceive API representation in film

7、and television to be authentic or to reflect their own stories,and this sentiment could be curbing their spending.Understanding current consumer attitudes toward film and television is a critical first step toward ensuring the industry creates work that connects more powerfully with API audiences.Th

8、e next step is taking action to close the gap in repre-sentation in the industry and tell more authentic stories.This report analyzes in granular detail where there are further oppor-tunities for the industry to continue making progress on API representation in characters and stories in film and tel

9、evision.McKinsey would like to thank Gold Housea leading not-for-profit organization that unites,invests in,and champions Asian Pacific leaderswhose contributions helped inform this report.We appreciate Gold Houses collaboration throughout the research process to introduce key stakeholders,provide i

10、nput,and support the amplification of the findings.In addition,we thank the more than 100 industry experts and leaders who provided their time through surveys and interviews during the research process,including Marya Bangee,Albert Cheng,Christina Chou,Nik Dodani,Iris Kim,Sarah Kim,Munika Lay,Angela

11、 C.Lee,Kevin Lin,Claudia Park,Krit Schmidt,Sanjay Sharma,Vinay Singh,Michelle Sugihara,Pamela Tom,Grant Torre,and Jeff Yang.We would also like to recognize our core research teamAria Ashrafzadeh,Ximena Bobadilla,Marc Brodherson,Brandon Cartagena,Alice Ding-Nelson,Brendan Gaffey,Jenny Gao,Brian Gregg

12、,Ridhima Mishra,Ravali Thimmapuram,and Isabelle Yangand our colleagues,including Alex Ahn,Nishka Ahuja,Camilo Becdach,Shannon Cheng,Sophia Choi,Dom Furlong,Floria Gu,Ruchi Gupta,Maria Gutierrez,Malika Jhamb,Adrian Kwok,Haikun Liu,Sheldon Lyn,Kasey Ma,Amita Mahajan,Thomas Meakin,Prashant Menghrajani,

13、Joanne Na,Karthik Nagappan,Tahmina Nasserie,Margret-Ann Natsis,Michael Park,Vat Patel,Holly Price,Srija Reddy,Angela Shi,Brandon Shi,Majd Steitieh,Eric Sun,Feifei Sun,Donald Takaya,Katie Tang,Tony Toussaint,Sarah Tung,Catherine Vong,Keenan Weaving,Yassi Xiong,and Ricky Zhao.Their work,dedication,and

14、 insights were pivotal to the development of this report.Our ambition is that the insights in this report support a constructive dialogue across the film and television industry.Greater progress is possible,but it requires clear intention and close coordination.ForewordKabir AhujaSenior partner New

15、YorkElaine Dang Consultant Southern CaliforniaMichael Chui Partner Bay AreaEsther Lee Consultant Seattle Joe TakaiPartnerSouthern CaliforniaJackie WongSenior expert Philadelphia 1 Jonathan Dunn,Sheldon Lyn,Nony Onyeador,and Ammanuel Zegeye,“Black representation in film and TV:The challenges and impa

16、ct of increasing diversity,”McKinsey,March 11,2021;“Latinos in Hollywood:Amplifying voices,expanding horizons,”McKinsey,March 7,2024;Michael Chui,Kweilin Ellingrud,Ishanaa Rambachan,and Jackie Wong,“Asian American workers:Diverse outcomes and hidden challenges,”McKinsey,September 7,2022.2From margin

17、s to mainstream:Asians and Pacific Islanders in mediaBy many outward measures,the Asian and Pacific Islander(API)influence on the film and television industry has never been greater.On-screen,for example,Everything Everywhere All at Once took top honors during the 2023 awards season,and Hong Chau is

18、 an ascendant star following her Oscar nomination for The Whale.Behind the camera,Chlo Zhao and Taika Waititi have both won Oscars and helmed Marvel Cinematic Universe films,putting them in the top echelon of Hollywood directors.Multihyphenates Mindy Kaling and Dwayne Johnson continue to create crit

19、ically lauded projects.Meanwhile,a steady stream of overseas movies and TV shows over the past few years has included sensations such as Parasite,Squid Game,and RRR.This recent success would seem to suggest that the entertainment industry has moved far beyond its history of API caricatures and stere

20、otypes to champion real characters in front of the camera and greater representation behind it.But a look beneath the surface at the nuances of this progress reveals how far the industry still has to go.New McKinsey research has found that despite the abundance of content from the United States and

21、abroad featuring API characters and storylines,more than two-thirds of API consumers are dissatisfied with the authenticity of their representation.API on-screen representation is dominated by content produced outside the United States;in US-produced film,for example,API actors are 3 percent of all

22、actors,which is half of the API share of the US population.The roles the API actors play in US-produced content are either in hyperstylized action movies or written as race-agnostic characters.Further,projects focused on API characters and storylines are less likely to get the promotional resources

23、needed to reach a broader audience,so their impact on popular culture may thereby be limited.Why is greater API representation a source of opportunity for entertainment executives?Simply put,the industry is missing out on a significant opportunity to boost its bottom line.The industry is in flux:str

24、eaming services are seeking new sources of revenue,and movie studios are weathering uneven box-office trends.Studios have an opportunity to cast a wider,more inclusive net to bring content to new audiences.Asian American consumers1 on average earn 30 percent more than White consumers,but they spend

25、35 percent less than the average non-Asian American consumer on media(an average of approximately$526 for Asian American consumers compared with$788 for their non-Asian peers).Our analysis pegged the current gap in spending at$2 billion to$4 billion per year,a figure set to double to approximately$4

26、 billion to$8 billion annually by 2060 if the Asian American population continues to grow as projected and income and spend patterns continue.This report examines the entertainment industry through multiple lenses to identify the factors contributing to the underrepresentation of API professionals i

27、n on-and off-screen roles across film and television.While the industry reflects some of the entrenched attitudes that APIs face in their daily lives,it also contains the seeds of a better path forward.This report offers a set of potential ideas the industry could pursue to expand opportunities for

28、API professionals in film and TV,present more authentic portrayals of API characters,and motivate API consumers to spend more on entertainment.We acknowledge there is no single solutionaddressing representation and authenticity is nuanced,and talent casting relies on an ecosystem of stakeholders.How

29、ever,we believe the steps in this report could also motivate API consumers to spend more on entertainment,creating a virtuous circle within the industry.Introduction1 Consumer Expenditure Survey summary tables,US Bureau of Labor Statistics,2022.This data set includes data for the Asian population;th

