We’re already aware that Donald Trump’s presidency could chill the global film industry, but what about domestic entertainment affairs? What’s the future looking like for minority writers, actors, directors and show runners in an already divisive industry?

This past summer, Variety released a series of articles concluding that of the last TV season, “Show runners are still mostly white and male.” This was alarming for me to read, considering the large amount of “Black” narratives that debuted in the TV landscape over the past few years. But then it struck me — diversity is what’s “trending” right now. After Empire's ratings on network, Atlanta’s debut rating on cable, and Survivor’s Remorse on a subscription service (just to name a few), it only makes sense that black narratives are landing in development pipelines at agencies and studios across America. Ratings for this “genre” of programming are high, and money talks. Simple. However, with Trump in office, entertainment’s diversity agenda might be in danger. After all, the foundation on which it sits isn’t as strong as you might think. Here are some numbers:

"Of the 50 showrunners for the new season, two are women of color, and three are men of color. Studies by the Writers Guild of America show that non-white writers have constituted no more than 13% of writers-room employment for several years."

Are they saying that a show with a majority black cast and a so-called black storyline could still have white writers, producers and directors leading it? Wouldn’t that be an exploitation of black art, ideas, and talent? This really does seem problematic when you think about it — unfortunately it occurs far too often. A prime example of this is the Netflix Original series, The Get Down.

Although I enjoy watching talented millennials and established actors that I’ve respected for years, I can't overlook the questionable dialogue and character portrayals. Is this a good show? Absolutely. But great? Nah. I understand that I hold a very unpopular opinion and I’ll admit it may be slightly biased since I am not a die-hard fan of musicals. However, the fact that the executive producer, the director, and the majority of the writers are white doesn’t sit well with me. For a show’s premise to be on "the birth of hip-hop," I expect the creators and core contributors (writers) to be a part of the African diaspora. While Nelson George and Kurtis Blow do have producer credits, I’m unable to convince myself that the show is stellar in its entirety. In fact, I believe the only reason it’s as good as it is, is solely because of the team of “cultural trustees” who were brought in as consultants to school the actors (and I’m sure the writers too) about what took place during this era. Historical accuracy for a show of this magnitude is necessary, however, these producers' roles are relatively minor in the grand scheme of things. I would even go so far as saying their knowledge of the subject matter is being exploited for the benefit of a highly rated “Netflix Original” and a well-known white show runner.

Now this isn’t to say that I don’t like Netflix. They have a number of originals with black show runners (The Get Down just happens to be a highly successful one that is marketed for us but is not necessarily by us). I wholeheartedly appreciate the networks, studios, services that have pushed and supported shows like Power, Black-Ish, and Chewing Gum (all of which have black show runners). I am thankful for the growth that we have seen over this past decade and I celebrate the minorities who have been able to break down racial barriers and pave the way for people like my peers and myself. However, let’s keep in mind what Ava DuVernay once said,

"Forward-thinking people and allies of this cause within the industry have the common sense to know that this is systemic…There needs to be more done than applauding one or two people who make it through your door."

The keyword here is systemic. How does this relate to Trump and his ideals? Well, let’s think about the basis of Trump’s campaign — white supremacy. He effectively used this sole philosophy — one that has been prevalent in almost every sector of American life — to not only rally up his supporters but to also secure his position as the next president of the United States. Not unlike Trump, Hollywood has perpetuated a cycle of the “old boys club” since its inception. It’s not only exclusive but racist and sexist in its hiring practices. We’ve recently begun to see the promise of change with the appointment of leaders such as Academy President Cheryl Boone Isaacs, but with Trump and his network in the government attempting to “Make America Great Again," I think now is a time to be more alert than ever. It’s our responsibility to ensure the advancement of inclusion in entertainment rather than allow powerful figures to influence its reversal to traditional (systemic) norms. This is not the time to get comfortable.

To put it simply, we must push the envelope. Hollywood’s standard isn’t our standard. A few shows with black writers and show runners isn’t going to cut it anymore — especially when the industry has a reputation of exploiting black narratives for their own gains. Especially when our nation’s next leader has the full support of KKK leaders, neo-nazi rebels and the "silent majority." It's imperative that we continue promoting and supporting black representation in front of and behind the camera. It is crucial that we heavily surveil who is profiting from our stories and our talent. Our country has a history of suppressing the black community, giving us an inch under the false notion of equality, and then harvesting the bounty for themselves. We can’t accept the inch. From now on we must demand the mile in all areas of life, but in particular, entertainment.

Mimi Ivy

Writing since November 2016 · 2 stories contributed