The Academy of Motion Picture Arts and Sciences announced new mandatory diversity requirements yesterday. “Diversity” in this case as in with most of them is merely a euphemism for “fewer straight white men.” Starting in 2022, all movies that want to be considered for inclusion must submit a “confidential” “Academy Inclusion Standards” form. By 2024, there will be strict quotas required for eligibility.

Those eligibility requirements are:

STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES

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 ethnicity

A2. 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 hearing

A3. 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 hearing

STANDARD 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 hearing

At 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 ethnicity

B2. 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.

B3. Overall crew composition

At least 30% of the film’s crew is from the following underrepresented groups:

  • Women
  • Racial or ethnic group
  • LGBTQ+
  • People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES To achieve Standard C, the film must meet BOTH criteria below:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:

  • Women
  • Racial or ethnic group
  • LGBTQ+
  • People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:

  • Women
  • Racial or ethnic group
  • LGBTQ+
  • People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD D: AUDIENCE DEVELOPMENT To achieve Standard D, the film must meet the criterion below:

D1. Representation in marketing, publicity, and distribution

The studio and/or film company has multiple in-house senior executives from among the following underrepresented groups (must include individuals from underrepresented racial or ethnic groups) on their marketing, publicity, and/or distribution teams.

  • Women
  • 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 ethnicity
  • LGBTQ+
  • People with cognitive or physical disabilities, or who are deaf or hard of hearing
  • In order to be eligible, a candidate film must meet at least two of four of these standards (A, B, C, and D). What was implicit five years ago until yesterday has been made explicit. Movies, to be considered good by the establishment, can't be centered around straight white men, and must be "inclusive" to these other groups. Your movie has to be about non-whites, wahmen, or LGBTP people or has to be created by them. Films will be disqualified from receiving awards on account of the race and sex of the people creating and starring in them, literally.

    The one thing that's fortunate about this is that the Oscars are basically irrelevant anyway. I can't think of a single time any of my /tv/ friends brought up the Oscars in years. People discuss film and television more than ever before, but the Oscars are mentioned rarely if at all. Receiving an Oscar isn't pertinent to anybody outside of the film industry, and even there I'm wondering how much people there really worry about this. This isn't just my opinion, either: the Oscars' viewership has been cut nearly in half in the last twenty years, hitting an all-time low in 2020. This is in spite of the growing American (and really, global) population. So the real question people should be asking, in a way, is: who cares?