Prometheus 6

[caught In between]

Looking over the past winners, it's easy to slap one of the labels on each of the roles that won the top, or supporting Oscars. Since there are so few winners, I will go right ahead and do it: a struggling wife of a death row inmate who falls for the white racist cop who executed her spouse (tragic mulattoe), a crooked cop (buck), a phony psychic (coon), an insubordinate army private (buck), a hardassed drill sargeant (buck), an out-of-work construction worker (buck), and an all-knowing housekeeper named "Mammy" (yeah, that one's easy: mammy). While all of these performances are to be praised as fine examples of thespian artistry, and I'm not saying the actors should have turned down these roles (because heads have got to eat and a paying job is a good thing) I can't really say that any of the actual roles are inspiring, at least not to me. Art imitates life, and it also gives sheep cues for how to think. Since we're looking at patterns here that are well-defined and long-lasting, it isn't very difficult to me to figure out how America is supposed to feel about the bruthas and sistas.