made history when he became the first actor to win two Screen Actors Guild awards for two different roles in one year. Elba won Outstanding Performance by a Male Actor in a TV Movie or Miniseries for portraying the titular role in British crime drama “Luther” and Outstanding Performance by a Male Actor in a Supporting Role in a Motion Picture for his brutal performance as rebel military leader Commandant in the Netflix film “Beasts of No Nation.”

Elba’s historic victory comes on the heels of the controversial Academy Award nominees for this year. For the second year in a row, every single acting nominee is white — despite the plethora of talented black, Latino, Asian and other racial-minority actors who dazzled on screen. 

Following controversy in 2015 for the lack of racial diversity in the acting nominations, Academy President Cheryl Boone Isaacs claimed that the Academy was “committed to seeking out diversity of voice and opinion” within its nominations, according to a Jan. 17, 2015 Associated Press article; yet, within a year, it seemed to have forgotten its vow. Once again, it nominated only white actors and actresses. 

Both years, the Academy overlooked numerous outstanding performances by non-white actors for sometimes mediocre performances by white actors and actresses. “Into The Woods,” for example, generally got weak reviews — at best — and yet Meryl Streep still got a Best Supporting Actress nod, while Carmen Ejogo shone as Coretta Scott King in “Selma” and was not nominated for a single acting award.

I have not seen every single movie that was nominated this year, and I do not mean any disrespect to the twenty actors and actresses who were nominated. However, it is troubling to see, for a second year in a row, that not a single non-white performer is being recognized for their talents and amazing roles. What is even worse is that this year, a number of films that had strong black performances got nominations for performers, writers or directors who are not black.

“Creed,” a modern-day reboot of the “Rocky” franchise that focuses on Apollo Creed’s son, nabbed a Best Supporting Actor nomination — but it was not for Michael B. Jordan, who blew away reviewers as Donnie Creed, the main character and, hopefully, the new face of the aging franchise. Rather, it was for Sylvester Stallone, who reprised his famous Rocky character. 

Stallone was good in the film, but the fact that the only nominee for a film written by, directed by and starring black men was white is troubling at best.

The same thing happened with “Straight Outta Compton,” a biopic about the early years of hip-hop group N.W.A. There were some legitimate criticisms of the film, such as that it revised aspects of the group’s history and ignored Dr. Dre’s history of domestic abuse. However, the actors, especially O’Shea Jackson, Jr. — who brilliantly captured the personality and mannerisms of his father, Ice Cube — made a strong ensemble. 

Generally, ensemble-style films do not get acting nominations, but this year, “Spotlight,” an ensemble film, got not one but two acting nominations, as Mark Ruffalo and Rachel McAdams both got nods for Best Supporting Actor and Best Supporting Actress, respectively. “Straight Outta Compton” did not get a single one. The only nomination “Straight Outta Compton” received was for screenwriting. 

Not surprisingly, both screenwriters are white. Despite the fact that “Straight Outta Compton” celebrates black artists and received wide acclaim, none of the film’s nominees were black.

To further put things in perspective, shortly after the Academy announced this year’s Oscar nominees, Marc Lamont Hill — a professor at Moorehouse College and a cultural critic — pointed out that all the names of every black Oscar winner take up less than 140 characters on Twitter. Just the fact that in 88 years, so few black actors have won an Academy Award that all their names can fit in one tweet is telling in itself.

The film industry’s problems with racial insensitivity goes beyond just who does — or, in this case, does not — get awards. Following the announcement of the Oscar nominees, Sky Arts announced they had cast Joseph Fiennes as Michael Jackson for an upcoming comedy film, “Elizabeth, Michael and Marlon,” despite one crucial detail: Michael Jackson was black and Joseph Fiennes is not. The filmmakers have defended their casting choice as a “creative liberty” and with comments about Jackson’s complexion near the end of his life, according to a Jan. 28, 2015 Guardian article. What makes this casting choice even more interesting, to say the least, is that in a 1993 interview with Oprah Winfrey, Jackson said the idea of a white actor portraying him was “the most ridiculous, horrifying story I’ve ever heard.”

But as Steven W. Thrasher, a cultural commentator for the Guardian, pointed out, all this casting shows is that Hollywood has not learned anything from the #OscarsSoWhite controversies from last year’s and this year’s nominations. 

Rather than recognizing black talent, Hollywood seems to be effectively returning to the blackface, yellowface and redface of films like “The Jazz Singer” and “Breakfast at Tiffany’s” when portraying historical and literary figures. 2015 alone saw “Aloha” and “Pan” cast white actresses to play characters who were Asian, Polynesian or Native American in the source material; even worse, “Stonewall” went so far as to change the historic figures who led the riots from black trans women to white cis men.

The lack of diversity in films that the Academy chooses to laud as award-worthy and the troubling practice of using white actors to portray either fictional characters or historical figures who are not white are twin issues, and both need to be equally addressed by the film industry at large. Until the industry ends — or, at the very least, addresses — these problems, it is hard to claim with a straight face that Hollywood is truly diverse.