30、e Pasifika population was categorized in“all other races”and could not be split out.Spending categories analyzed were movie tickets;tickets to movies and other out-of-town admissions;cable and satellite television services;and rentals,streaming,and downloads.Examining the history of the API populati

31、on in film and television in the past century is a challenging exercise in that it highlights pervasive stereotypes.The industry has made significant progress over the past 20 years,but our research indicates that API consumers perceive a lack of authenticity in the API characters they see in films

32、and on TV.(For more about our definition of“API”and other terms,see sidebar“Terminology.”)API representation has made progress through the decades,but stereotypes persistFor much of the 20th century,many API characters failed to rise above broad strokes or caricature.Often these roles were played by

33、 White actors,such as Mickey Rooney as a Japanese landlord in Breakfast at Tiffanys.API actors did break through from time to timefor instance,Sessue Hayakawa received an Oscar nod for his role in The Bridge on the River Kwai in 1958.But it wasnt until Bruce Lee gained acclaim for his martial arts f

34、ilms such as Enter the Dragon that the API community could point to a bona fide Hollywood star who looked like them.Still,API actors continued to be cast primarily in roles playing up stereotypes:male actors as action stars,their female counterparts as“hyperstylized and exoticized”charactersa patter

35、n still present today.1While the latter part of the 20th century saw some headway,progress was counterbalanced by films and television shows that either cemented these stereotypes or ignored the influence of Asian culture altogether.On a positive note,The Joy Luck Club,featuring an all-Asian cast,se

36、t a new precedent for API representation in media and grossed$33 million in 1993(more than$71 million in todays dollars).Margaret Chos All-American Girl,the first prime-time sitcom to focus on an Asian American family,premiered in 1994.In parallel,popular comedies such as Caddyshack and Sixteen Cand

37、les reinforced to an entire generation of moviegoers the perception that East Asian men were barely verbal fish-out-of-water comic relief.2 The Ring became a runaway hit in 2002,but few audience members were aware it was a remake of a Japanese film.Its success sparked a wave of such adaptations in s

38、ubsequent years.3Since the turn of the century,API representation has increased steadily,though not without missteps.Slumdog Millionaire won eight Oscars in 2008 but was criticized for the Western lens it applied to India.4 The evolution of API representation in media1Chapter For such a long time,th

39、ere was a total vacuum of Asian and Pacific Islander stars,but now,there are actually people you can point to.Film industry executive 1 Sonia Rao,“Asian women say Hollywood has failed them for decades.Theyre ready for meaningful change,”Washington Post,March 26,2021.2 Alison MacAdam,“Long Duk Dong:L

40、ast of the Hollywood stereotypes?,”NPR,March 24,2008.3 Daniel Kurland,“The Ring is the best Japanese horror remake,”ScreenRant,December 31,2019.4 Nadine Chan,“Slumdog Millionaire and the troubled place of cinema and nation,”Spectator,fall 2010,Volume 30,Number 2.3From margins to mainstream:Asians an

41、d Pacific Islanders in mediaMore encouragingly,a string of filmsLife of Pi,Crazy Rich Asians,Parasite,and Everything Everywhere All at Oncewere lauded by critics and found wider audiences.On television,Fresh Off the Boat,which featured a Taiwanese American family as the main characters,ran for six s

42、easons.Beef recently earned numerous accolades at the Emmy Awards for directing,writing,and acting,a reminder that well-executed storytelling has broad appeal.API consumers dont perceive their portrayals in media as authenticDespite this recent progress,McKinseys 2023 survey of API consumers in the

43、United States found widespread dissatisfaction with the authenticity of API portrayals in film and television.This sentiment is consistent with findings from The Asian American Foundations 2023 survey,which found about two-thirds of respondents across racial groups believe“Asian Americans are somewh

44、at or highly inaccurately portrayed in film/TV.”5In our survey of API consumers,less than 30 percent of respondents agreed that their identity is authentically represented in film and television(Exhibit 1).The negative perception of authentic representation is more acute for East Asians,Southeast As

45、ians,and Pasifika respondents.The results highlight an opportunity to move the large group of respondents who are neutral into the positive perception category.Views on representation,1%of respondentsStrongly agree or agree by API subgroup,%of respondentsNote:“API”stands for Asian and Pacifc Islande

46、r.Figures may not sum to 100%,because of rounding.1Respondents were asked to rate their agreement with the statement“My racial/ethnic identity is authentically portrayed in flm and television.”Response options ranged from strongly disagree to strongly agree.Source:McKinsey API Consumer Survey,NovDec

47、 2023(n=1,000:East Asian=286;South Asian=273;Southeast Asian=272;Pasifka=111;two or more API ethnicities=42;no API subgroup identifed=16)Less than 30 percent of APIs feel they are authentically represented in US-produced media.McKinsey&CompanyUS-produced TVUS-produced flm303441392928Series 1New seri

48、es 1Strongly agree or agreeNeutralDisagree or strongly disagree4326252546293025South AsianUS-produced TVUS-produced flmPasifkaSoutheast AsianEast AsianExhibit 1 5 STAATUS Index 2023:Attitudes towards Asian Americans and Pacific Islanders,Asian American Foundation,2023.4From margins to mainstream:Asi

49、ans and Pacific Islanders in mediaThroughout this report,we refer to the overall Asian and Pacific Islander(also Pasifika or Native Hawaiian and Pacific Islander)population as“API.”We use the term Pasifika to refer to the Pacific Islander or Native Hawaiian and Pacific Islander population.When appro

50、priate(for example,if data is available only for certain segments of the population),we refer to specific subgroups.AANHPI:Asian American,Native Hawaiian,and Pacific Islander,a subset of API;refers to people who identify as both Asian or Pacific Islander and AmericanAPAC:AsiaPacific;often used to re

51、fer to Asia and the Pacific Islands region of the worldAPI:Asian and Pacific Islander,a term used to refer to people who have ancestry from Asia or the Pacific IslandsAsian American:people of Asian descent who live in the United States;this group does not include Native Americans and Pacific Islande

52、rsEast Asian:people who are ethnically Chinese,Japanese,Korean,Mongolian,Okinawan,or TaiwaneseSouth Asian:people who are ethnically Asian Indian,Bangladeshi,Bhutanese,Nepalese,Pakistani,or Sri LankanSoutheast Asian:people who are ethnically Burmese,Cambodian,Filipino,Indonesian,Laotian,Malaysian,Tha

