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"The Good Negro" has no protagonists or antagonists to speak of, because it's not about people; it's about race as an empty trope that uncritical theatregoers can fill with their own pat expectations concerning black and white, men and women, history and the present.
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(Unsurprisingly, he failed; I can't imagine a Hollywood studio putting up money for a kids' story with no substantial child characters, no protagonist, and no love story).
"There's no protagonist," and the world of the book isn't very big and social, or family-oriented.
Yet there was no singular figure like Liu or Freeman in Montreal, no protagonist whose back story and lofty expectations came to symbolize the Olympic competition.
"The earliest versions of this story had no protagonist; I spread it all out among the family and the witch manifested herself in different ways.
Cue Kimin Jong-un' in tears, pure bawling over the knee of the game's take-no-shit protagonist.
Cue Kimin Jong-un" in tears, bawling over the knee of the game's take-no-shit protagonist.
The no-faced protagonist flows effortlessly through her over-stuffed, ostentatious home filled with pussy shaped lights and red velvet curtains covering fields of big dick surrogating asparagus, leaving us to wonder, Why isn't this woman masturbating right now?
But game makers have traditionally respected one rule: no Nazi protagonists.
There are no real protagonists to whom tenderness can attach; only a series of grotesque masks performing a loosely assembled allegory.
Fiction film-makers have by and large failed to make the grade, as all too often there is no doubt protagonists will be on the winning team, and long odds will be overcome by the underdog.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com