It’s almost as complicated as the Nuremberg Laws. Please take a look:
To be eligible for best picture, a film must meet at least two standards across four categories: “Onscreen Representation, Themes and Narratives,” “Creative Leadership and Project Team,” “Industry Access and Opportunities” and “Audience Development.” Within each category are a variety of criteria involving the inclusion of people in underrepresented groups, including women, people of color, LGBTQ+ people and those with cognitive or physical disabilities. (Other Oscar categories will not be held to these same standards, but the contenders for best picture typically filter down to other feature-length categories.)…
The new standards will not go into effect until the 96th Oscars in 2024. But at a time of racial reckoning both for Hollywood and the nation as a whole, the academy believes the requirements provide a road map for how the industry can ensure that at least those films that compete for its highest honor reflect the diversity of the moviegoing audience and the wider world.
Sure, that’s why people go to the movies – to see them “reflect the diversity of the moviegoing audience and the wider world” in a “time of racial reckoning.” And here I thought it was escape, entertainment, or even to be moved by something (although that’s the aim of fewer and fewer movies, it still happens now and then). I haven’t gone to the movies for years except on extremely rare occasions, and I rarely even rent or stream a movie that was made more recently than twenty years ago. But the people who do go to the movies aren’t going for those reasons, I can almost guarantee.
And yet Hollywood has become obsessed with this. It goes almost without saying – but I’ll say it anyway – that this is a combination of abject virtue-signaling and fear of being called racist or homophobic or transphobic.
A sample of the actual standards:
For the 96th Oscars (2024), a film must meet TWO out of FOUR of the following standards to be deemed eligible:
STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES
To achieve Standard A, the film must meet ONE of the following criteria:A1. Lead or significant supporting actors
At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group.
• Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicityA2. General ensemble cast
At least 30% of all actors in secondary and more minor roles are from at least two of the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingA3. Main storyline/subject matter
The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingSTANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM
To achieve Standard B, the film must meet ONE of the criteria below:B1. Creative leadership and department heads
At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearingAt least one of those positions must belong to the following underrepresented racial or ethnic group:
• Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicityB2. Other key roles
At least six other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc….
It goes on – and on and on – with much more. But I think you get the idea. I note with interest that having “women” as a main storyline, theme, or narrative of a film is considered to fulfill at least one of the inclusion criteria. I had no idea there was such a dearth of chick flicks that we needed affirmative action to ensure that we have more.
What a travesty. Jobs by identity group numbers – the future of America, if the left has its way. Note also that California will be voting this November on Proposition 16, which would allow the state to discriminate in employment based on race:
Proposition 16 is a constitutional amendment that would repeal Proposition 209, passed in 1996, from the California Constitution. Proposition 209 stated that discrimination and preferential treatment were prohibited in public employment, public education, and public contracting on account of a person’s or group’s race, sex, color, ethnicity, or national origin. Therefore, Proposition 209 banned the use of affirmative action involving race-based or sex-based preferences in California.
I don’t believe any of that would affect the movie industry, since it is not public employment, public education, or public contracting. But it is an indication of the determination on the part of the left to make race-based preferential quotas the law of the land, both de facto and de jure.
I didn’t leave the movies, the movies left me – a long time ago. But hiring people by the numbers is just another way for them to hurt themselves.