53、i,or VietnamesePasifika:also referred to as Pacific Islander or Native Hawaiian and Pacific Islander(NHPI);this group includes people who are ethnically Native Hawaiian,Samoan,or ChamorroKey off-screen roles:directors,producers,showrunners,or writersKey on-screen roles or lead roles:categorized in o

54、ur data set as actor 1 and actor 2roles often considered to be lead rolesSupporting roles:categorized in our data set as actor 3 through actor 10roles often considered to be supporting rolesTerminologySuch impressions are also shared by API entertainment industry experts.In a separate survey of Holl

55、ywood executives,we found that more than 80 percent of respondents do not believe API experiences are widely represented in US-produced media.Our analyses of industry data and interviews with consumers and industry leaders found perceptions of inauthentic and inaccurate representation of the API pop

56、ulation can be traced back to the combination of a few factors.In the next chapter,we will explore these factors as themes across both film and television.5From margins to mainstream:Asians and Pacific Islanders in mediaAlthough the industry has made visible progress on API representation over the p

57、ast several decades,this pattern has not convinced API consumers in the United States that their experiences and stories are being authentically portrayed.Getting to the root sources of this perception requires deeper examination.Our analysis found while overall numbers appear strong,thanks largely

58、to content produced outside the United States,they mask underrepresentation in US film and television productions.This theme of nuances in disaggregation was also reflected in our research into Asian Americans in the workplace.6 As that report reinforced,the API population is not a monolith:understa

59、nding the real story requires a more granular examination of the data.When determining root causes of API consumer dissatisfaction,we focused on what individuals are seeing on-screen.In our survey of API entertainment leaders,87 percent of respondents agreed the limited on-screen presence of API act

60、ors in domestic film and television is a primary reason API experiences arent better reflected in US media.In this chapter,we explore trends in both film and television(multi-episode series)to highlight opportunities in API representation.Our findings are grouped into three themes:increases in API r

61、epresentation have been driven by content produced outside the United States,API actors are concentrated in certain genres in both film and television,and off-screen talent and on-screen representation appear to be mutually reinforcing.Overall API representation has increased thanks to content origi

62、nating outside the United StatesThe past two decades have seen a dramatic jump in films distributed in the United States with API representation in on-screen lead roles.7 From 2018 to 2022,API actors made up 14 to 20 percent of on-screen leads in US-distributed films,significantly higher than the AP

63、I populations share of the US population,at 6.2 percent(Exhibit 2).8On the surface,this surge in representation might suggest the film industry has addressed any lingering issues.However,films produced outside the United States,especially those from the AsiaPacific region,account for 70 to 90 percen

64、t of US-distributed films with API lead actors.This trend of API films produced outside the United States entering the US market accelerated with the rise in popularity of streaming services in the mid-2010s.Some of these films,such as Oscar winner Parasite,told stories that connected with US audien

65、ces more broadly.This influx has caused representation to skyrocketfrom just 2 percent in 2002 to double digits two decades later.Meanwhile,API representation in lead roles in films produced in the United States increased from 2 percent to more than 3 percent during that period,meaning API actors ar

66、e underrepresented by 50 percent in US-produced films when compared to the 6 percent API representation in the US population.Examining API representation in film and television 2Chapter 6 Michael Chui,Kweilin Ellingrud,Ishanaa Rambachan,and Jackie Wong,“Asian American workers:Diverse outcomes and hi

67、dden challenges,”McKinsey,September 7,2022.7 Lead roles are roles that are categorized as actor 1 or actor 2.8 Lindsay M.Monte and Hyon B.Shin,“Broad Diversity of Asian,Native Hawaiian,Pacific Islander Population,”US Census Bureau,May 25,2022.6From margins to mainstream:Asians and Pacific Islanders

68、in mediaThis discrepancy contributes to a notable divergence:API content from other countries has boosted overall representation and connected with mass audiences,yet API consumers in the United States do not feel their stories are being authentically portrayed.We see similarities in television,whic

69、h has seen increased API representationincluding some high-profile shows.Beef was a recent breakout success for US-produced content,both in popularity and among critics,while Squid Game became an unexpected sleeper hit for content that originated from outside the United States(see sidebar“Streaming

70、and API inclusion”).Another way to gauge the impact and influence of films is to examine their box office revenues.For movies released in the United States from 2018 to 2022,API actors made up 14 percent of lead roles in films produced outside the United States and 3 percent of lead roles in domesti

71、c films.However,box-office On-screen representation of API lead actors1 in US-distributed flms,%of flms with API leadsNote:“API”stands for Asian and Pacifc Islander.Trends and representation are similar even when extrapolated to roles through actor 10.Includes data for 28,000 lead actors.1Lead actor

72、 is defned as roles categorized as actor 1 or actor 2 in the Luminate Film&TV database.2Calculated for flms from 2018 to 2022.Source:Luminate Film&TV data for flms distributed in the US from 2002 to 2022,including flms produced in the US and outside the USAPI on-screen representation in flm has incr

73、eased,propelled by flms produced outside the United States.McKinsey&CompanyAPI representation in US population2002200420062008201020122014201620182020202205101520Non-US-produced flms with API leadsof US box ofce2 receipts=1.6%US-produced flms with API leadsof US box ofce2 receipts=7.8%1.71.13.416.94

74、.3Exhibit 2receipts highlight the differences in how US consumers take in US-produced and non-US produced contentduring the same five-year period,films with API leads produced internationally made up 2 percent of total US box office receipts,whereas those produced in the United States accounted for

75、nearly 8 percent(Exhibit 3).As one industry executive noted,“We know foreign films dont have a track record for big box-office returns,so its not like the sheer number of movies means people are going to see that representation.”7From margins to mainstream:Asians and Pacific Islanders in mediaStream

76、ing services greatly expanded the amount of programming in production and democratized access to decades worth of content.They provide a platform with the potential for greater representation:in 2022,Asian and Pacific Islander(API)actors accounted for a 10 percent share of screen across the 462 most

77、-watched titles on the top streaming platforms.1 They have also opened the door to programs that might have been excluded when just a handful of channels acted as the gatekeepers of content in the United States.API representation on YouTube and social media platforms may be a leading indicator of fu

