CII Examines Role Of Insurance In Tackling Entertainment Workplace Injuries

CII Media Team • August 5, 2026

 Underwriters, Brokers, Claims Professionals


 The Chartered Insurance Institute (CII) has published the findings of a specialist roundtable that explored how the insurance market can help address workplace injuries across film, television and theatre production. The Workplace injury in UK entertainment production Roundtable summary report builds on the professional body’s partnership with the Injury Prevention Consultancy (IPC) formed in May of this year, and its support for the forthcoming IPC Impact of Injury 2026 (IOI26) research programme.


Held in June, the roundtable convened underwriters, brokers, claims professionals and researchers specialising in entertainment insurance, to examine the gap between the high levels of workplace injury identified by IPC research, and the comparatively low volume of related insurance claims. Participants also discussed potential measures for improving safety standards and risk management across the sector.


The discussion was informed by findings from IPC's Impact of Injury 2024 (IOI24) report, which found that 76% of screen performers and 85% of theatre performers had sustained workplace injuries during their careers.


Roundtable participants agreed that cast injury claims remain relatively uncommon compared with other entertainment insurance claims, despite the prevalence of injuries reported by performers. It was suggested that cultural barriers, informal management of injuries, and a lack of clear reporting mechanisms contribute to injuries remaining largely invisible to insurers and policymakers. The report identifies several challenges, including limited data on injury prevalence and costs, the use of special purpose vehicle production companies that can obscure accountability, and the fact that insurers often become involved in productions after key safety-related decisions have been made.


Several ways in which the insurance sector could help drive change were identified, including using better injury data to inform underwriting decisions, recognising credible safety certification or training when assessing risk, and working collectively so that no single insurer is commercially disadvantaged for asking rigorous safety questions. The report also suggests that insurers could play a role in rewarding productions that demonstrate good practice, while supporting wider collaboration with brokers, producers, broadcasters and regulators to strengthen injury prevention standards across the sector.


Commenting on the report, Matthew Hill, CII Chief Exec, said: “This report builds on important work undertaken by the IPC to highlight a lack of good practice surrounding workplace injury within film, television and theatre production. We have an opportunity to demonstrate how the insurance profession positively impacts people’s lives by helping to improve the evidence base, support better reporting and recognise good safety practice"


IPC Director, Tome Levi, added: “There is a significant, systemic shift taking place within the media and entertainment insurance sector, as key stakeholders recognise their uniquely powerful position to act as arbiters of good practice in stage and screen production. The IPC is steadfast in its commitment to delivering a robust evidence base that supports the essential reforms laid out in this report, and we look forward to continuing our close work with our insurance partners to achieve meaningful and lasting change.”


 


As part of its ongoing commitment, the CII will use findings to inform its engagement with the IOI26 research programme, facilitate further discussions with brokers to explore injury-related data and support the continued development of injury prevention standards across the entertainment sector.


The report will also help shape the next phase of the IOI26 research programme, which will explore issues such as the financial impact of workplace injuries, reporting behaviours, production delays, awareness of legal rights and support mechanisms, and the experiences of disabled performers and those with pre-existing conditions.





 


 


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