Data-driven rundown ranks inclusive films, distributors and producers over the last 4 years; top honors go to distributors Universal Pictures, A24, producers Will Packer, James Lopez and Kevin Feige
The USC Annenberg Inclusion Initiative and its founder, Stacy L. Smith, Ph.D., in collaboration with the Adobe Foundation, have debuted a new, first-of-its kind ranking system, The Inclusion List, to show the world just who is doing it best when it comes to representation in theatrically-released films.
The Inclusion List, accessible here, is a new data-driven ranking that provides the titles of the 100 most inclusive theatrically-released films from 2019 to 2022. The website also highlights the top distributors associated with the movies on the list, names eight individuals as the top producers, and showcases two top directors for inclusion across the time frame evaluated.
“With The Inclusion List, our goal is to celebrate the films, filmmakers, and companies who are supporting inclusion on screen and behind-the-camera,” said Dr. Smith. “This is the first rigorous, quantitative assessment of hiring practices across almost 400 movies and more than 900 producers, over 350 directors, and 16 distributors. The results are clear: Universal Pictures, A24, Will Packer, James Lopez, Kevin Feige, Gina Prince-Bythewood, Lulu Wang and the others on the list are ushering in a new era for inclusion through the choices they have made and the stories they have told. We are excited to showcase and recognize those efforts.”
To form the list, the research team scored 376 theatrically-released films across 20 inclusion indicators, with the highest-scoring films receiving top honors. The indicators ranked gender, race/ethnicity, LGBTQ+, disability, and age representation for cast in leading and all speaking roles. Behind the scenes, gender and race/ethnicity were assessed across 10 positions to create a crew score. Those 10 positions were: director, writer, producer, cinematographer, editor, composer, costume designer, production designer, casting director, and first assistant director. More than 14,000 speaking characters and over 5,500 crew members were evaluated in the process of compiling the Inclusion List.
Whereas other Hollywood lists about inclusion rely on submissions, a nomination process, or subjective decision-making, The Inclusion List draws solely from data to create a cast and crew score based on actual hiring practices and story elements. As a result, the films, distributors, and producers on the list appear based on a demonstrated track record for inclusion.
“The Inclusion List shows us who has excelled at showcasing stories featuring voices that are often missing from popular movies. Seven of the top 10 films on the Inclusion List were directed by women of color, and the first 47 films on the list were made by directors from historically marginalized communities,” said Dr. Smith. “What’s even more powerful about this list–and consistent with our previous work–is that films from women and women of color directors on the list earned the highest average Metacritic score. These women are excluded from the industry when we know that they are some of the top performers, telling some of the strongest and most compelling stories. This is a list that celebrates women of color in an industry that doesn’t.”
The top distributors reflect the companies responsible for bringing the films on The Inclusion List to audiences. They were ranked by the number of films appearing on the list itself. Among large distributors, Universal Pictures took top honors with 24 films on the list, followed by Sony Pictures Entertainment (14 films) and Warner Bros. Pictures (11 films). For smaller distributors, A24 led among its peers with nine movies, with Neon landing in second place (six films).
A total of eight producers received a nod for their work in film over the past four years. Will Packer, James Lopez, Kevin Feige, Dede Garner, Jeremy Kleiner, Jordan Peele, Ian Cooper, and Jason Blum were named the most inclusive producers for having three or more films on The Inclusion List.
“These producers have a clear commitment to championing material that reflects culturally specific content and/or a variety of perspectives, and for their inclusive hiring of crew behind the scenes,” said Dr. Smith.
“At Adobe, we believe that when more diverse stories are told, the world becomes a more equal and vibrant place,” said Stacy Martinet, VP marketing at Adobe and Adobe Foundation Board member. “Initiatives such as the Adobe Foundation’s collaboration with USC Annenberg gives us the ability to elevate the stories and people that are making inclusivity a priority, while also finding the ways we can still make change in the industry.”
This latest collaboration builds on Adobe’s commitment to creating greater inclusivity, access, opportunity and creativity for all. The Annenberg Inclusion Initiative and Adobe Foundation together launched a landmark website on inclusion among Academy Award-nominees and winners ahead of the 2023 Academy Awards ceremony. The Adobe Foundation also announced funding to support the USC School of Dramatic Arts MFA program, directly supporting the production of short films for underrepresented students.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More