78、ture talent and streaming.Among the API entertainment leaders in our survey,85 percent agreed US-produced API content is more readily available on social media(such as YouTube and TikTok)than in traditional film and on television.Over the past decade,API talent and creators have found on YouTube the

79、 home they were seeking in mainstream media.A number of API stars have amassed millions of followers on YouTube,a platform that allows young Asian Americans“who often cant find accurate depictions of themselves in mainstream media,”as CNN News correspondent Ted Rowlands put itto find content that re

80、sonates with them.2 Wong Fu Productions,for example,has become something of an incubator of API talent,working with actors and musicians such as Randall Park,Simu Liu,and Far East Movement before they achieved mainstream success.More recently,creators such as Drew Afualo,Alan Chikin Chow,and Bella P

81、oarch have made names for themselves on YouTube and TikTok.Streaming and API inclusion 1 Seen,heard,valued:Engaging Asian Americans through media,Nielsen Company(US),2023.2 CNN Newsroom,August 15,2009.API lead role representation1 and box ofce receipts in US-produced flms,201822,%Note:“API”stands fo

82、r Asian and Pacifc Islander.The data covers approximately 11,000 lead roles in 2,998 flms.1Lead roles are categorized as“Actor 1”or“Actor 2.”Source:Luminate Data for Film and TV for flms distributed in the US from 2018 to 2022,including flms produced in the US and outside the USCompared with the US

83、API population,API actors in US-produced flms are underrepresented by more than 50 percent.McKinsey&Company82.914.13.090.67.811K lead roles$30.2 billion1.6API leads1 in US-produced flmsAPI leads in flms produced outside the USLeads of other racesUS-produced flms with API leadsFilms produced outside

84、the US with API leadsFilms without an API lead%of lead roles%of US box ofce receiptsExhibit 38From margins to mainstream:Asians and Pacific Islanders in mediaThe success of productions with API actors tells just part of the story.The types of movies and shows featuring API professionals also have a

85、significant impact on their reach,societal influence,and consumer perceptions.API content faces genre challenges in both film and televisionAPI actor appearances are not all equal.A closer examination of the nature of lead roles and the representation of API actors in them can provide a more accurat

86、e view.As noted earlier,API actors account for about 3 percent of both lead and supporting roles in films produced in the United Statesroughly half the level of API representation in the US population.9 The story becomes even more nuanced when we dig into consumer perception of authenticity.Our anal

87、ysis categorized films with at least one API lead from 2018 to 2022 by whether they were race-agnostic(films that do not have a storyline specific to the API experience but with API actors in roles that can generally be played by anyone)or API-specific(films with a storyline specific to the API expe

88、rience or API actors playing characters whose API backgrounds and experiences contribute to the films overall story).During the 201822 period,about 280 films had at least one API lead,and just over half of those were API race-agnostic(Exhibit 4).The percentage of API race-agnostic films was even gre

89、ater when considering 9 Supporting roles are roles categorized as actor 3 through actor 10.Notheatricalrelease2Limitedtheatricalrelease3Widetheatricalrelease4Release and race-specifc storytelling in US-produced flms with at least one API lead,1 201822,%(number of flms)Note:“API”stands for Asian and

90、Pacifc Islander.1Lead roles are categorized as actor 1 or actor 2.2Film is available only on streaming.3Film was released in 600 theaters.4Film was released in 600 theaters or more.5Films in which API actors are cast into roles that could be played by any race(eg,Deadpool).6Film in which API actors

91、are cast into roles that could not be any other race in flm(eg,Crazy Rich Asians)or are nonfction biographies or documentaries based on API fgures.Source:Luminate Film&TV data for flms distributed in the US from 2018 to 2022 and produced in the USAlmost two-thirds of major flms with API leads do not

92、 tell API race-specifc stories.McKinsey&Company74%overall(209)12%overall(34)14%overall(38)API race-agnostic5API race-specifc6(91)6 44%(26)76%(14)37%Exhibit 49From margins to mainstream:Asians and Pacific Islanders in mediaTop US-distributed domestic flms by wide theatrical release and genre,1 201822

93、,%Note:“API”stands for Asian and Pacifc Islander.1Films considered to be a part of multiple genres are categorized by the main genre.2“Other”includes crime,documentary,drama,sports,war,musical,mystery,thriller,and Western.Source:Luminate Film&TV data for flms released from 2018 to 2022 and produced

94、in the USAlmost half of wide-release flms with API leads are action and adventure flms,compared to 30 percent of flms without API leads.McKinsey&Company471699613Action and adventureComedyHorrorFantasy and sci-fRomanceOther23019186522Films with API leads(n=32)Films with non-API leads(n=306)Exhibit 5o

95、nly the films with a wide theatrical release(more than 600 theaters).Almost two-thirds of these films were API race-agnostic;fewer films seen by larger audiences told API stories or featured characters with API backgrounds.We found a similar pattern in television episodes.From 2018 to 2022,more than

96、 55 percent of the approximately 903 episodes with API leads were race-agnostic.More than 80 percent of respondents to our survey of API industry leaders do not believe API experiences are widely present in US-produced media,a level in line with API consumer sentiments on authenticity.While our anal

97、ysis didnt attempt to define an“optimal”balance of race-agnostic and race-specific films,the low share of API race-specific stories in major releases could contribute to the low perception of authenticity for API consumers.Notably,this trend is not seen across all underrepresented racial groups.For

98、instance,McKinseys 2021 report on Black representation in Hollywood found that Black films were twice as likely to be race-specific than race-agnostic.10Further,examining API films by genre tells another story.In the same 201822 period,out of the 32 wide theatrical releases with at least one API lea

99、d,almost half were action and adventure films,compared with 30 percent of films with no API leads(Exhibit 5).The percentage of action and adventure films rises to 71 percent for films grossing more than$50 million in the United States that have at least one API lead.While the reach and popularity of

100、 such films is welcome,API actors have fewer opportunities to portray the full breadth of authentic experiences reflected in their communities and upbringing.10 “Black films”are categorized as films with significant Black representation in off-screen roles.Jonathan Dunn,Sheldon Lyn,Nony Onyeador,and

101、 Ammanuel Zegeye,“Black representation in film and TV:The challenges and impact of increasing diversity,”McKinsey,March 11,2021.10From margins to mainstream:Asians and Pacific Islanders in mediaIndustry leaders have pointed to the concentration of API stories and characters in films with limited the

