For as long as Black people have been seen on TV and in films, Hollywood and the larger media landscape have recycled damaging stereotypes and “tropes” that reduce us from fully realized human beings to caricatures strictly for entertainment.
Suggested Reading
From the “mammy” and “jezebel” to the “magical negro” and “tragic mulatto,” these onscreen portrayals have consistently reinforced racist ideas all while negatively shaping how mainstream (read: non-Black) audiences perceive Black lives in real life. Despite the many achievements and progress that Black entertainers have amassed, those archetypes have still found their way in various television and movies, positioning Black characters in service to white storylines–which only threaten to flatten our complexity with every line.
It’s because of that, that we decided to round up a handful of the worst examples of these tropes that we’re over and done with seeing in Hollywood. While we know us calling it out won’t immediately erase these works, at least by pointing out the patterns–we can hopefully demand and create better representation moving forward.
The “Mammy”- “Gone With the Wind”
The Mammy stereotype/trope, first made popular during the ante-bellum era, is a caricature often portrayed as a darker-skinned, heavy-set, desexualized Black woman who serves as a maternal figure to the white character or white families. The most notable example of this is Hattie McDaniel’s history-making, Oscar-winning role as “Mammy” in the 1939 film “Gone With the Wind.”
Other examples include: Martin Lawrence’s character “Big Momma’s House,” Octavia Spencer’s character in “The Help,” and for some the character of Mama Odie in “The Princess and the Frog.”
The “Jezebel”-
Whereas the Mammy was often portrayed as unattractive, the “jezebel” was the complete opposite. In media and entertainment, the “jezebel” was portrayed as a hyper-sexual Black woman (early on, mostly of a lighter complexion and later darker) who used her body, allure, and physical prowess to get her way.
Halle Berry’s role in “Monster’s Ball,” for which she won an Oscar in 2002, was heavily criticized for playing into the stereotype as her sex scene with a white man sparked outrage amongst Black women who felt as she deduced Black women as a collective.
Other examples include the character of Lydia Brown in the 1915 film, “Birth of a Nation” and for some, Pam Grier’s characters in both “Coffy” and “Foxy Brown.”
The “Tragic Mulatto”- “Imitation of Life”
While the aforementioned Halle Berry role could arguably fall into the “tragic mulatto” stereotype, the 1959 film “Imitation of Life”is the better example of this. That’s because the central character Sarah Jane embodies the stereotype of a mixed race Black person who feels rejected by both Black and white society and holds shame and/or denial of their racial identity.
Other examples of this include Jennifer Beals character in the 1995 film “Devil in a Blue Dress” and Ruth Negga’s character in the 2021 film “Passing.”
The “Welfare Queen” – “Precious”
The “welfare queen” stereotype is often portrayed in TV and film as a lazy, Black woman who frequently exploits the welfare system and other government assistance. A good example of this is Mo’Nique’s Oscar-winning role as Mary in the 2009 film “Precious.” While she was brash, loud, and explicit and could very-well be rolled into the “Angry Black woman” trope–due to the fact that she lived on Section 8, was unemployed and tried to claim her daughter’s child as hers so she could receive even more government assistance, she fits this that stereotype more accurately.
The “Angry Black Woman/Sapphire”- “The Jeffersons”
Arguably the most pervasive stereotype plaguing representations of Black women in TV and film is the “angry Black woman/Sapphire.” Defined as a caricature who is often loud, aggressive, masculine and demeaning, that trope was seen early on during the minstrel shows of the 19th century in America for the entertainment of white folks. It was used to justify abuse of Black women and further dehumanize them (as all these tropes are intended). While mostly comical in the delivery, the character of Florence on “The Jeffersons” is a good example of this as her “sass” and clashes with George play into the negative pre-established notions.
Other examples of this stereotype could also include Tyler Perry’s Madea character, Taraji’s Cookie Lyon from “Empire,” and Tichina Arnold’s character as mom Rochelle on “Everybody Hates Chris.”
The “Token Friend/ Best Black Friend”- “High School Musical”
You know the “token Black friend/Black best friend” when you see them in various TV and film projects because they’re only there for all of 10 seconds, have no real lines or storyline, and are only there to act as a support system for their often-white protagonist bestie. Take, for instance, Corbin Bleu’s character in “High School Musical.” While his storyline would get a little bit more depth by the time the sequel and third films came about, he was really only just there to toss around the basketball and shake his impressively curly hair.
