Since Frances McDormand’s legendary speech at the Academy Awards, the term »Inclusion Rider« quickly comes up when it comes to calling for more diversity in film. But how does the contract concept work in practice? In the new Tatort »Schattenleben«, produced by NDR and Wüste Film, an inclusion rider was used for the first time in a German film production – on the initiative of director Mia Spengler. On the panel, the Tatort team will report on their experiences with an inclusion rider: What worked? What were the challenges? Is this a tool capable of making the German film industry more diverse in the long run?