102、atrical release as the result of market forces.“Films based around API stories may feel limited to specific audiences;as successful as Everything Everywhere All at Once was,it is still an anomaly,”one leader noted.Investing in more of these independent films to broaden their reach may help to bring

103、more API race-specific content to consumers.But as some shows demonstrate,API race-specific content doesnt have to center entirely on the API experience;for example,Beef reflected the experiences of its characters ethnicities without feeling“the need to contextualize or overexplain itself for viewer

104、s outside the Asian American community.”11As in film,the representation of API actors in television varies considerably by genre.Fully 35 percent of the 903 episodes with API leads were part of animated series,compared with 12 percent for shows without an API lead(Exhibit 6).The greater percentage o

105、f animated shows is driven by a smaller percentage of dramas and nonscripted shows(for example,reality TV).These genre challenges make a difference when it comes to the perception of authenticity among API consumers.Industry experts highlighted the need for specificity in the portrayal of API charac

106、ters(see sidebar“An imbalance across API subgroups”).One film executive noted,“It is really important to understand how multifaceted the community is and how important it is for our films and TV shows to represent that.”Another media executive said,“I worry about APIs being told as a single story.It

107、 hurts us,and it hurts the bottom line.We need to see the diversity within our community.”11 Brahmjot Kaur and Angela Yang,“Asian Americans are over just being includedtheyre defining mainstream culture,”NBC News,May 12,2023.API leads3Leads of otherraces344826224173512US-distributed TV episodes by g

108、enre,1 201822,%of episodes2Note:“API”stands for Asian and Pacifc Islander.Figures do not sum to 100%,because of rounding.1Drama(half hour and one hour),comedy(half hour),unscripted(documentary,reality,sketch,variety:half hour and one hour),and animated(1530 minutes);genres excluded from analysis:lon

109、g-form,news,and talk shows(73 total episodes).2TV episodes analyzed have a running time of 15 minutes to 2 hours;are on US broadcast,cable,and digital platforms;and have available actor data.3Leads are categorized as actor 1 and actor 2 roles.Source:Luminate Film&TV data for TV series released from

110、2018 to 2022,episode count=18,645More than one-third of TV episodes with API leads are animated shows,compared to one-eighth of TV episodes with leads of other races.McKinsey&Company903 episodes17,742 episodesDramaComedyUnscriptedAnimatedExhibit 611From margins to mainstream:Asians and Pacific Islan

111、ders in mediaThe Asian and Pacific Islander(API)population includes many distinct subgroups,each with its own culture.The low perception of authenticity among API consumers could therefore be related to the disproportionate representation of certain subgroups(exhibit).For instance,in all films from

112、2018 to 2022,230 distinct API actors appeared in 310 lead roles.However,50 percent of these roles were played by actors of East Asian descent.The 17 Pasifika lead roles were played by five men,and approximately 80 percent of them were antagonists or protagonists in action films(such as Jason Momoa i

113、n Aquaman).Given this distribution,some subgroups of API consumers could feel overlooked by the film industry.As one Pasifika entertainment executive put it,“Many API efforts still ignore the PI in the acronym.PIs are not pulled into spaces,but we are starting to see slow shifts and acknowledging th

114、is is an important first step.”An imbalance across API subgroupsAPI leads in US-produced flms,by gender and API ethnic subgroup,201822,%Note:“API”stands for Asian and Pacifc Islander.Figures may not sum to 100%,because of rounding.Data for 310 API leads;28 leads did not have identifable subgroup dat

115、a(ie,ethnic background not published).1Includes only actors with a self-identifed API subgroup in the Luminate database.Source:Luminate Film&TV data for flms distributed in the US from 2018 to 2022 and produced in the USGender representation for API leads in US-produced flms varies across ethnic sub

116、groups,with all 201822 Pasifka leads being men.McKinsey&Company4752WomanManNonbinaryAll subgroupsBy API ethnic subgroup100%=310 leads1Number of actors1145604110Nonbinary 40%keyof-screen roles35.23.114.914.1Series 1Series 21+keyof-screen roles40%keyof-screen roles39.12.66.2%API representation in US p

117、opulationNon-US-producedUS and non-US produced2 US-producedExhibit 814From margins to mainstream:Asians and Pacific Islanders in mediaA closer look at spending habits reveals a significant disparity among consumers.Our research found Asian American consumers15 earn more income and spend less on film

118、 and television than other groups.Their lower spending could be attributed in part to the perceived inauthenticity API consumers see in film and television.Our analysis found that Asian American consumers earn approximately 30 percent more in annual income,on average,than their peers of other races,

119、16 and they spend less of their income(70 percent for Asian consumers versus 78 and 81 percent for White and Black consumers,respectively).And they spend even less of their income on film and televisionjust 0.42 percent versus 0.87 percent for White consumers and 0.94 percent for Black consumers(Exh

120、ibit 9).17The differences in spending habits are particularly pronounced in cable,satellite,and streaming services.Asian American consumers spend 0.30 percent of their income,compared with 0.74 percent for White consumers and 0.74 percent for Black consumers.A multibillion-dollar opportunity for the

121、 industry and ideas for API representation3ChapterSpending on flm and TV,2022,%of consumer income1“Other admissions”includes nonflm and non-TV expenditures(eg,tickets to museums).2The Asian consumers category in the Bureau of Labor Statistics Consumer Expenditure Survey data set does not include the

122、 Pasifka population.3The White consumers category in the Bureau of Labor Statistics Consumer Expenditure Survey data set also includes“all other races.”Source:Annual expenditure means,shares,standard errors,and coefcients of variation,Consumer Expenditure Survey summary tables,US Bureau of Labor Sta

123、tistics,2022Asian Americans spend signifcantly less of their income on flm and television than other groups.McKinsey&CompanyAsian2White3BlackAll consumers0.210.580.710.570.090.160.150.150.090.100.09Cable and satellite television servicesRental,streaming,and downloading videosMovie and other admissio

124、ns on out-of-town trips1Tickets to movies0.030.030.030.020.06Per-year spending on flm and TV$526$824$679$788Exhibit 915 Disaggregated data for the Asian American population from Consumer Expenditure Survey summary tables,US Bureau of Labor Statistics,2022.The Pasifika population was combined into“al

125、l other races.”16 Ibid.17 Ibid.;categories analyzed were tickets to movies;movies and other admissions on out-of-town trips;cable and satellite services;and rental,streaming,and downloading videos.15From margins to mainstream:Asians and Pacific Islanders in mediaAsian American consumers lower spendi

126、ng on film and television is consistent with our consumer survey,which found API consumers believe they are not portrayed authentically in media.(Although the Pasifika population is not reflected in the spending data,our survey found just 26 percent of Pasifika consumers believe their racial and eth

127、nic identity is authentically represented in US-produced television.The figure for US-produced film is 29 percent.)Our survey also explored perceptions of authenticity and willingness to spend both money and time on media.Nearly half of API respondents living in the United States indicated they woul

128、d spend more money on film and TV and spend more time consuming content if their own experiences were more authentically represented(Exhibit 10).18 This sentiment was especially pronounced among consumers aged 18 to 44,who represent a large portion of the rapidly growing population of API consumers.

