The state of mind of the American population has gradually improved regarding racial equality since the achievements of the civil rights movement of the 1960s. With the support of government, influential leaders, and peaceful protests, African Americans were able to establish themselves in broader careers and begin to receive the recognition and respect they deserve . Just as negative habits are difficult to break, intrinsic biases are not easily extinguished. As a result, acts of racism continue to plague society; even if they have transformed into less distinct forms of discrimination. This obscurity prevents the possibility of denouncing the author of his words or actions and, even more difficult, of explaining to him how this way of thinking reflects dogmatism. These unsympathetic instances, known as microaggressions, extend beyond racism; people from lower social classes often find themselves subject to similar injustices. Addressing both of these aforementioned issues, the 2009 film The Blind Side, based on the book by Michael Lewis, follows the true story of Michael Oher, an African-American teenager adopted by the wealthy Touhy family. Largely through verbal insults, manifested through racial stereotyping and social class dissociation, the existence of microaggressions in today's society is embodied; Additionally, the character of Michael serves to challenge the philosophy of meritocracy regarding race and class. Say no to plagiarism. Get a custom essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayThe assertion of racial microaggressions is conveyed in the film most notably through comments, as opposed to non-verbal actions. Director John Lee Hancock uses the Touhy family to highlight the presence of egalitarian values ​​within the aversive racism as depicted in the film. Leigh Anne Touhy, despite her charitable act in inviting Michael to spend the night at the Touhy family home, nervously asks her husband if their belongings are safe. This seemingly innocent investigation reflects Michael's presumption of criminality based on his race. Leigh Anne may not openly state that it is Michael's race that contributes to her concern, but this message is nonetheless implicit. Dr. Derald Wing Sue acknowledges the essentially good intentions behind such comments; Regardless, he argues that "the invisible nature of acts of aversive racism prevents their perpetrators from realizing and confronting [...] their role in creating disparities in employment, health care and education” (201). This first offense aside, the Touhy family primarily serves as a means of interaction with passively racist comments. An example of this occurs during Cousin Bobby's voicemail, asking the Touhys if they knew the "colored boy" on their Christmas card. Equally evident of hidden anti-minority sentiments, one of Leigh Anne's friends expresses concern over Michael's presence in a house where Touhy's daughter resides. Commenting on this, black men are negatively stereotyped as sex offenders; once again, Michael is presumed dangerous because of his skin (Sue 205). Reflecting the film's respect for all social groups, other stereotypes are brought up with good humor and the joke is aimed at each party involved. In one of the scenes at the beginning of the film, when Michael and the mechanic's son, Steven, are playing basketball on the school field, the latter exclaims withsurprised that basketballs are not secured by a padlock. Michael retorts that white people are crazy, defining race as the basis for differences in their usual way of life (Park 224). Also making light of a stereotype, Sean Touhy jokingly addresses their Republican origins by rhetorically asking his wife, "Who would have [sic] thought we would have [sic] a black son before we met a Democrat?" The comedy of self-critical humor indicates the intrinsic non-malicious nature of the film, despite the negative comments made by other characters in the film (Belton 173-75). In addition to touching on the issue of race in this film, The Blind Side also magnifies the social class divide in the setting of Memphis, Tennessee. Throughout the film, the director clearly went out of his way to amplify the gap between social classes within the film's fictional demographic; exaggerating the white majority in the rich area and the black majority on the other side of town. As the film's opening credits appear on screen, establishing shots of working-class neighborhoods are framed behind appropriately dark skies. In a well-used car, Michael and two other passengers, Big Tony, the mechanic, and Steven, pass a middle-aged man pushing a shopping cart full of boxes and his belongings. The scenery changes noticeably as they move from one part of the city to another; a grove of trees separates the lifeless and poor area from the more pleasant neighborhoods, bustling with children and activities. The three men's short journey, only a few kilometers, highlights the unequal distribution of wealth and the distinct segregation of social classes. In a way, this transition of setting foreshadows the classism of the film's city; describing social prejudice as a form of genuine discrimination, often ignored and considered a valid experience. Sociology professors Stephen McNamee and Robert Miller Jr. explore this idea further by denying the assumption that "true equality of opportunity in America [would exist] if only these forms of discrimination (race and gender) were eliminated" and explaining how this theory "neglects the effects of other non-merit factors identified here (particularly inheritance)" (241). Through verbal exchanges within Leigh Anne's circle of snooty friends, the film also effectively lampoons the elitist influence that wealth can have on a person's character. When talking about Park Village, the lower part of town, the ladies refer to this area as the projects and laugh about the negative effect visiting such an area would have on their reputation. These affected women also serve as the vehicle through which the myth of meritocracy is proposed; particularly the wealthy housewife, Beth, who admits that she comes from the slums of Park Village. Although she has been ingrained in this lifestyle, Beth insinuates that it is easy to escape the vicious cycle of poverty; after a bit of hard work, she is now able to eat sumptuous salads, join expensive gyms, and vacation in Paris (McNamee 241). By touting her current wealth and her means of obtaining it, she falsely asserts that anyone can climb the figurative social ladder, regardless of race or gender. As a white woman, it is unlikely that Beth would experience the same difficulties and obstacles as a black man like the teenage Michael (Sue 201). Extending the meritocracy of the past in its relationship to wealth, the character of Michael also depicts the narrow life prospects that result from circumstantial restriction of opportunity. The initial lack of enthusiasm.