According to San Diego University’s ‘Boxed In: Women On Screen and Behind the Scenes on Broadcast and Streaming Television’ report for 2023-24, the percentage of women working as creators on original television series appearing on broadcast networks and streaming services declined for the second year in a row, making up only 23% of creators, whereas the previous year it was (still an abysmal) 26%. Unsurprisingly, the percentage of female characters in speaking and major roles also declined.
So it goes without saying that to improve the status quo, we cannot wait for the system and those in decision-making positions to course correct. We’re in an interesting era of entertainment where so much is changing very fast, which also presents some unique opportunities for creators to forge new paths.
As a rising talent on the comedy scene, actress/writer/producer Adrienne Rose White, who can be seen flexing her skills as Sally in the new Amy Adams-led flick ‘Nightbitch’, knows what it takes to break through the barriers to create opportunities for herself and her peers. As she told us in an interview, creating her own opportunities became a must, after she wasn’t getting the acting roles she hoped for in the film and TV world. So she took matters into her own hands, and has been able to open up a world of possibilities for herself on screen and off, while also empowering other creatives to do the same.
Adrienne is also the producer of the 2015 comedy web series ‘Quirky Female Protagonist’, bringing the role of Straight-Laced Bestie to life. The series received critical acclaim from outlets such as HuffPost and IndieWire. She then went on to option the hour-long dramedy ‘Safe Space’ to Lakeshore Entertainment in 2017, before the pilot was sold to CBS in 2019.
Building on her creative momentum, Adrienne and her writing partners secured a deal with CBS Network for their comedy pilot, ‘Untitled White/Chan/Case’. The project produced in collaboration with Cedric the Entertainer and Eric Rhone’s A Bird and A Bear Productions generated buzz in the industry, which was covered by Deadline and Variety.
Recognized as a rising talent in comedy, she was named a Comedienne to Watch by Elizabeth Banks’ WhoHaha in their 2020 Comedy Call-Out. Demonstrating her versatility, Adrienne seamlessly shifted gears in 2021 to co-create and sell the drama series ‘Barrister’s Ball’ to CBS Studios, with Ted Humphrey on board as executive producer.
As an actress, Adrienne’s career began with ‘Mira Mira’ (2014), a short film she wrote and starred in, which premiered at NewFilmmakers New York and earned an Honorable Mention at the Women’s Independent Film Festival. Since then she has been seen playing a diverse array of characters on screen in numerous independent films that have been critically acclaimed.
Recognizing the importance of creating your own opportunities, we had the chance to get some insider info from Adrienne about her process, the secret to selling your own TV show, and her passion for great storytelling.
Where did your entertainment career begin, and what made you pursue this path?
I booked my first paid acting gig in middle school – I was hired to play a character in a computer game, so I’d pop up on screen and give advice to the player. I thought it was so cool to get paid to play pretend!
After college, I went to study yoga at an ashram in India – I had my own little ‘Eat Pray Love’ moment – and the yoga program had a talent show. I volunteered to host it. The night of the show, I started making up skits and bits on the fly to keep the audience entertained and engaged, and to help the talent acts shine. I realized that I was my best, most present self when I was creating and performing, and of service to others. After that, creating and performing became more than just a hobby; it felt like a calling.
We LOVED your performance in ‘Nightbitch’ alongside Amy Adams. Can you tell us a little more about your role and what audiences who haven’t yet seen it can expect?
I play Sally, an art gallerist who takes over Mother’s (Amy Adams’) job when she goes on maternity leave. To me, Sally represents the life that Mother left behind once she became a stay-at-home mom: Sally is focused on art and her career and living her best life. She’s also totally clueless about the primal changes Mother is going through – like maybe turning into a dog at night. I know, wild! As for what to expect, we like to say that the film is a comedy for women and a horror film for men!
Not only are you an accomplished actress, but also a writer and creator. Can you tell us a little more about the decision to create your own projects, and the process for selling a tv show idea to a network?