129、19Willingness to spend more time or money on flm and TV,1%of respondentsWillingness to spend money and time by age,%Note:“API”stands for Asian and Pacifc Islander.1Question:If your racial or ethnic experiences were more authentically represented,would you spend more money and time on flm and TV?Sour

130、ce:McKinsey API Consumer Survey,NovDec 2023(n=1,000:East Asian=286;South Asian=273;Southeast Asian=272;Pasifka=111;two or more API ethnicities=42;no API subgroup identifed=16)Nearly half of API consumers would spend more money or time on more API-authentic flm and TV,especially those in younger age

131、brackets.McKinsey&Company1824253435444554556465+595253514035525152503934MoneyTimeI would spendmore moneyI would spendmore time4947Series 1Series 2Exhibit 1018 In our survey,33%of respondents noted they would spend 150%more money,13%would spend 51100%more money,and 3%would spend more than 100%more mo

132、ney.19 Luis Noe-Bustamante,Neil G.Ruiz,and Sono Shah,“Appendix:Demographic profile of Asian American adults,”Pew Research Center,May 8,2023;“Sex by age(Native Hawaiian and Other Pacific Islander alone),”American Community Survey,US Census Bureau,accessed April 18,2024.16From margins to mainstream:As

133、ians and Pacific Islanders in mediaEstimated opportunity per year,$billionNote:“API”stands for Asian and Pacifc Islander.1Data from the Consumer Expenditure Survey breaks out Asian Americans only(with Pacifc Islanders in an“other”category).Does not include the Pasifka population,because of data limi

134、tations;estimated opportunity underestimates the full API population in the US.2Takes only money spent into account;does not include time spent on media,which would increase the estimated opportunity(eg,advertising on social media and streaming).3Includes people who identify as Asian alone and Nativ

135、e Hawaiian and Other Pacifc Islander alone;does not include people who identify as Asian and other races.4Population from the 2020 US Census.Source:US Bureau of Labor Statistics Consumer Expenditure Survey,2022;2020 US CensusThere is currently a$2 billion to$4 billion annual opportunity for the indu

136、stry in increasing API representation.McKinsey&Company3.41.97.64.1Increased spending due to more authentic representation in flm and TV2 Increased spending from 0.4%of income(2022 average Asian American consumer)to 0.9%of income(2022 average White consumer)1 20222060(projected)2060(projected)2022API

137、 population3 20.6 million437.9 millionAPI representation6.2%8.9%20222060(projec-ted)Exhibit 11Estimating the opportunity for the industryWe used different methods to estimate the opportunity in revenues that the industry could achieve by increasing API representation and authenticity in film and tel

138、evision:1.a survey asking API consumers how much more they would be willing to spend on film and TV if they were more authentically represented2.raising film and TV spend by API consumers to the same percentage of income as non-API consumers(for example,White consumers)Respondents who strongly disag

139、reed that current API representation is authentic indicated they would increase their spending the most if the portrayal of API characters and stories were more authentic.The industry could improve service to these consumers by creating films and shows featuring portrayals that are more authentic to

140、 the API experience.API leaders in the entertainment industry echo consumer perceptions.More than eight in ten respondents to our executive survey agreed that increasing on-screen API representation in US-produced content would result in higher spending by API households on film and television.As on

141、e entertainment executive said,“I spent years understanding what our consumers wanted,and they want authentic and nuanced stories about their community and other communities.”17From margins to mainstream:Asians and Pacific Islanders in mediaBy considering these factors in tandemthe underrepresentati

142、on of US-produced and API race-specific content,the perceptions of API consumers about the authenticity of API stories and characters,and API consumers lower spending on film and televisionwe can calculate the value of the opportunity in achieving greater visibility for and more authentic portrayals

143、 in API content.Our API consumer survey found that about half of API consumers would spend more on film and television if the content were more authentic to their race and ethnicity.20 To size this opportunity,consider that increasing the willingness of API consumers to spend on API-authentic conten

144、t could generate about$2 billion in additional spending a year on film and television(Exhibit 11).21 In an alternative scenario,if API consumers spent the same share of their income on film and television as White consumers do,the opportunity rises to$4 billion annually.This potential broadening of

145、the market for API consumers would help studios and streaming services as they find their way through a shifting consumer landscape.A Nielsen study found that streaming,including YouTube,has the greatest share of screen for API actors compared with broadcast and cable.22 Asian Americans allocate 27

146、percent more time to streaming than the general populationa signal that increased representation could be key to greater engagement.These figures likely underestimate the impact of greater and more authentic representation:more time spent on consuming content can result in higher advertising revenue

147、 in streaming and social media,and this indirect effect is not reflected in the Consumer Expenditure Survey.Our analysis highlights two important takeaways for the industry.First,authenticity and quality are crucial.Second,spending marketing dollars to capture a greater proportion of this growing,hi

148、gh-income population segment may generate even more revenue.If you have an API person at the top,you are far more likely to see API folks in other roles.Entertainment industry association leader20 One in three said they would spend 1 to 50 percent more,one in ten would spend 51 to 100 percent more,a

149、nd the remaining 4 percent would spend more than double.21 Our consumer survey asked API consumers who indicated they would increase spending on more-authentic API content what their willingness to spend would be.The choices were 1 to 50 percent more than their current level,51 to 100 percent more,a

150、nd more than double.Our sizing methodology then used the Consumer Expenditure Survey data,divided the API consumer population into their respective categories of spending based on the survey results,and increased their spending using these factors as averages:25 percent higher for the 050 percent gr

