Several reviewers questioned the film's underlying racial assumptions. Writing for "The Atlantic", Imran Siddiquee noted: “While Linklater and the character of Mason can choose not to see it, dialogue about race is happening all around them and affecting their lives and experiences.” Siddiquee also took issue with the apparent absence of non-white characters, particularly Latinos: “In this tale of a white family living in a state that borders Mexico, isn’t it strange that the only time they’re shown truly interacting with a Spanish-speaking non-white individual is when they are saving them from a life of manual labor?” Teo Bugbee, of "The Daily Beast" asserted: “As a treatise on the essential vacuity of the white liberal male, Boyhood is a staggering achievement. As a portrait of childhood in America, it is incomplete enough to be irresponsible.” Jaime Woo, of "The Daily Dot", took issue with critics who identified the film as a portrait of “normal” Americans, asking: “More than one reviewer noted how impressive it was to capture these “ordinary” Americans: In fact, Salon's Andrew O’Hehir used the word three times in his review. So what does it mean when “ordinary” in 2014 still passes as the white experience? When the questionable treatment of ethnic minorities as props for the white characters nary raises a flag?”