Rick said that in his division, the quality and effectiveness of the work they were doing took a back seat to identity politics. “It became our total motivation: hiring x number of female directors, and x number of black directors.” There was one case in which the team had the budget to make a hire, and considered taking on a freelancer who had done superb work for them in the past, under budget. The problem: he was a white male. “Someone present in the hiring meeting said, ‘White people had it good for 400 years – it’s about time they felt the sting,’” says Rick. “None of the people leading the meeting said a word about that.” There was another case in which a team was carrying out an expensive shoot in an environment in which a black actor hired for the shoot decided on the set that they didn’t want to subject themself to a minor inconvenience that was part of the contract. After the shoot ended, ACME offices were filled with lamentations over how racially insensitive ACME was to expect a black person to do something they didn’t want to do — even though the request was extremely minor, and the actor had signed on for it. As Rick put it, expecting a black actor to honor a professional commitment was considered intolerably racist by ACME staff.