Yet as much as Crash presented a flawed cross-section of LA society “crashing into each other”, as Don Cheadle’s weary cop Graham Waters utters in the opening minutes, many felt it too often prioritised its white characters’ perspectives. “[They] have interiority, and they’re dealing with all these brown characters who are just stereotypes,” says Demby, pointing in particular to Dillon’s bent cop character, who stops and molests Newton’s character Christine in front of her husband Cameron during a highway stop-and-search, only to rescue her from a car crash in a later scene. Newton herself told Vulture in 2020 that the storyline “neutralised the very real rage that African-American…