Zoe Saldana, born Zoe Yadira Saldana Nazario, is currently the go-to minority action heroine of Hollywood. When Will Smith cracked the movie blockbuster code, it must have occurred to another demographic that similarly promising rules applied to them. Once a movie producer accounts for conventional wisdom and historical demographics, we’re left to conclude that profitable movie investments should reflect the desires of hormonally charged young white men, and old Jim Crow era white men. It’s then no surprise that as a black actress, you should sleep with enough white actors to be cast for your appeal to satisfy these factors. Let’s explore this theory on a movie by movie basis with the leading ingredient of mixed race relations; please note that I watched movie trailers for the most part, rather than subject myself to watching dreadful movies.
Let’s begin with the outliers, known to people who order movies on demand as, After Sex and The Heart Specialist; highlighted by explicit sex with Brian White, almost lodging a wrench in my theory, despite Brian’s ironic surname. Let’s follow up with her movies devoid of a love interest, including The Skeptic, Vantage Point, Center Stage, and Get Over it; followed by movies featuring soft ethnic relationships, including Takers and Drumline. Finally, let’s conclude with her sexually themed onscreen mixed race relations, including Avatar (yes, Avatar), The Losers, Crossroads, Death at a Funeral, Colombiana, The Words, Star Trek, and Burning Palms/Maneater; in the last of which she begs Nick Stahl to rape her, thereby removing The Heart Specialist wrench. From Halle Berry to Thandie Newton, professionally and personally, to the opposite end of the spectrum, from Uma Thurman to Angelina Jolie, leading ladies rarely share intimate screen space with black male love interests. Observe the roles of your favorite leading black male actors, from Idris Elba to Morgan Freeman and Will Smith himself, question how frequently they’re left without love interests. Zoe Saldana is the beneficiary of an industry that rewards her for enforcing a social bias; for which, if the prolific Voltaire legally scammed his fortunes through the lottery, then Zoe Saldana’s profitable exploitation is no less admirable.
Her blueprint’s sales potential has only recently gone mainstream with Scandal and Deception; special shout out to Shonda Rhimes, banking like the new Oprah! The last leading pair of African Americans on broadcast television starred in Undercovers, which despite rave reviews, was quickly canned. The real loser here is Tyler Perry, as much as I feign his cross dressing caricatures, his stubbornness to present black men in a positive light will forever relegate his productions to basic cable and poor box office sales. Congratulations Zoe Saldana! No hard feelings; for someone to win, someone has to lose.