The “racial ceiling”, which Reid uses to describe “institutionalized” marginalization of Black Actors, Actresses and Film makers, is interesting in the way that it mirrors sociopolitical advantages and disadvantages experienced by African Americans and people of color in real time. “During the earliest period of American film, black independent filmmaking lost talented actors to a Hollywood that was willing to hire them” (Reid 13). Attracted by financial gain, many industry Blacks became convinced that “upwardly mobile” meant Hollywood lights. Albeit true to a degree, some might argue in whole-hearted approval. Limitations and challenges industry Blacks faced such as trivialized roles, type-casting and utter “Bamboozlement”, became necessary stepping-stones to successful careers. Yet, only the elite (“Hollywood Worthy”) Blacks could attain them. I begin to wonder as structures become more apparent, how are actors really performing, simultaneously performing on screen? Reid suggests, while Black Actors and technicians clamor at red carpet dreams, many independent Black filmmakers are left crawling on the cutting room floor. I think Reid’s point is meaningful in the way that it foregrounds problematic aspects of the American film industry while gesturing at issues that emerge in a general discussion of labor, economics and identity politics in America.