What to Ask When You’re Watching a Movie
You've probably heard of the Bechdel Test, but what about the DuVernay, the Vito Russo, or the Riz Tests?
The Bechdel Test, also called the Bechdel-Wallace Test, is the original when it comes to measuring meaningful representation in movies and TV shows. Are there two women who talk to each other about something besides a man? It’s brilliant, so no surprise that many new tests have been created since.
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I’ve spent 15 years in film & TV development, which means I’ve read a lot of scripts. In my most recent role in diversity, equity & inclusion (DEI), I focused exclusively on inclusivity. Like many people, I only knew about the Bechdel Test before I started. All credit goes to my former coworker Maya Litwin for introducing me to a lot of the tests I describe below. We assembled these into one document as a resource for writers. We also added new questions where we saw gaps.
You don’t need to be a writer to appreciate these though. We’re all watching stuff. We’re also all humans on Earth learning to understand each other. Reading something like the Riz test about Muslim characters challenges my own assumptions about Muslim people in the real world. What biases am I carrying around? Where do I think those biases came from? And how can I challenge my assumptions?
For simplicity, I’m just going to lay out the questions themselves, but for each I’m including a link to more information about the test’s origins and applications. I hope to add new tests to this post as I find them. Don’t hesitate to comment if there’s one I’m missing!
Gender
Bechdel-Wallace Test:
Does the content have at least two female characters, who both have names, talking to each other about something other than a male character?
Read more about the Bechdel-Wallace test on Wikipedia.
Mako Mori Test:
Does the content have a female character who gets her own narrative that is not about supporting a man’s story?
Read more about the Mako Mori test on Wikipedia.
Ageless Test:
Is there at least one female character who is 50+ who matters and is tied into the plot in such a way that their removal would have significant effect? And is that character presented in humanizing ways and not reduced to ageist stereotypes?
Read more about the Ageless test from the Geena Davis Institute.
Also ask:
How often do female characters appear on-screen, and what is their role when they do?
Are there any genders outside the binary and/or trans characters?
If characters are animals, robots, or any other non-humanoid, how many come across as female?
FiveThirtyEight compiled a whole bunch more tests worth checking out in their 2017 project The Next Bechdel Test. These tests, compiled from interviews with women in film & TV, hit on behind-the-scenes gender diversity as well.
Race/Ethnicity
DuVernay Test:
Do the black characters — or characters of another minority — have fully realized lives, with their own desires, who do not serve as background characters (ex. the black friend) for white plot lines.
Read more about the DuVernay test in Vox and in the New York Times article where it was first proposed.
Deggan’s Rule:
Does the content feature at least two non-white human characters in the main cast in a show that is not about race?
Listen to Eric Deggan describe his rule on NPR (there’s also transcript at that link if reading if more your style).
Shukla Test
Are there two ethnic minorities who talk to each other for more than five minutes about something other than race?
Read Nikesh Shukla’s original pitch for the test in the New Statesman.
Also ask:
Do the characters of color have a significant amount of lines/dialogue? Or is this a future candidate for Dylan Marron’s “Every Single Word” Series?
Do characters of the same race have different perspectives?
Does the show fully reflect the demographics of its setting? For example, director Domee Shi made sure background characters in Pixar’s Turning Red reflected the diversity of the Toronto neighborhood where the story takes place.
For non-human characters, is a full spectrum of skin color portrayed in those species where it exists? Is there unnecessary meaning ascribed to those skin tones, such as the dark purple aliens being more evil than the light purple ones?
Faith & Belief
Riz Test:
If the film/show stars at least one character who is identifiably Muslim (by ethnicity, language or clothing) - is the character…
Talking about, the victim of, or the perpetrator of terrorism?
Presented as irrationally angry?
Presented as superstitious, culturally backwards or anti-modern?
Presented as a threat to a Western way of life?
If the character is male, is he presented as misogynistic? Or if female, is she presented as oppressed by her male counterparts?
If the answer for any of the above is yes, then the film/TV show fails the test.
Read more about the Riz Test at riztest.com.
Obeidi-Alsultany Test:
The project that includes a Muslim character(s) does not reproduce or reinvent old tropes but rather explores new stories and contexts.
The project that includes Muslim character(s) has a Muslim-identifying writer on staff to ensure that Muslim cultures, religion, characters and storylines are being portrayed accurately and authentically.
The Muslim character(s) is not solely defined by their religion. Religion can be part of the character’s backstory but should not be their entire story. Muslim culture and faith should be accurately delineated.
The Muslim character(s) has a strong presence and the character(s) is essential to the story arc and has a rich and clearly defined backstory.
The Muslim character(s) is portrayed with diverse backgrounds and identities.
Read the guest column introducing this test from Sue Obeidi and Evelyn Alsultany in the Hollywood Reporter.
JOSEPHS Test
Are there Orthodox Jewish characters who are emotionally and psychologically stable?
Are there characters who are Orthodox Jews whose religious life is a characteristic but not a plot point or a problem?
Can the female Orthodox character find her “Happily Ever After” as a religious Jew?
And if the main plot points are in conflict due to religious observance— are any characters not Hasidic or Haredi and have the writers actually researched authentic religious observance from practicing members of the community they are attempting to portray?
Read more about the JOSEPHS Test from Jews in the City.
Body Type
Cooper Test:
Does the content have at least one prominent character with a large body type who is a serious part of the plot without their weight being the story/punchline?
Read more about this version of the Cooper Test (not the one my parents grew up with) in the footnotes of the 2020 See Jane Report from the Geena Davis Institute.
Also ask:
Do the characters have a range of body types?
Does any of the intended humor depend on any part of a character’s appearance?
LGBTQ+
Vito Russo Test:
Does the content have a character that is identifiably LGBTQ, who:
is not solely or predominantly defined by their sexual orientation or gender identity (Ex. they are made up of the same sort of unique character traits commonly used to differentiate straight characters from one another), and
is tied into the plot in such a way that their removal would have a significant effect (Ex. They are not there to simply provide colorful commentary, paint urban authenticity, or set up a punchline. The character should “matter.”)
Read more about the Vito Russo test from GLAAD.
Also ask:
Are there any queer characters at all? If so, are the portrayals both authentic and genuine? Or do they feel like they were thrown in thoughtlessly?
Are there relationship structures or “crushes” in this world? If so, there are opportunities for queer representation.
Does it feel like we’re dwelling on certain identities within the LGBTQIA+ umbrella to the exclusion of others? At least in kids’ content, we notice significantly more female-identifying queer characters than male.
Socioeconomic Status
Are there characters with lower socioeconomic backgrounds? Are their lives portrayed fairly, showing both their joys and their struggles? Or is it all about the negatives?
Do different socioeconomic levels even exist in this world, the way they do in the real world? If so, are those lower levels accessed through any of the lead characters?
Disability
Do any of the characters have a disability? If so, is it a true disability, in that it limits or otherwise affects an aspect of a character’s life? Or is it a super-powered robot arm that’s clearly only there to look cool?
Is there an opportunity to sensitively portray a non-apparent disability, such as autism or schizophrenia?