Castellanos 1

Andres E. Castellanos

Mrs. Storer

English 3 Honors: American Literature

January 24th, 2020

Biased Chicks

One often does not recognize others’ way of becoming who they are until they live it

through a personal experience; afterwards, perspectives begin to change, and prejudices are

disbarred. In Keenan Ivory Wayans’ White Chicks, the same situation arises through Kevin and

Marcus Copeland, FBI agents who are on the brink of termination until they volunteer to

“babysit” the Wilsons, a pair of upper-class sisters who are at risk of being abducted. As the

story progresses, the story takes a steep turn when, due to unforeseen circumstances, the

Copelands have to disguise themselves as the Wilsons and reenact their daily behavior in front of

their friends, Tori, Lisa and Karen, as well as their enemies. The agents undergo a complete

physical metamorphosis; however, their mental transformation is dependent upon the prejudices

they hold against both girls. If seen through the Marxist perspective, White Chicks demonstrates

how just as the upper class Caucasians unknowingly views lower class citizens as impoverished

and frightening, the lower class upholds the same attitudes by viewing the upper class

Caucasians as dumbfounded, brainless, privileged and careless snobs; however, it is only through

Kevin and Marcus’ role reversal where they are able to break those stereotypes and prejudices

that an individual has towards an outside group.

Both the Wilson sisters and friend group hold an appalled perspective of how the lower

class live as impoverished and frightful individuals. As the agents approach the Wilson sisters

near their private jet to notify them of their mission and private escort to the Hamptons, the girls
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promptly interrupt them without even giving eye contact and utter, “We already gave to the

United Negro Fund” and continue walking (Wayans 00:13:01-00:13:08). The Wilson sisters are

immediately disgusted by Kevin and Marcus’ presence within their arrival and even attempt to

drive them out by informing them of their recent donation. The vast difference between the

agents and the sisters may be seen through the camera angle as it is aimed toward the Wilson’s

with their private jet behind them, while the Copelands are on the side, portraying an idea of a

beggar-like scenario. Rather than think rationally that the two men are hired workers for the

Wilsons, the sisters immediately jump to the conclusion that they are beggars and try to evade

them. By doing so, the sisters portray how the bourgeoise will go to extreme lengths to be

separated from the proletariat out of fear of any possible actions that may be incurred upon them.

Their reactions are so instantaneous that one must conclude that this fear of people who are

poorer have been instilled in them at least since childhood. Furthermore, while Marcus struggles

inside the stall with the effects the cheese had on his lactose intolerance, Tori’s voice can be

heard on the outside expressing her disapproval for Karen’s lover, stating, “I don’t understand

what you see in him. He’s an out-of-work actor living in a share house and he drives a 3-Series

BMW,” to which Karen responds (while Marcus’ farts may be heard in the background), “You

know, Tori, I really think you need to cut Heath a little bit of slack, OK? Because his aunt just

died three years-ago and he really needs new headshots... He’s just going through a really rough

time right now. Ok?” (Wayans 00:31:16-00:31:40). Tori and Lisa seem to connect Heath’s out-

of-work situation with the reason behind his choice of car, which is still a luxurious brand;

however, it does not meet their standard of “rich.” Their sense of sympathy for his lack of

headshots implicitly shows their conception of what qualifies as an “intense struggle” is next to

nothing compared to other problems. Their perception of a struggle is metaphorically compared

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through the director’s decision to covertly add Marcus’ intense pain behind them. This way, the

audience can compare what the lower class and upper-class consider or recognize as a struggle.

Thus, fulfilling the famed stereotype of snobby rich Caucasians. However, it is not only the

bourgeoise who display pre-established ideas of other groups, the proletariat does as well.

The lower class play a key role in the systematic stereotypes as well since they portray

the Caucasian ethnicity as dumbfounded, thoughtless and privileged snobs. For instance, after

the chief finishes informing his agents of the recent abductor and his potential plans, he explains

how the Wilson sisters will be the next target, to which he follows by stating, “Now, the Wilson

sisters will be flying into JFK this morning. So, who's going to pick them up? [Long awkward

pause] Obviously, everyone has read the profile on the girls” (Wayans 00:11:22-00:11:40). After

being briefed by the chief over their new mission of picking up the Wilson sisters, the FBI agents

seem to be interested until the question of who will pick them up arises. The mood transitions

from interested and noteworthy to utter silence and an awkward pause by everyone present in the

room. The characters also turn their eyes away from the chief as if to symbolize unavailability to

perform such task. Their lack of interest towards accepting the mission represents their

preference of losing their job rather than babysitting two unfamiliar girls. The agents’ refusal to

pick the Wilson sisters comes to show how, despite not personally knowing them, the majority of

the workers perceive the girls as privileged snobs who are difficult to be around with. Therefore,

illustrating how prejudice is also present within the lower classes. Furthermore, as Marcus

expresses his anger over being assigned this useless task, they notice how a jet arrives, and Kevin

states, “There goes your girls… Come on, man. Let's do this,” to which Marcus replies, “Oh no”

