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No longer to be used as a trope. Use one of it's sub-tropes if applicable.
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* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But, after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he ostensibly has authority over. Someone who now realizes that he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, and proved a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But, after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he ostensibly has authority over. Someone who now realizes that he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, badassery, and proved a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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* Tibbs talked his way out of getting shot/killed by a second angry mob by getting the mob leader to realize his sister was at an abortionist's with the man who ''really'' got her pregnant.
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* In the film's climactic scene, Tibbs talked talks his way out of getting shot/killed by a second angry mob by getting the mob leader to realize his sister was at an abortionist's with the man who ''really'' got her pregnant.
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* Gillespie gets one when he rescues Tibbs from an angry mob of racists, authoritatively, by slapping one and gut-punching another - ''left-handed''. Despite him wanting Virgil to leave in the first place.
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* Gillespie himself gets one when he rescues Tibbs from an angry mob of racists, authoritatively, by slapping one and gut-punching another - -- ''left-handed''. Despite him wanting having wanted Virgil to leave in the first place.
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Changed line(s) 2 (click to see context) from:
* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he has ostensibly has authority over. Someone who now realizes he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, and proved a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
to:
* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But But, after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he has ostensibly has authority over. Someone who now realizes that he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, and proved a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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Changed line(s) 2 (click to see context) from:
* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he has ostensibly has authority over. Someone who now realizes he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, and a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question the latter on suspicion of murder. To the shock of white viewers and the delight of Black ones, Tibbs instantly slaps Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where Endicott's servant, also a Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Tibbs slaps him back. But after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It isn't just the slap that sends Endicott into tears; Tibbs has completely humiliated and emasculated him in front of someone he has ostensibly has authority over. Someone who now realizes he's been scared of a complete loser this whole time. It's an iconic moment of unapologetic Black {{badass}}ery, and proved a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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Changed line(s) 2,3 (click to see context) from:
* Creator/SidneyPoitier's crowning moment of awesome is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. An iconic moment of {{badass}}ery, and a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
* Virgil gets another awesome moment (one that went down in history as one of film's greatest lines--there's even [[TheyCallMeMisterTibbs a trope named after it]]) when he casually produces evidence that disproves Chief Gillespie's theory about the recent murder. Gillespie, furious at being shown up by a Black man, unloads on him, and...
* Virgil gets another awesome moment (one that went down in history as one of film's greatest lines--there's even [[TheyCallMeMisterTibbs a trope named after it]]) when he casually produces evidence that disproves Chief Gillespie's theory about the recent murder. Gillespie, furious at being shown up by a Black man, unloads on him, and...
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* Creator/SidneyPoitier's crowning moment of awesome as an actor is indisputably the moment when a rich white bigot slapped Poitier's his character, Det. Virgil Tibbs, is slapped across the face by the rich white bigot, Endicott, for daring to question him the latter on suspicion of murder. To the shock of white viewers and the delight of black Black ones, Tibbs instantly slaps the bigot Endicott right back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where the bigot's Endicott's servant, also a black Black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might boss--or Police Chief Gillespie, who also witnesses the exchange--might retaliate when Virgil Tibbs slaps him back. But by the end of the exchange and Virgil after Tibbs manages to leave without consequence, the servant gives an "I pity you" look to his boss before also leaving. It wasn't isn't just the slap that sent the jerk sends Endicott into tears, Virgil had tears; Tibbs has completely humiliated and emasculated the guy him in front of someone he had has ostensibly has authority over. Someone who now realizes that he had he's been scared of a complete loser this whole time. An It's an iconic moment of unapologetic Black {{badass}}ery, and a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
*Virgil Tibbs gets another awesome moment (one that went down in history as one of film's greatest lines--there's even [[TheyCallMeMisterTibbs a trope named after it]]) when he casually produces evidence that disproves Chief Gillespie's theory about the recent murder. Gillespie, furious at being shown up by a Black man, unloads on him, and...
*
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Changed line(s) 2 (click to see context) from:
* Creator/SidneyPoitier's crowning moment of awesome is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.