151、oup,75 percent higher for the 51100 percent group,and 125 percent higher for the more-than-double group.22 Seen,heard,valued:Engaging Asian Americans through media,Nielsen Company(US),2023.18From margins to mainstream:Asians and Pacific Islanders in mediaThe total value at stake will likely only inc

152、rease in the future,given demographic trends.The US API population grew from 10.8 million in 2000 to 19.5 million in 2019,a jump of more than 80 percent.23 It is projected to almost double to 37.9 millionnearly 10 percent of the US populationby 2060.24 Our projections indicate that by 2060,the total

153、 opportunity to capture additional spending could rise to approximately$4 billion to$8 billion a year in todays dollars,depending on the scenario.Five potential ideas could help the industry to unlock the multibillion-dollar opportunity Addressing the visibility and authenticity of API representatio

154、n in film and television could unlock significant rewards.One challenge is the breadth of stakeholders who must be mobilized:every film and television production involves scores of people making multiple decisions a day.As our analyses and surveys uncovered,the challenges for API representation span

155、 the industrys entire ecosystem.External trends could create additional hurdles.For example,although API representation has experienced a noticeable increase over the past five years,industry experts are bracing for a potential decline.In our interviews,industry leaders pointed to the recent negativ

156、e rhetoric in diversity,equity,and inclusion efforts in the United States;the industry strikes of 2023;and the waning sense of urgency about API representation since the peak of the“Stop AAPI Hate”era during the pandemic.There is no magic bullet available to the industry.Instead,improving API repres

157、entation in media requires real change in how the production ecosystem operatesfrom decision making to pipeline development to how potential API projects are evaluated.Although we dont have all the answers,we have distilled our analyses and discussions with industry leaders into a few big ideas that

158、 could help the film and television industry tap into this multibillion-dollar opportunity for API content:1.Increase the likelihood that API projects will be approved and distributed.Promoting API representation in leadership positions with decision-making authority can help authentic stories make

159、it from the page to the screen.Industry leaders cited the lack of API professionals in key decision-making roles as one of the biggest barriers to greater and more authentic API representation in media.These roles include studio heads as well as acquisition and sales leads who decide what independen

160、t films to buy and distribute.Such decisions are crucial for emerging API creatives.In addition,studios and investors could consider establishing funds to promote the development and production of API stories.For example,our analysis found that US-produced API films generated 8 percent of US box off

161、ice receipts while accounting for just 3 percent of all US-distributed films,making a compelling business case for investment.Tracking and sharing these results on a consistent basis could help to inform decision makers.An industry association leader said,“If you have an API person at the top,you ar

162、e far more likely to see API folks in other roles.The traditional executives and buyers are not from our community,and it will be hard to make changes until we see more API professionals greenlighting shows and heading departments.”23 Abby Budiman and Neil G.Ruiz,“Asian Americans are the fastest-gro

163、wing racial or ethnic group in the U.S.,”Pew Research Center,April 9,2021.24 David M.Armstrong,Lauren Medina,and Jonathan Vespa,“Demographic turning points for the United Sates:Population projections for 2020 to 2060,”US Census Bureau,February 2020.19From margins to mainstream:Asians and Pacific Isl

164、anders in media2.Increase financial support for API projects and creators.As we noted,just a small number of API films receive broader distribution and promotional resources.In addition to securing marketing funds to successfully promote projects,studios need to invest in specialized resources to re

165、ach all audiences.Recently,multicultural marketing agencies and organizations have rallied influencers,press,and local grassroots organizations to promote API projects.Securing marketing funds can not only increase the possibility of commercial success but also boost the revenues and reach of succes

166、sful films.A different approach,such as social media campaigns targeting influential groups,might help elevate API content on streaming platforms and reach the broadest possible audience.In addition,greater visibility into the performance of API content would require increased rigor and analytics ca

167、pabilities to measure ROI,enabling the industry to adapt and adjust where needed.An industry executive noted,“Investors are looking for a unicorn,and they have so many projects and people to evaluate for their investments.Sometimes,they dont know whom to invest in because its hard to measure success

168、.They often take their money somewhere else,like Silicon Valley.”3.Invest in API off-screen talent.Across film and television,providing API talent with the skills to become producers,directors,writers,and showrunners will be instrumental in improving API representation in front of the camera and sha

169、ring more authentic stories with audiences.Providing API professionals with the same opportunities as their peers calls for a greater emphasis on hiring and promotion for off-screen roles as well as investments in skill development.Expanding apprenticeships,internships,and other industry programs ca

170、n give promising API talent new paths into the profession.In our interviews,industry experts mentioned the lack of early and midcareer opportunities for API off-screen talent as an obstacle to career advancement(a trend also found in the non-entertainment corporate world25).Our analysis found three-

171、quarters of limited theatrical release films with API leads were API race-specific films;many are independent films featuring a pipeline of up-and-coming API off-screen talent as well.As in other corners of the corporate world,new opportunities and investment in development for this talent can help

172、API representation in the long run.Organizations are now investing in emerging API talent to increase specialized skill sets in a variety of creative roles.26 For example,Starz and the Coalition of Asian Pacifics in Entertainment(CAPE)recently collaborated to create the CAPE Showrunners Incubator to

173、 develop and mentor API showrunners.27 4.Expand the criteria for evaluating projects.Traditional comparables may not be the right way to evaluate the success of API projects.Just as non-US-produced API content has gained a foothold in the United States,US-produced API content has great potential to

174、find international audiences.For example,the AsiaPacific market has billions of consumers who could be interested in API content produced in the United States.Broadening the definition of success for not just API projects but all projects(for example,including international box office potential and

175、factoring in critical acclaim and social media engagement)could help the industry evaluate content from different perspectives.As one industry executive said,“We should reposition the API story as an early category that is consistently growing.The market in Asia has become a strategic imperativethe

176、trends and growth all point there.”25 “Asian American workers,”September 7,2022.26 “Futures Accelerator:Producers,”Gold House,accessed April 18,2024.27 Rebecca Sun,“Starz,CAPE team for showrunners incubator for Asian Pacific Islander TV writers(exclusive),”Hollywood Reporter,April 1,2024.20From marg

177、ins to mainstream:Asians and Pacific Islanders in media5.Continue to understand the state of API representation.Making progress over the long term requires regularly tracking data and identifying trends for specific groups and intersectionalities to understand both the state of representation and th