(Wayans 00:12:51-00:12:58). As the Wilson sisters’ private jet arrives, Marcus and Kevin joke

around about only having to babysit them, thus nullifying any inconveniences; furthermore, as
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they view the jet from their window, Kevin can be heard exasperating and pushing his shoulders

down as if to represent a lack of interest and loathe towards the task. Their idea of their job being

reduced to a babysitting gig demonstrates how they look at the Caucasians as dumbfounded,

privileged snobs that do not require any serious effort to watch over. In addition, his annoyance

towards the girls’ arrival despite not knowing them personally comes to show how he already

has predetermined ideas of them, such as them being snobs and privileged girls.

However, it is only through their role reversal where both Kevin and Marcus ostracize

these prejudices and break the stereotypes they have towards an outside group. For example,

after the Vanderguilds begin to unfoundedly insult the undercover agents, “Oh look lt's The

Beverly Ho-billies”, they are prompted to respond to these slurs, “Squeeze me?, Oh no, you

didn't. l'm sorry, but we just saw your new video. They had a screening over at Saks Fifth

Avenue...in the security office. A klept-ho-maniac,” furious at the comeback, Megan

Vanderguild responds, “Your mother shops at Saks,” to which the agents reply flabbergasted,

“What? My God. You want to talk about mothers? lt's mother time. Okay. Your mother's so old

that her breast milk is powdered [blowing white powder out of his hand]” (00:26:26-00:27:32).

Heather and Meghan, whom often are the undefeated winners when it comes to insults with the

Wilson sisters, seem to be at a loss for words when (disguised) Kevin and Marcus come back

through elaborate jokes that are often unexpected to come from rich blonde Caucasian women.

Meanwhile, Tori, Lisa and Karen may be seen shocked at the pair’s strong and funny comebacks,

yet they cover their mouths as if to hide their laughter because it does not “fit” de etiquette of the

party. Kevin and Marcus’ attempt to fight back the Vanderguild sisters through bewildering

insults and jokes, that are uncommon from upper class Caucasians, can be interpreted as the

breaking of the popular stereotype. Tori, Lisa and Karen’s unexpected reaction and decision to
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mask their laughter comes to show how their perception of the upper-class as dimwitted was

incoherent and, therefore, rapidly changes. After the agents rescue the girls from the abductors

and even save reporter Denise Porter, Marcus decides to confess his true feelings to her, despite

being previously told she was only into upper-class people, and utters, “l'm Kevin Copeland. l'm

an FBl agent. I make $30,000 a year after taxes. l don't drive a Bentley and l don't have a house

on a hill. But l'd really like to take you out,” to which she responds, “Are you kidding me? Any

man… who would jump in front of a bullet for me... can definitely take me on a date” (1:46:44-

1:47:20). Despite expressing how she is only attracted to upper class citizens, Denise Porter

reconsiders after Kevin admits his feeling for her. She also decides to take two long pauses while

expressing her feelings for him, as if to show how her perception of true love was completely

wrong and not dependent on social class, rather, on one’s character. Her reexamination of the

standards she holds over other guys and her ultimate approval of Kevin demonstrates how the

agents were able to break her prejudice of the bourgeoise being better than the proletariat. This is

made possible through their efforts to persuade her into thinking otherwise while portraying

Tiffany and Brittany Wilson.

Through the experiences of Kevin and Marcus disguised as the Wilson sisters, it is clear

how one should strive to become tolerant and unbiased when connecting with other people.

Through the Marxist perspective, the audience observes how Kevin and Marcus, disguised as the

Wilson sisters, are clear examples of the popular prejudice that both upper-class and lower-class

hold several biased prejudices against each other; however, it is only through their role reversal

where they are able to break these unfounded ideas and produce new and improved ones based

on logical evidence.
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Works Cited

White Chicks. By Keenan Ivory Wayans, et al. Dir. Keenan Ivory Wayans. Perf. Marlons

Wayans, et al. Prods. Rick Alvarez, et al. Sony Pictures Entertainment Motion Picture

Group, 2004. PG-13.