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* Creator/SidneyPoitier's crowning moment of awesome is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a an "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.An iconic moment of {{badass}}ery, and a huge influence on the {{Blaxploitation}} genre as it developed over the following decade.
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No meta example, see this query
.
.Changed line(s) 2,4 (click to see context) from:
* Creator/SidneyPoitier's crowning moment of awesome is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
** A meta moment of awesome; Sidney Poitier and Rod Steiger went to showings of the movie together at the Capitol Theatre in New York during the movie's initial run, and guessed at the racial makeup of the showing's audience based on their reaction to the slap.
** There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.
** A meta moment of awesome; Sidney Poitier and Rod Steiger went to showings of the movie together at the Capitol Theatre in New York during the movie's initial run, and guessed at the racial makeup of the showing's audience based on their reaction to the slap.
** There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.
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* Creator/SidneyPoitier's crowning moment of awesome is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
** A meta moment of awesome; Sidney Poitier and Rod Steiger went to showings of the movie together at the Capitol Theatre in New York during the movie's initial run, and guessed at the racial makeup of the showing's audience based on their reaction to the slap.
**films. There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.
** A meta moment of awesome; Sidney Poitier and Rod Steiger went to showings of the movie together at the Capitol Theatre in New York during the movie's initial run, and guessed at the racial makeup of the showing's audience based on their reaction to the slap.
**
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** There's a MeaningfulBackgroundEvent throughout the scene where the bigot's servant, also a black man, watches the whole thing unfold. You can see him flinch in fear at how his boss might retaliate when Virgil slaps him back. But by the end of the exchange and Virgil manages to leave without consequence, the servant gives a "I pity you" look to his boss before also leaving. It wasn't just the slap that sent the jerk into tears, Virgil had completely humiliated and emasculated the guy in front of someone he had authority over. Someone who now realizes that he had been scared of a complete loser this whole time. Badass.
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-->'''Tibbs''': They ''call me'' '''''Mister Tibbs!''''
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-->'''Tibbs''': They ''call me'' '''''Mister Tibbs!''''Tibbs!'''''
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* Creator/SidneyPoitier's crowning moment of awesome in indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
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* Creator/SidneyPoitier's crowning moment of awesome in is indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
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* "They call me ''Mr. Tibbs''!"
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* "They Virgil gets another awesome moment (one that went down in history as one of film's greatest lines--there's even [[TheyCallMeMisterTibbs a trope named after it]]) when he casually produces evidence that disproves Chief Gillespie's theory about the recent murder. Gillespie, furious at being shown up by a Black man, unloads on him, and...
-->'''Gillespie''': Well, you're pretty sure of yourself, ain't you, Virgil? "Virgil," that's a funny name for a ''nigger boy'' that comes from Philadelphia! What do they callme ''Mr. Tibbs''!"you up there?
-->'''Tibbs''': They ''call me'' '''''Mister Tibbs!''''
-->'''Gillespie''': Well, you're pretty sure of yourself, ain't you, Virgil? "Virgil," that's a funny name for a ''nigger boy'' that comes from Philadelphia! What do they call
-->'''Tibbs''': They ''call me'' '''''Mister Tibbs!''''
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** A meta moment of awesome; Sidney Poitier and Rod Steiger went to showings of the movie together at the Capitol Theatre in New York during the movie's initial run, and guessed at the racial makeup of the showing's audience based on their reaction to the slap.
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Moments pages are Spoilers Off.
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* Tibbs talked his way out of getting shot/killed by a second angry mob by [[spoiler:getting the mob leader to realize his sister was at an abortionist's with the man who ''really'' got her pregnant.]]
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* Tibbs talked his way out of getting shot/killed by a second angry mob by [[spoiler:getting getting the mob leader to realize his sister was at an abortionist's with the man who ''really'' got her pregnant.]]
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Film/LiliesOfTheField'' (for which he became the first black man to win the Academy Award), ''Film/TheGreatestStoryEverTold'', ''Film/ToSirWithLove'', ''Film/InTheHeatOfTheNight'', and ''Film/GuessWhosComingToDinner''.
