Talking about class: BAFTA Elevate’s Jemma Gander

There has been a lot of public discussion about class diversity in the industry in the past 18 months. It was the focus of James Graham’s MacTaggart Lecture last year, the 2025 Edinburgh Festival had a working group focussed on the topic and of course it was the reason for BAFTA’s Invisible Barriers report.

Clearly, the issue isn’t a new one, but it is ongoing. So, we asked Jemma Gander, who is part of this year’s BAFTA Elevate cohort to share her thoughts on the issue. Jemma Gander is an award winning and Grierson nominated Director/ Producer. Her credits include The Wrong Man: 17 Years Behind Bars (BBC2), I am an Alcoholic: Inside recovery (BBC2) and Jailed Over a Group chat (Channel 4.) And BAFTA Elevate is a bespoke programme of professional development which offers mentoring, tailored masterclasses and networking opportunities to individuals from underrepresented backgrounds.

Here Gander explains why it’s so important that conversations about class diversity are coming to the fore now and what she hopes will change as a result…

The BAFTA Elevate programme supports mid-senior level professionals from underrepresented backgrounds to develop key leadership skills, strengthen their networks and navigate challenges within the industry. As part of the current cohort what is your opinion on the current class diversity discussions in the industry?

I never felt like class was talked about in the industry. I picked up early on that I should chameleon my way in – just fake middle class. When I first started out as an unpaid intern in 2005 (working extremely long hours in Southampton for the train fare to London on the days I was interning) – the main barriers were a lack of network. I knew tradesmen and cleaners from Southampton where I grew up, so the obstacles were obvious.

For me, there was also no financial safety net. I couldn’t ask mum and dad to bail me out because there wasn’t the money to do that. When I secured my first runner/ researcher job I managed to move to London, get a room for very cheap rent and temp as an office receptionist between TV contracts. I ate a lot of £1 Aeros (orange…) for dinner but it was just about possible. I started in current affairs, and it was packed full of privately educated white men. I used to have to jot down references they made about art/ culture to google it on the sly. But I remained determined and climbed the career ladder. I don’t think that is possible for new entrants these days – with no connections, trying to vie for less opportunities in smaller teams with smaller budgets, in a more risk averse environment.

A young wide eyed Jemma would have returned home to work for a high street retailer. In many ways it may have been more financially secure. But I had dreams. I still do.

What kinds of specific challenges do you think emerge as a result of lack of class diversity?

It isn’t just about financial backing but a lack of confidence and imposter syndrome that comes with ‘not quite fitting in’ and ‘not quite in on the joke’ or indeed in the network. James Graham in his 2024 Edinburgh MacTaggart speech hit the nail on the head –

“I was taught by my mum from very young that when you get invited somewhere you should always, always, say ‘thank you for having me’.”

In fact my mum did just that at my wedding party, thanking anyone I had worked for giving me a chance. We are taught to know our place from a young age and this impacts us – not just as new entrants but at more senior levels too.

In what way are you seeing the issue of class diversity play out in terms of work opportunities?

The industry is falling back into old patterns of employing the same people again and again. It makes sense – the ones with the most experience and with the most impressive CVs haven’t had to take work out of necessity over the years – they are naturally ahead. But where does that leave us? With a very narrow lens in which we see our world reflected through TV.

Class is a problem not just for new entrants but those without financial means to remain in the industry – at mid and even senior level. It is frankly quite depressing that after all those years of fighting (it is a fight to get to Direct or Produce films you want to make) that now the obstacles rear their head again. You have delayed having a family – as you don’t have anyone able to help – no safety net with childcare either. Your life then becomes exponentially more expensive and BAM the industry implodes.

There are many people out of work now and lots of people I know are planning an exit strategy from a career they love. As let’s face it when it’s good it’s incredible, never have I felt such highs but with those come the lows. I fear this means those left working will be the ones with financial support; they are able to wait for the next project or develop their own. Working class voices will once again become silent. When the majority of the country is working class this can’t be right.

How do you think this lack of class diversity will impact what is being produced if things don’t change?

The working class lens is vital – especially in documentary. These are often our stories. But with companies struggling to stay afloat it feels like class/ diversity is not the top priority – survival is. We are all in survival mode.

I felt so seen when James Graham spoke last year. To hear people openly talk about class and what that means in the creative industries actually made me cry). I immediately applied to be on the working group but sadly didn’t get selected. I did attend the forum this year though at the (Edinburgh TV) festival. They asked us to write on a post-it what the main stumbling blocks were – mine was read aloud (a small moment of pride!) ‘that you have no safety net, you can’t take as many risks and you are still seen as a risk yourself.’

That’s why schemes like BAFTA Elevate are essential. We are given direct access and insider information from major production companies and commissioners and a peer network which has made us all feel less alone these tumultuous times in the industry. The only reason it may not be translating into real world jobs and opportunities is because of the lack of them. You don’t just need a network; you need a network that can offer you a gig.

People feel unseen, unheard and unsafe. A diversity of voices offers people a glimpse of themselves, a rare reflection of who they are and where they fit into this world. To make positive change, we all need to be brave and take risks.

Is there any positive actions you can think will help to move the dial on this issue?

Schemes like BAFTA Elevate are essential to help propel diversity into the spotlight and give us a leg up. And companies such as Firecrest who I met at Edinburgh festival are doing amazing work to give opportunities to those in their community – there is hope.

I also think eventually the snobbery around short content, online platforms and creating your own work is shaking up the old hierarchy. This is exciting. How to monetise this to survive is the real challenge in 2025 and going into 2026. But I for one will be fighting to make this a reality. Telling important, compelling stories is who I am. Making sure a truly diverse mix of storytellers are telling stories is essential to a democratic and rich creative landscape.

• The BAFTA Elevate programme is supported by dunhill and is aimed at supporting mid-senior level professionals from underrepresented backgrounds to progress their careers within the industry. Selected participants receive two years of bespoke support that includes networking opportunities, masterclasses, workshops and panel discussions. The focus for the current BAFTA Elevate programme has been on those working in documentary and specialist factual.