I think this is the crux of our supposed disagreement here.
My comments on diversity are specific to the quotas, and not about reducing exclusion. I remain fairly agnostic in that regard, because while I'm pro-inclusion and diversity, I also don't want the creative being impacted by filling quotas. I think we generally want the same thing, only our priorities are different.
One example I'll give here is the addition of Tauriel to the Hobbit movies. She was added to the movies deliberately because the creators thought the Hobbit's characters was too male-centric, and they wanted to provide a strong female lead to balance things out. I have no problem with this character or its addition to the story. I simply see it as being pointless, and I think her character/arc came at the price of telling a more concise story. There was no real place for a romance sub-plot in the Hobbit's tale. And her role in the story was effectively filler anyways. IMO, the added diversity didn't make things better, it just added more filler to a series of films that was already stretching the plot thin.
And I personally see this type of thing happening all too often in more modern productions. I just don't see it being a good thing when diversity becomes prioritized over just telling a strong story. I am thrilled when it works like Dr. Strange's casting of Tilda Swinton as the Ancient One, or Chiwetel Ejiofor as Mordo. The choice of diversity did not impact the story, I think it was very well integrated, explained and believable. And it plays into what I've said earlier about maintaining verisimilitude, even if you think my reasoning may be antiquated.
I want to be clear that I agree with your statement, but I don't see this being a byproduct of anything I've said so far in terms of diversity and the status quo. Don't let this get in the way of you feeling strongly about it, I'm not trying to dismiss anything you've said here. I'm merely saying it isn't really relative to any of the comments I've made, and I don't want to come across as excusing the issues you're bringing up when I talk about prioritizing creative decisions over maintaining status quo. I just don't see this having anything to do with anything I've said, this is more an issue that you're bringing to the table than one that I'm implying.That's relevant to Hollywood, too. It takes a lot for an actor of color to go to a casting for a role that's always been or is strongly described as white - even if no one stops them from trying out for the role, a lot of people simply won't bother because they are convinced they'll never get it. That's an implicit barrier, and implicit exclusion, and it's very difficult to tackle.
I work in children's animation. Even for fictional characters, there are many many factors that go into deciding how ethnic representation is handled. Marketing might want to hit a broader range of kids who will identify with the characters. Executives might want want to aim at reaching a certain country or territory. Showrunners might want to be progressive, and add LGBT characters/issues where it isn't normally seen. There's so many factors that influences these choices that it's hard to just lump this all in as a being a product of challenging the old 'bad casting practices'. In the end, it is about companies wanting to make money. It's the economics that drives the casting practices.
The reason why I think modern adaptations are open to diversity is because I think there is a belief that diversity is profitable. That this is what the audience wants. I come to understand this as being more a byproduct of business strategy, and the economics are influencing the creative. My bias comes from my experience in a related industry, just one that happens to deal with purely fictional characters rather than real life ones.