Olivia Mazzucato

I look forward to the day when a column like this will be totally irrelevant, when it will be unnecessary to point out the diversity in the revived “Star Wars” universe because it will be completely normal for movies to reflect the world in which we live. However, the newer “Star Wars” films are refreshing because they take place in a universe that doesn’t focus on race, where people of color are simply allowed to be people whose racial identities are not focal points, nor are they integral to the plot. In the “Star Wars” universe, a black Stormtrooper is just another Stormtrooper.

"Hidden Fences" is the awards-season darling that you never got to see, mainly because it doesn't exist.  Jenna Bush Hager and Michael Keaton both mistakenly referenced "Hidden Fences" during the Golden Globes, combining the titles of two completely different films about black characters. This gaffe hints at a series of larger issues – that films about people of color are seen as interchangeable and the implication that films about people of color are only valuable because of their inclusivity rather than the content of their narratives.

“It’s not trailblazing to write the world as it actually is,” said producer and showrunner Shonda Rhimes. Rhimes calls her approach to on-screen diversity normalization – the idea that rather than doing something extraordinary, she is telling stories about the ordinary. In her eyes, her shows are not revolutionary; they are simply reflections of the world in which we live. Her characters are an extension of this belief – they are imperfect, dysfunctional and human, and they resemble people from the real world.

How is it that there’s been almost no change in Asian American representation since the last millennium? Asian-American representation is a difficult issue to address because it is multifaceted. Erasure is disguised as a marketing decision; racism is masked as humor. But perhaps the biggest obstacle to representation is the idea that Asian inclusion is unattainable.

Amma Asante's films "Belle" and "A United Kingdom" offer a nuanced look at multiracial identity.  These films are important because they tell complex stories that reflect the shifting nature of race and culture. The easiest way to ensure that diverse narratives are told is by supporting filmmakers who come from varied backgrounds, allowing them to share stories that draw from their personal experiences.

How does one pitch an epic monster movie set in ancient China with a white protagonist played by Matt Damon?  Films like "The Great Wall" and "Ghost in the Shell" were just a few of the films in recent years to face backlash for whitewashing – the practice of casting white actors to play nonwhite characters. Whitewashing is a real problem that operates on outdated views of the ideal Hollywood image and is perpetuated by studios, filmmakers and actors who continue to allow such films to be produced. The only way to combat whitewashing is for those with power in Hollywood to take accountability and speak out against whitewashed films.

#OscarsSoWhite isn’t over. Despite the seeming diversity of this year's Oscar nominations, the general public and media need to resist the urge to take this year’s increased diversity as a sign that the fight has been won. While progress has been made, it’s important to recognize the larger issue – the Oscars are representative of an overall lack of diversity throughout Hollywood.

“Get Out” is not exactly your average horror movie. Along with recent Oscar winner “Zootopia,” it reflects a trend of films that use genre tropes in order to tackle stories about race. Both “Get Out” and “Zootopia” are able to use their respective styles to powerfully deconstruct complex ideas through allegory and to share meaningful stories with new audiences.

Where is Ms. Marvel? Although they have fairly diverse comic-book libraries, both Marvel Studios and DC Entertainment are failing to make diverse films. Both studios have diversified their supporting characters, but the current discussion is framed in a way that focuses on competition between the studios, rather than inclusion and the impact of superhero movies on young women and children of color.

Hollywood rushing to pat itself on the back for diversity is a tale as old as time.  The publicity campaign for the new "Beauty and the Beast" adaptation greatly overstated seemingly progressive moments in the film while ignoring the limited representation of people of color and the LGBTQ community, following a dangerous trend of Hollywood's self-congratulatory tone regarding diversity and downplaying how far the film industry still has to go.