Two weeks ago I wrote, “When Steven Spielberg makes a movie about the Holocaust, he focuses on a German. When he makes a movie about abolition, he focuses on a white man. Say what you will, he’s consistent.”
My comment was inspired by historian Kate Masur’s excellent New York Times op-ed, which argued that Spielberg’s film Lincoln had essentially left African Americans offstage or in the gallery.
"The inclusion of so many white players makes the exclusion of black players all the more inexplicable—and inexcusable."
