For several years the audio-visual sector has been amid a real crisis and a creative surge at the same time. The industry has filmed more than ever, and audiences are consuming more series and films than before. Spanish fiction has gained momentum across borders, standing shoulder to shoulder with American productions that once dominated the market. The surge of success stories brought attention to the role of showrunners—creators who actively influence the shaping of a series. Yet a critical question remains: are women advancing as often as men in this arena?
By Pebbled Pregnancy, the head of the RTVE Observatory for Equality notes that there are indeed more Spanish series created by women, but that does not mean the gender gap is closing. This expert, who specializes in television editing and serves on RTVE’s Board, provides a telling statistic: in 2021 only 17.2% of editors were women while 62% were men. From there, the numbers have shown some movement: ALMA, the screenwriters association, tracked a rise from 22.9% female participation in the 2019 report to 23.6% in the 2021-2022 season. In the United States, the Writers Guild of America West reports women now account for about one third of drama directors. These numbers signal that while doors are opening for showrunners, women still face structural hurdles across the industry.
There is optimism about more opportunities for mixed leadership teams, but the industry often runs on a specific logic that still relies on male partners for opportunity. The pairing of women with male collaborators can be a barrier to independent leadership. Notable collaborations exist, such as Ramón Campos with Teresa Fernández Valdés at Bambú or Alex Pina with Esther Martínez Lobato at Vancouver Media, which helped drive major hits like Las chicas del cable and La casa de papel. Yet experts caution that rising success stories do not always reflect the broader health of the field. The overall takeaway is that visibility is increasing, but equal access remains uneven.
Arizona, the creators Aurora Guerra, Erika Halvorsen, and Teresa Fernández Valdés are highlighted for their contributions to projects like The Secret of Puente Viejo and Las chicas del cable, underscoring a trend toward more female leadership in contemporary drama.
Don’t fall into ghettoization, urges a leading producer. Mixed teams are proposed as a better model for understanding diverse perspectives. The current projects include a Berlin spin-off from La casa de papel and a new series about an underground city, with showrunning as a central craft. The aim is to blend storytelling with a broader sense of identity and humanity, moving toward an entertainment spectrum that reflects a demanding society.
Another factor behind the continuation of women-led projects is the female protagonist. Examples include Leticia Dolera and others who have led prominent series, along with cases like Ana Rujas in Cardo. While obstacles persist, the approach remains to push for supportive public policies that enable such projects to flourish across platforms and networks.
Public funding often accelerates change in cinema and television alike. Dolera notes that outside funding for platform dramas is mostly private, but public subsidies can amplify opportunities for women writers and directors. The industry has seen projects led by women gain traction, sometimes crossing regional boundaries and garnering international attention.
Several long-running series illustrate the ongoing struggle for representative leadership. The industry faces a persistent question about how to broaden the presence of women in executive roles and avoid limiting them to niche topics. Some policymakers and industry leaders point to board diversity and inclusive governance as essential steps toward a more representative creative landscape. The shared belief is that stories driven by a diverse group of creators—men and women alike—offer a richer, more nuanced view of love, conflict, and cultural life.
The push for visibility continues as women in front and behind the camera advocate for concrete mechanisms that help their projects reach audiences. The aim is not to create quotas but to ensure genuine access to opportunities and recognition for the work of women in all creative leadership roles. The consensus remains that when women have equal voice and power in the room, the resulting entertainment reflects a broader spectrum of human experience.