Unlike last year’s leftist interspecies romance, The Shape of Water, this year’s Oscar Winner, The Green Book, is being attacked for not being leftist enough. The loudest criticism came from Spike Lee, whose own terrible entry, Black KKKKKKKKlansman was in turn attacked for glamorizing a black police officer who had spied on black nationalist hate groups.
Green Book is a liberal movie, rather than a black nationalist fantasy, the way Spike Lee’s entry or Black Panther, which should have won for worst special effects in any movie since 1991, and that’s why it’s being attacked.
And that’s the problem.
Green Book is being compared to Driving Miss Daisy because both were liberal movies that focused on white decency in the face of racist behavior. That’s no longer an acceptable topic in the era of white privilege. White guilt alone isn’t enough. A focus on “white allies” in intersectional parlance, is itself white privilege.
The revolution, as has often been said, devours its own children.
The liberalism of the 80s and 90s is today’s hate crime.
Despite efforts to rig the Oscars and transform it into a younger and more diverse voting base, movies that are somewhat affirming and artistic win out. That doesn’t mean they’re good. But the narrow tribal appeal of black nationalist fare is still a challenge.
And so the next few days will be spent on media essays arguing that Green Book’s win is proof of “how much farther we have to go.”