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It’s no surprise that Hollywood could do better in terms of diversity. But it might be surprising that diversity in all aspects of filmmaking pays off, literally. A recent article from NPR discusses Darnell Hunt‘s annual Hollywood Diversity Report. The report finds a “mixed bag” for people of color attaining key roles in the industry. People of color are incredibly underrepresented in positions like talent scouts, directors, and lead roles.  This underrepresentation is especially disconcerting when nearly half of the U.S. population is comprised of people of color, and yet the industry remains predominantly White and male.

Hunt and his team also found that diverse films and TV did extremely well in 2016, and that people of color were the top consumers of ticket sales for many major films that year. In other words, more diversity may mean more monetary payoff. Hunt points to Black Panther as a groundbreaking example in the industry.

“[Black Panther] smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if Black Panther will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”

In short, the success of diverse films should not be underestimated, and it seems to be in Hollywood’s best interest to increase diversity both on screen and behind the camera.

Following the whitest Academy Awards in nearly 20 years, UCLA’s Ralph J. Bunche Center for African American Studies released its 2015 Hollywood Diversity Report. Sociologist and center Director Darnell Hunt described the findings to The Hollywood Reporter: “Hollywood is not progressing at the same rate as America is diversifying.”

The study, which surveyed the top 200 worldwide box office films and 1,105 television series in 2012 and 2013, found that racial minorities and women were substantially underrepresented in both acting and directing roles. Those films with at least 30% diversity, however, did best in the worldwide box office tallies.

Study co-author Ana-Christina Ramon believes these numbers show that, “audiences, regardless of their race, are clamoring for more diverse content.” So what’s the holdup?

“It’s a high-risk industry,” says Hunt. “People want to surround themselves with collaborators they’re comfortable with, which tends to mean people they’ve networked with—and nine times out of 10, they’ll look similar. It reproduced the same opportunities for the same kind of people: You’re surrounding yourself with a bunch of white men to feel comfortable.”

Hunt suggests that emerging digital platforms like Netflix and Amazon could create more opportunities for on-screen diversity. Still, he is hesitant to make grand claims about progress: “It’s getting better, but it’s not getting better fast enough. And it’s still a big problem.”

The comedy Obvious Child hit theaters last Friday, and it’s been praised as “the most honest” abortion movie Slate‘s Amanda Hess has ever seen. Honest, in that the film’s protagonist Jenny Slate decides to have an abortion and goes through with it. Her relationship does not implode, she does not suffer crippling guilt, and she survives. Her life goes on. It turns out that this kind of straightforward portrayal is a rarity in American film and television, though millions of women have abortions every year (the Guttmacher Institute pegs the number of worldwide procedures at about 42 million per year). In a recent Contraception article, a pair of sociologists report that pre-Roe v. Wade era plotlines disproportionately featured the death of women characters who even thought about abortion. After abortion’s legalization, portrayals came to suffer from a different distortion: “These movies tell us that it was wrong [before Roe] for laws to dictate what a woman ought to do with her body, but now that she has the choice, she should choose to give birth except under the most extenuating of circumstances,” Hess writes. Obvious Child rejects, well, the obvious.

Watch the trailer for the film here.