Other examples of this include Gabrielle Union’s character in “10 Things I Hate About You” and Elise Neal’s character in “Scream 2.”
The “White Savior”- “The Blind Side”
While not put on Black characters themselves, the “white savior” stereotype is when a white character serves as the only saving grace for their usually underserved, marginalized (read: Black) counterpart. The white savior is glorified and uplifted for their efforts and stance all while the plight and agency of the Black character is pushed to the sidelines or ignored altogether. A good example of this is Sandra Bullock’s character in “The Blind Side,” (for which she won an Oscar.)
Other examples of this include Kevin Costner’s character in “Hidden Figures,” Emma Stone’s character in “The Help,” and for some Viggo Mortensen’s character in “Green Book.”
The “Uncle Tom”- “Song of the South”
The “uncle Tom” stereotype is another common one portrayed over the years. This character, almost exclusively a Black man, is shown as a submissive, docile person moves throughout their day to day life seeking the approval of white people. Non-problematic, a yes man (only to the white man, though) and usually filled with self-hate, this character is also seen as a betrayer to his own community, a sell-out for his own personal advancement, and simplistic in his nature. One of the earliest examples of this include the eponymous character in the controversial, 1946 Disney film, “Song of the South.”
Nowadays, the phrase “uncle Tom” is thrown around as an insult to another Black person who looks down on others of his same race and embodies the same aforementioned characteristics. Other examples of this in films include Samuel L. Jackson’s character in the 2012 film, “Django Unchained.”
The “Magical Negro” and the “Noble Savage” – “The Green Mile”
The “magical negro” is another one of those self-explanatory stereotypes (famously coined by Spike Lee in 2001) which sees a usually Black character as unusually magical, wise, or the like for the sole purpose of helping the white main character either get out trouble, achieve their goal or learn something about themselves. One of the most notable examples of this can been seen in the 1999 film, “The Green Mile” as shown through Michael Clarke Duncan’s character John Coffey who uses his literal magical powers to help solve a murder and change the hearts and minds of the racist prison guards who oversee him. Due to Coffey’s simple nature and childlike innocence, his character could also fall under the “noble savage” trope which portrays usually indigenous people as more morally superior and innocent due to their connection with nature or some other ethereal force.
Other examples of the “magical negro” include Will Smith’s character in “The Legend of Bagger Vance” and “The American Society of Magical Negroes,” (the latter of which was a satirical attempt at subverting the trope but overwhelmingly landed negatively with Black audiences.)
The “Black Buck/Brute”- “Birth of a Nation”
Also knows as the “mandigo,” the “Black buck” was created in the early 19th century by white people who feared freed Black men in particular and wanted to cast them in a negative, violent manner to further handicap their upward advancement in society. The characters were often oddly strong, savage, animalistic and seen as one-dimensional and a threat. Media played a large part in perpetuating this as seen in the most notable exampled: the controversial, 1915 film “Birth of A Nation” through the characters Silas Lynch and Gus.
Some scholars have argued that over the years, the trope has evolved into the more easily recognized “thug” character in modern-day TV and film projects.
The “Sassy Black Friend”- “Save the Last Dance”
This stereotype is pretty self-explanatory but the “sassy Black friend” is usually portrayed in TV and film projects as either the “token friend” of the white character or another Black character. She always gives major attitude, is often confrontational, outspoken by any means necessary and relegated to the sidelines as far as the plot goes. A good example of this is Kerry Washington’s character in “Save the Last Dance” and the character of Dijonay on “The Proud Family.”
The “Black American Princess”- “Girlfriends”
Though the term “Black American Princess” might make you think of the 1997, Robert Townsend-directed film “B.A.P.S.” (which tried to subvert the stereotype), this trope usually depicts a hyper-materialistic Black woman whose sights are set solely on upward mobility and a pampered lifestyle. While that may seem harmless on the surface, some depictions also portray the character as shallow, entitled and rude. Examples of this include Jill Marie Jones’ Toni Childs in “Girlfriends,” Jasmine Guy’s Whitley Gilbert in “A Different World,” and Karyn Parson’s Hillary Banks in “The Fresh Prince of Bel-Air.”
Straight From 
Sign up for our free daily newsletter.