** It gets better: the original script had Tibbs simply accepting the slap, with the idea supposedly being that he was showing himself to be the bigger man. Poitier himself insisted that audiences wouldn't see it that way, and he had to slap the guy back.
** "They call me ''Mr. Tibbs''!"
** It gets better: the original script had Tibbs simply accepting the slap, with the idea supposedly being that he was showing himself to be the bigger man. Poitier himself insisted that audiences wouldn't see it that way, and he had to slap the guy back.
** "They call me ''Mr. Tibbs''!"
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** It gets better: the original script had Tibbs simply accepting the slap, with the idea supposedly being that he was showing himself to be the bigger man. Poitier himself insisted that audiences wouldn't see it that way, and he had to slap the guy back.
**
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...who wrote 'supremacists'? Yes there's overlap now, but in 1967 that specified the Klan.
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* Gillespie gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]
* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]
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* Gillespie gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him.racists, authoritatively, by slapping one and gut-punching another - ''left-handed''. Despite him wanting Virgil to leave in the first place.
* Tibbstalking talked his way out of another getting shot/killed by a second angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]
* Tibbs
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''Film/TheGreatestStoryEverTold'', ''To Sir With Love'', ''Film/InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' ''Film/LiliesOfTheField'' (for which he became the first black man to win the Academy Award), ''Film/TheGreatestStoryEverTold'', ''To Sir With Love'', ''Film/ToSirWithLove'', ''Film/InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.''Film/GuessWhosComingToDinner''.
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''To Sir With Love'', ''Film/InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''Film/TheGreatestStoryEverTold'', ''To Sir With Love'', ''Film/InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''To Sir With Love'', ''InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
to:
** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''To Sir With Love'', ''InTheHeatOfTheNight'', ''Film/InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]
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* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]]]
----
----
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* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who got her pregnant.]]
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* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who ''really'' got her pregnant.]]
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* Gillespie gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
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* Gillespie gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.place.
* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who got her pregnant.]]
* Tibbs talking his way out of another angry lynch mob by [[spoiler:getting the mob leader to realize why his sister was at an abortionist's home with the man who got her pregnant.]]
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* Gillespe gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
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* Gillespe Gillespie gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
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** "They call me ''Mr. Tibbs''!"
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** "They call me ''Mr. Tibbs''!"Tibbs''!"
* Gillespe gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
* Gillespe gets one when he rescues Tibbs from an angry mob of white Supremacists that tried to kill him. Despite him wanting Virgil to leave in the first place.
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* SidneyPoitier's crowning moment of awesome in indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
to:
* SidneyPoitier's Creator/SidneyPoitier's crowning moment of awesome in indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films.
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Changed line(s) 1 (click to see context) from:
* SidneyPoitier's crowning moment of awesome in indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. Upon seeing it, this troper couldn't help but yell, "Yeah! You do not mess with Mr. Tibbs!"
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* SidneyPoitier's crowning moment of awesome in indisputably when a rich white bigot slapped Poitier's character, Det. Virgil Tibbs, for daring to question him on suspicion of murder. To the shock of white viewers and the delight of black ones, Tibbs instantly slaps the bigot back, an act that was previously ''unthinkable'' for African American characters in mainstream Hollywood films. Upon seeing it, this troper couldn't help but yell, "Yeah! You do not mess with Mr. Tibbs!"
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''To Sir With Love'', ''InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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** This belongs in the RealLife section, but Poitier had what amounts to a Crowning Decade of Awesome: from 1961 to 1969, he starred in (among others) ''ARaisinInTheSun'', ''Theatre/ARaisinInTheSun'', ''Lilies Of The Field'' (for which he became the first black man to win the Academy Award), ''TheGreatestStoryEverTold'', ''To Sir With Love'', ''InTheHeatOfTheNight'', and ''Guess Who's Coming To Dinner''.
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** "They call me ''Mr. Tibbs''!"
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** "They call me ''Mr. Tibbs''!"
