The Oscars Love Racial Reconciliation Movies.

Wesley Morris sums up the problem with Oscar-winning movies like The Green Book for the New York Times:

The money is ostensibly for legitimate assistance, but it also seems to paper over all that’s potentially fraught about race. The relationship is entirely conscripted as service and bound by capitalism and the fantastically presumptive leap is, The money doesn’t matter because I like working for you. And if you’re the racist in the relationship: I can’t be horrible because we’re friends now. That’s why the hug Sandra Bullock gives Yomi Perry, the actor playing her maid, Maria, at the end of “Crash,” remains the single most disturbing gesture of its kind. It’s not friendship. Friendship is mutual. That hug is cannibalism.

I’ll tell you, the really humbling moment is the moment that you get home from the Golden Globes or the BAFTAs or the Oscars, and you sit on your bed, which is the same crappy IKEA bed you’ve had since you were 18, and you put on an old episode of “Family Guy,” and you have a frozen meal … and you’re trying not to get macaroni and cheese on your thousand-dollar gown.”

Anna Kendrick