to whether they pass the test, at least one researcher, Faith Lawrence, noted that the results depend on how rigorously the test is applied. For example, if a man is mentioned at any point in a conversation that also covers other topics, it is not clear whether this means that the conversation meets or fails the test. Another question is how one defines the start and end of a conversation. Criticism In response to its increasing ubiquity in film criticism, the Bechdel test has been criticized for not taking into account the quality of the works it tests (bad films may pass it, and good ones fail), or as a "nefarious plot to make all movies conform to feminist dogma". According to Andi Zeisler, this criticism indicates the problem that the test's utility "has been elevated way beyond the original intention. Where Bechdel and Wallace expressed it as simply a way to point out the rote, unthinkingly normative plotlines of mainstream film, these days passing it has somehow become synonymous with 'being feminist'. It was never meant to be a measure of feminism, but rather a cultural barometer." Zeisler noted that the false assumption that a work that passes the test is "feminist" might lead to creators "gaming the system" by adding just enough women characters and dialogue to pass the test, while continuing to deny women substantial representation outside of formulaic plots. Similarly, the critic Alyssa Rosenberg expressed concern that the Bechdel test could become another "fig leaf" for the entertainment industry, who could just "slap a few lines of dialogue onto a hundred-and-forty-minute compilation of CGI explosions" to pass off the result as feminist. The Telegraph film critic Robbie Collin disapproved of the test as prizing "box-ticking and stat-hoarding over analysis and appreciation", and suggested that the underlying problem of the lack of well-drawn female characters in film ought to be a topic of discourse, rather than individual films failing or passing the Bechdel test. FiveThirtyEights writer Walt Hickey noted that the test does not measure whether any one film is a model of gender equality, and that passing it does not ensure the quality of writing, significance or depth of female roles—but, he wrote, "it's the best test on gender equity in film we have—and, perhaps more important ..., the only test we have data on". Nina Power wrote that the test raises the questions of whether