Fact1: Pierre Delacroix is uptight Harvard-educated black man working for television network CNS, Fact2: television shows portray black people dismissing them as Cosby clones, Fact3: Manray sees it as big chance to become rich and famous for tap-dancing skills, Fact4: Though they had earlier unsuccessfully auditioned for program 's live band position, Fact5: studio audience does dance number in regular clothing
Output: Pierre Delacroix real name Peerless Dothan is an uptight, Harvardeducated black man working for the television network CNS. At work, he has to endure torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use AAVE and the word nigger repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use nigger since he is married to a black woman and has two mixedrace children. Dunwitty frequently rejects Delacroixs scripts for television shows that portray black people in positive, intelligent scenarios, dismissing them as Cosby clones. In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGIanimated cartoons. Delacroix and Hopkins recruit two impoverished street performers, Manray and Womack, to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tapdancing skills. To Delacroixs horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as the show premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as satire. Delacroix quickly embraces the fame and recognition he gets from the show while Hopkins becomes ashamed of her association with it. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins older brother Julius, becomes increasingly angry at the content of the show. Though they had earlier unsuccessfully auditioned for the programs live band position, the group plans to end the show using violence. Womack quits, fed up with the show and Manrays increasing ego. Manray and Hopkins grow closer, despite Delacroixs attempts to sabotage their relationship. Delacroix confronts Hopkins, and when she lashes back at him, he fires her. She then shows him a videotaped montage she created of racist footage culled from assorted media to shame Delacroix into stopping production of the show, but he refuses to watch it. After an argument with Delacroix, Manray realizes he is being exploited and defiantly announces that he will no longer wear blackface. He appears in front of the studio audience, who are all in blackface, and does his dance number in his regular clothing. The network executives immediately turn against Manray, and Dunwitty fires him. The Mau Maus kidnap Manray and announce his public execution via live webcast. The authorities work feverishly to track down the source of the internet feed, but Manray is nevertheless assassinated while doing his famous tap dancing. At his office, Delacroix now in blackface makeup himself, mourning Manrays death fantasizes that the various blackthemed antique collectibles in his office are staring him down and coming to life; in a rage, he destroys many of the items. The police kill all the members of the Mau Maus except for OneSixteenth Blak, a white member who demands to die with the others. Furious, Hopkins confronts Delacroix at gunpoint and demands that he play her tape. As he does so, Hopkins reminds him of the lives that were ruined because of his actions. During a struggle over the gun, Delacroix is shot in the stomach. Hopkins flees while proclaiming that it was Delacroixs own fault that he got shot. Delacroix, holding the gun in his hands to make his wound appear selfinflicted, watches the tape as he lies dying on the floor. The film concludes with a long montage of racially insensitive and demeaning clips of black characters from Hollywood films of the first half of the 20th century. Afterwards, Manray is shown doing his last Mantan sequence on stage.