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Mindy Kaling, an Indian-American actor, comedian, writer, director, and producer, is most famously known for her work on the American television series “The Office.” In a recent interview with Elle Magazine, Kaling shared that she faced sexist, racist discrimination from the Emmys during her early years with the show.

According to Kaling, the Emmys had initially erased her from the list of “The Office” producers who were eligible to receive an Emmy award. To be considered for a nomination, Kaling said, she was required to “fill out a whole form and write an essay” to prove her contribution to the show while her “other male, white producers” did not. The experience was “humiliating,” Kaling noted in a tweet.

The Academy swiftly defended itself against Kaling’s accusations. A spokesperson for the Academy told the Los Angeles Times, “No one person was singled out. Every performer and producer and writer producer was asked to justify their producer credits.”

But Kaling disagreed. “I *was* singled out,” she tweeted in response. “There were other Office writer-performer-producers who were NOT cut from the list. Just me. The most junior person, and woman of color. Easiest to dismiss. Just sayin’.”

In the end, after being pressured by Kaling and her coworkers, the Academy added Kaling’s name to the list of Emmy nominees. “The Office” did not win an Emmy that year. But whether they won the award seems less significant in light of Kaling’s recent coming forward of the Academy’s alleged sexism and racism. So what matters now, after all these years?

If what Kaling said is true, then the Academy’s remorseless reaction to Kaling’s exposé reveals a discouraging immaturity and cowardly unwillingness to learn the lessons that have come at great cost from #MeToo. Feigning ignorance might have been acceptable once, but it was never believable. The Academy should come clean and give Kaling her due apology. Or if, in fact, what Kaling has said is untrue, then the Academy should call her out for spreading rumors. The Academy, however, has done neither of those things. So far, all they have done is take an indifferent stance, and their lack of insistence is suspicious — and only strengthens Kaling’s credibility. If they have nothing to be ashamed of, what is there to fear?

Besides, Kaling is susceptible to some criticism, too: Why come forward now? The question hints that even if Kaling’s claims against the Academy are true, her accusations may not be entirely blameless or confessional. The precarious timing of this reveal, years after the event, leads one to ponder a possible ulterior motive, an empathy campaign or publicity stunt to crown Kaling as one of the heroines of #MeToo. Like anyone, Kaling could use the good publicity: When discussing the overcoming of obstacles in one’s career, what better card is there to play than pointing to blatant acts of sexism and racism that one triumphed over to find success? The liberal public loves to side with a woman of color victimized against a gargantuan institution, and for good reason, of course.

It is perhaps tragic that Kaling’s brave stance must be questioned under such skeptical scrutiny. It seems women can never get the long end of the stick, her options being either to suffer in secrecy or to be received with stones for sharing her story. There needs to be a new standard for how society treats testimonies by women, especially when the testimonies require tremendous vulnerability and courage. Women’s testimonies must be regarded as facts, and interrogated with facts. Jumping to hasty conclusions regarding her heroism or duplicity does nothing for her case, and only serves to sensationalize the event. In Kaling’s case, she has done her part: Now, the Academy must come forward and either admit their blame or present further evidence for their lack of culpability.