Ask any producer who has Scarlett Johansson or Viola Davis’s agent on the phone whether that cop character could be a woman. That is how binary we are. In dollar signs.

It is flashy news that Bechdel-passing scripts did better with paying audiences than Bechdel-failers last year. So now that it’s ridiculously simple and can be measured in billions, people are paying attention.

There are two ways to do it. The wrong way, which is to tack on a scene with two women who studiously ignore the topic of men. The right way to do it is to give the kind of character development to the women in your script that makes scenes between them important to the plot.

Not talking August: Osage County or Vagina Monologues stuff. Just people. Who are important to the story. Who aren’t men.

Cha-ching.