I became a writer because I wasn’t getting called in for the projects and the roles I wanted. So I decided to create them for myself. I studied at the Atlantic Acting School in NYC, and they put a big emphasis on creating your own work instead of waiting to get a “yes”. That approach opened up so many opportunities for me: it was much easier for directors and producers to know what I bring to the table, because I showed them through my own work.
As for the process of selling a TV show, the most important thing I can say is that you don’t have to know everything or do everything when you start. I definitely didn’t! You just have to find the right people to fill in the blanks.
Although we are starting to see some slow diversification behind the scenes in Hollywood, a lot of the change has come from creators like you making opportunities for themselves for underrepresented artists. How important is it to you to be part of this shift in the industry?
So important! I think what we do [in entertainment] can fundamentally shift the culture and create more empathy for groups and experiences that are outside the mainstream. I always come back to ‘Star Trek’ and the first interracial kiss that aired on national TV in 1968, before interracial marriage was legal in parts of the South. Or Dennis Haysbert playing the first Black president on the TV show ’24’ back in 2001, before Barack Obama became president. Stories on screen can start to shift what we see as possible, and I’m so proud to contribute to that shift.
When a filmmaker, actress or up-and-coming creator comes to you for advice on how they can get their project off the ground, what are some of the key tips you give them as they start out?
Create your own vehicle, whether that’s a movie or a TikTok character or a TV show. And try to learn from other people who’ve been down that road, who can help you avoid the potholes. There’s always a resource. For example, people kept asking me out to coffee to explain how I sold a show when I didn’t have any TV credits. So I built an online course called How to Actually Sell A TV Show, Organically, because it was easier than explaining it one by one.
My favorite lesson is about building the team for your TV pitch. A strong TV pitch needs four things: an authentic source, a writer, an experienced executive producer, and an element that has a proven audience (whether that’s an actor or director or piece of intellectual property). Someone like Issa Rae can do all 4 roles for one pitch. But all of us can figure out what we bring, and then find other people to bring in the other elements. You don’t have to do everything, which I find very freeing.
How important is it for actors and filmmakers to create their own projects instead of only waiting to be chosen by the “system”, so to speak? Is that even a viable path forward anymore?
So important. I think it’s the only real path forward, because TV is contracting. I think a lot more is going to change before the entertainment industry finds balance again. Actors and filmmakers have to cultivate their own audiences because “the system” is falling apart. I think the self-distribution model for film and TV is going to become the best practice in the years to come.
You have also produced projects, such as ‘Quirky Female Protagonist’. What does the role of a producer entail, and what kind of control does a producer have over a project, vs letting the network or studio own all the creative reigns?
The power of a particular producer totally depends on the project, and whether the network is just distributing or licensing it, or whether they’re a co-producer. As the producer of ‘Quirky Female Protagonist’, I focused on giving notes to the writer, hiring the production and post-production teams, and building the audience through online distribution and screenings. Producing is all about getting the project done and getting it out into the world.
What have been some of your favorite roles to play on screen, and do you prefer comedy or drama?
I loved playing Zelzah in ‘After We’re Over’, a bittersweet indie romance about a break up. Zelzah’s so caring and funny and fiery – one critic called her a “force of nature.” I filmed that about nine months before I went through a break up in real life, so that role taught me a lot about how to handle it. Life imitating art!
You are passionate about impact storytelling. What does this mean, and why is it important to your career?
Impact storytelling is all about telling stories that change the way people see themselves or see the world, for the better. For me, it’s about tapping into a greater purpose, and expanding what seems possible, showing tools to live a better life. Stories are so powerful, and I want to use that power for good.
What can we look forward to seeing you in, ahead in 2025?
Right now I’m developing a feature film about manifesting: Luci ghostwrites epic wedding toasts for her clients, but her own love life is trash. When she’s hired to ghostwrite a book about manifesting true love, she must confront her own bad relationships. It’s the movie I wish I’d seen when I first started dating!
Follow Adrienne on Instagram to keep up with all her incredible work, visit her website to see more of her projects, and for the inside track on how to package and sell your TV show idea, join Adrienne’s Sell A Show course to learn more!
