#AsianAugust was a hashtag that was started by CAPE (Coalition of Asian Pacific in Entertainment) as a way to signify and celebrate last month’s phenomenal release of CRAZY RICH ASIANS as well as the Sundance winning thriller SEARCHING #StarringJohnCho and the Netflix rom com ALL THE BOYS I’VE LOVED BEFORE, which set the internet ablaze starring Vietnamese American actress Lana Condor.

Asian American audiences turned out in droves, thanks to social media, theater buyouts by Asian American entrepreneurs and celebrities in the form of #GoldOpens and audiences opened their wallets and bought tickets and quickly responded. It was definitely a groundswell and it caught on.

More from Variety:

Aside from an injection of diversity, these titles shared the distinction of universal acclaim. Stellar reviews and incredible word of mouth carried “Crazy Rich Asians” to $162 million worldwide to date. Though a China release is still uncertain, it’s one of the highest grossing romantic comedies in almost a decade.

“Searching,” the inexpensive thriller shot from the point of view of computer screens and smartphones, posted an exceptional 92% certified fresh rating on Rotten Tomatoes and looks to become highly profitable with $32 million worldwide, including a healthy $4.4 million from South Korea.

And though the streaming giant doesn’t divulge numbers, “To All the Boys I’ve Loved Before” spawned a flurry of social media reaction and helped kick the career of co-star Noah Centineo into overdrive. It’s a rare YA movie adored by critics and audiences alike.

So, now what, Hollywood? There have been reports of Asian American projects getting the green light after the success of CRAZY RICH ASIANS, but will it last?

More from Variety:

“I’m sure every other studio is asking, ‘How can I do this?’” Paul Dergarabedian, a box office analyst with comScore said. “[Hopefully] it gets to the point where these movies are able to rise and fall on their own merits.”

And networks and studios are starting to get the message: New Line and Warner Bros. recently bought a spec for the China-set “Single’s Day,” an ensemble comedy by TV writer Lillian Yu, while several TV projects with Asian casts or themes are in the works. In addition to the “Crazy Rich Asians” sequel, Chu is also teaming up with Ivanhoe Pictures on a movie about the Thai cave rescue mission in an effort to avoid whitewashing. Disney is releasing the live-action “Mulan” with Yifei Liu, Donnie Yen, and Gong Li in 2020. Meanwhile, Netflix has “Always Be My Maybe,” a rom-com starring Randall Park and Ali Wong, due out next year.

Perhaps soon, Hollywood will learn diverse stories don’t have to be confined to a single month.

To read the rest of the article, head over to Variety: What Can Hollywood Learn From #AsianAugust?