178、e factors that contribute to commercial and critical success.With this increased visibility,industry leaders could develop a shared understanding of persistent challenges and the most effective interventions.A better understanding of the API communitys subgroups could also improve authenticity in co

179、ntent.Today,many still see the API community as a monolith,with one point of view and voice.An API industry leader noted,“You are often the only one,and you are forced to represent a lot of viewpoints.API is a really big umbrella,especially the difference between the A and the PI.To have one person

180、speak for all of that is nearly impossible.”These ideas are just a start.Given the changing nature of the industry,executives could also explore creative solutions to improve representation,such as analyzing the potential of ad sales through API content.Our research demonstrates the film and televis

181、ion industry has several compelling reasons to champion API representation in front of and behind the camera.However,it doesnt need to act out of altruism.The reward for getting it right could be a windfall of billions of dollars in annual revenuesand the prize will only grow.Capturing this opportun

182、ity would require a broader shift among decision makers in how capital is allocated for projects.Progress wont be easy,but when the enhanced richness and authenticity of storytelling could be accompanied by such a substantial opportunity,the business case is clear.21From margins to mainstream:Asians

183、 and Pacific Islanders in mediaFrom margins to mainstream:Asians and Pacific Islanders in mediaFrom margins to mainstream:Asians and Pacific Islanders in mediaTo create this report,we collected and analyzed the following sets of data:1.Luminate Film&TV data,with particular emphasis on data from 2018

184、 to 20222.IMDb database and Box Office Mojo database,accessed November 20233.US Bureau of Labor Statistics Consumer Expenditure Survey 20224.Qualitative interviews with API entertainment experts,conducted from May 2023 to April 20245.McKinsey API Consumer Survey,conducted in November and December 20

185、236.McKinsey API in Entertainment and Media Expert Survey,conducted in November 2023 Film methodologyData selectionFor film analysis,we initially filtered the data to include domestic and foreign films distributed in the United States from 2018 to 2022.Subsequent analysis was conducted using this fi

186、ltered data set,except for specified instances in which we included only domestically produced content.On-screen and off-screen representationOur data set included films with only on-screen or off-screen talent data.Therefore,the sample size varies by analysis depending on whether it includes on-scr

187、een talent,off-screen talent,or both.For instance,the presence or absence of on-screen data did not affect the inclusion of films in the off-screen representation analysis.On-screen data,n=6,164 films,41,292 lead and supporting roles Off-screen data,n=6,064 films,16,208 off-screen talent slots On-sc

188、reen and off-screen data,n=5,444 films(slot analysis not conducted when looking at intersection of on-and off-screen talent)During this data-filtering process,we excluded films with incomplete actor data(for example,those without data on actor ethnicity).Not all films had actor 1 through actor 10 da

189、ta,but we kept those films and counted the available actor data.TV methodology Data selectionFor TV analysis,we filtered the data set to include TV shows distributed in the United States through broadcast,cable,or digital platforms from 2018 to 2022.In addition,we considered only shows with a runnin

190、g time of 15 minutes to two hours.We conducted subsequent analysis using this filtered data set.This selection ensured our analysis focused on TV shows available to US audiences through various platforms.On-screen and off-screen representationOur data set included instances where TV episodes had onl

191、y on-screen or off-screen talent data.Therefore,the sample size varies by analysis depending on whether it covered on-screen talent,off-screen Appendix:Methodology22From margins to mainstream:Asians and Pacific Islanders in mediaFrom margins to mainstream:Asians and Pacific Islanders in mediatalent,

192、or both.In other words,the presence or absence of on-screen data did not affect the inclusion of films in the off-screen representation analysis.On-screen data,n=18,645 episodes,89,443 lead and supporting roles Off-screen data,n=27,695 episodes(slot analysis not conducted when looking at off-screen

193、talent)On-screen and off-screen data,n=16,452 episodes(slot analysis not conducted when looking at intersection of on and off-screen talent)During this data-filtering process,we excluded episodes with incomplete actor data(for instance,missing actor ethnicity).Not all films had actor 1 through 10 da

194、ta.In such cases,we kept those films and counted the available actor data.Data used in this report Data setThe data set used in this study consisted of 26,733 films spanning 1913 to 2023 and 4,057 TV series spanning 1993 to 2022.The data was sourced primarily from databases such as Luminate Film&TV,

195、IMDb,and Box Office Mojo.The film data included both foreign and domestic productions as well as data on budget and box office performance(domestic,international,worldwide),and details on off-screen and on-screen talent,including their names,ethnicities,and genders.Film genres were categorized by ge

196、nre information from the IMDb database.Theatrical release information was obtained from Box Office Mojo.Similarly,the TV data set comprised 98,424 episodes across 4,057 series,capturing information on running time,TV schedule,network type,budget,genre,and details on off-screen and on-screen talent.T

197、itles were audited and evaluated using IMDb,extracting information such as title loglines,actor data,and theatrical distribution details.We leveraged IMDb and Box Office Mojo data(using trailers or commercials and plot summaries)to categorize content as race-agnostic versus race-specific.Interviews

198、and focus groupsTo augment the data set,we conducted about 30 interviews and focus groups in collaboration with Gold House.These discussions involved mid-and senior-level executives and talent working in Hollywood,providing valuable insights into their experiences and perspectives.Interviewees came

199、from organizations such as A24,Hillman Grad,Lionsgate,Marginal MediaWorks,and Universal.Throughout the focus groups,participants were asked about their experiences.We also sought their feedback throughout the reports development,and we conducted brainstorming sessions to generate recommendations for

200、 addressing the most pressing challenges faced by API individuals in the entertainment industry.SurveysTwo surveys were administered to gather additional data for the research.The McKinsey API in Entertainment and Media Expert Survey had a sample of 103 entertainment industry professionals.Areas of

201、focus included breadth of API representation in media and challenges within the industry.The McKinsey API Consumer Survey encompassing API individuals in the United States ensured representation across all age ranges and subgroups,with a sample of 1,000 respondents.The focus was on authentic represe

202、ntation in media and how authentic representation affects consumers spending and watching habits.23CONFIDENTIAL AND PROPRIETARY Any use of this material without specific permission of McKinsey&Company is strictly prohibited.From margins to mainstream:Asians and Pacific Islanders in media April 2024Cover image:Caspar Benson/Getty ImagesDesigned by LEFFCopyright 2024 McKinsey&Company.All rights reserved.www.McK McKinsey McKinsey