During the 2004 NBA playoffs, the trailer for the film White Chicks aired. Flashes of Some Like It Hot (Wilder 1959), Soul Man (Miner 1986), Coming to America (Landis 1988), The Crying Game (Jordan 1992), and Big Momma’s House (Gosnell 2000) immediately crossed my mind. And as I thought more of these films, I realized that all of them pose one central conundrum: they focus on one category of identity, either race or gender, to create humor or pathos. None of the aforementioned films attempt to engage multiple identities – to simultaneously transgress race and gender.