The Oscars this year will have a remarkably different vibe than last year, starting with a lack of protests over the skin color of the nominees. Last year, as youll probably remember, the ceremony was heavily infusedwith the social media-driven #OscarsSoWhite protests, which Al Sharpton then latched onto to lead a protest outside the Kodak theater.

As Maria Puente in USA Today wrote after the announcement of this years nominees:

So is this the start of a permanent shift in nomination diversity or just a temporary break from the same-old, same-old? Is it the result of the Academy of Motion Picture Arts and Sciences recent efforts to diversify and expand its voting membership?

Or is it the consequence of a powerful social-media campaign to shame Hollywood about the persistent lack of diversity in the industry and in those it chooses to nominate and honor with gold statuettes every year?

The amount of African-American representation at this years award show obviously left the insatiable social justice left demanding more Hispanic and minority representation as wellapparently no matter if the film, artist or engineer deserves it for the work. Armchair hashtag activists can attempt to take credit for their tweets and outrage pushing the academy to nominate more African- Americans in film this year. But they would be misguided in doing so.

The simple fact is this was a very good year for films centered around African- American culture and performers. It may be the best year in modern history for it. Denzel Washingtons Fences, Moonlight, Hidden Figuresall deserve the attention they are getting as works of art. Acting categories could see threeout of the big fourfinal awards go to actors of colorand all of them would be deserved.

Washington, who has won prior awards for his work on the play Fences, also directs himself in the film version. He knows the character Troy Maxon and thunders his way through it. His winning ofthe Screen Actors Guild award could be an early notice to Casey Affleck that its not going to be his year.

Mahershala Ali steals the spotlightin Moonlight, giving the film a flawed and layered moral center. Its the closest thing to a lock in any category this year. ThreeAfrican- Americans out of the five Supporting Actress nominees dominate that category as well: Viola Davis in Fences (the favorite), Naomie Harris in Moonlight and Octavia Spencer in Hidden Figures. (Spencer is a previous winner for her role in The Help in 2012).

Its possible that Michelle Williams, an Oscar darling, takes home the award for basically one powerhouse scene in Manchester by the Sea, but I dont see how that happens over Davis or Spencer.

Each of these films represented different parts of black culture in America and throughout history, and each deserves its place at the awards. Though La La Land still appears to be the favorite for Best Picture, theres been a sudden burst ofSJW angst around the film, everything from claims that it whitewashes jazz, to people complaining that its just too pretty or too white.

If there are two sleepers to upset LaLa Land, theywould have to be MoonlightandHidden Figuresthe lattertook home Best Ensemble honorsat the SAG Awards, the closest thing the union awards show has to a Best Picture. Moonlight, while short and a bit hollow in the script department, has one of the most authentic settings of the year (and best soundtracks).

Some have criticized Hidden Figuresfor featuring a White Savior (Kevin Costner), which is something of a pattern infilms about black history. But it was a genuine crowd pleaser and a story not many knew about. It also surprised at the Box Office, and thats one of the only things Hollywood loves more than stories about itself.

If Moonlight or Hidden Figures unseatsLa La Land it would be hard to call it an upset. Neither Moonlight, Hidden Figuresnor Fencesisnominated for the purpose of bringing more forced diversity to an award show that may or may not be trying to shy away from more social media controversy. It would one thing to suggest otherwise if the level of craftsmanship werent apparent in thosefilms. If anything, its surprising more films and performances from black-led works werent nominated. Specifically,Loving andBirth of a Nation.

What is clear is that even if the winners represent a cross section of diversity, social justice criticswill not relent in the future. Remember two years before the ridiculous OscarsSoWhite campaign, 12 Years aSlave swept fourawards, including Best Picture and Best Supporting Actress. The awards were absolutely deserved.

Its easy for opponents of political correctnessto level the charge that this years rich diversity ofnominees are only up there to placate a mob obsessed with their Netflix and Twitter. Butcritics in a rush to grab their phone for an outraged tweet should step back and appreciate the year that this was for African-American film.

Continued here:

Despite Rumblings About Political Correctness, the Black Oscar Nominees This Year Deserve All the Accolades - Heat Street