The United States had its first Black president and first female president over fifty years ago. These presidents were fictional characters, portrayed on screen as Douglass Dilman and Leslie McCloud. In the years since, many other fictional presidents have been depicted, but none quite resemble Kamala Harris, the Democratic presidential nominee for the 2024 election, who is a biracial woman. Despite the real-life election of biracial President Barack Obama, who has been the focus of two biopics, filmmakers have yet to create fictional counterparts of a similar background. Furthermore, no fictional president on screen has been of South Asian descent. Most on-screen presidents of color have been Black men, whereas nearly all female presidents have been white. While portrayals of Black presidents typically did not address race, portrayals of female presidents uniformly focused on gender. Now, as discussions arise around the significance of Harris’ candidacy, it is timely to re-examine these fictional presidents. Together, they reveal how the fictional presidency, much like the real one, grapples with issues of race and gender. This re-examination may also help create an engaging watch list for those needing a break from what promises to be a contentious presidential campaign.
The first Black president, Douglass Dilman, was portrayed by James Earl Jones in the 1972 film “The Man.” The movie brought racial politics to the forefront, depicting Dilman as a reserved academic-turned-senator who becomes president after a series of accidents. He faces doubts from Black activists and strong opposition from white politicians who refuse to recognize his legitimacy. In the Oval Office, he confides in his daughter, saying, “I’m the wrong one. … They were expecting a Black messiah.”
For every skeptical Douglass Dilman, there are more characters like Tom Beck, the president navigating the United States through an impending comet disaster in 1998’s “Deep Impact.” Played by Morgan Freeman, Beck leads without any specific reference to Blackness or race. Other examples include President Thomas Wilson in “2012,” portrayed by Danny Glover in a story of global catastrophe, and President David Palmer in the TV series “24,” a candidate-turned-president, played by Dennis Haysbert, who deals with assassination attempts and nuclear threats. These characters often share traits of strength, resolve, and familial care.
Comedians took a different approach. Chris Rock utilized his comedic insights into Black and white cultures to create Mays Gilliam, a D.C. councilman who becomes a last-resort Democratic nominee in 2003’s “Head of State.” Jamie Foxx incorporated subtle racial humor in 2013’s “White House Down,” a film belonging to the president-as-action-hero genre alongside 1997’s “Air Force One.”
These family-oriented and action-hero presidents differ markedly from the various female presidents depicted on screen. Leslie McCloud, the first fictional female president, appeared in 1964’s “Kisses for My President,” shaping the narrative focus on gender. The movie centers on her husband’s struggle with the role reversal of being the first gentleman, even humorously depicting him wearing a woman’s hat. Fictional female presidents, whether in comedy or drama, often face similar challenges. They must balance being president and mother, manage resentful husbands, and deal with disrespect from male politicians. These narratives mirrored the national conversation about women in the workplace and perhaps foreshadowed Hillary Clinton’s candidacy.
One of the first made-for-TV films on Lifetime, the “Network for Women,” was “Majority Rule,” featuring Blair Brown as Gen. Catherine Taylor, a war hero turned president contending with egotistical and patronizing politicians. Geena Davis’ President Mackenzie Allen faced similar issues in the TV series “Commander in Chief” from 2005 to 2006. Recently, Kamala Harris’ rise has coincided with a renewed interest in “Veep,” the TV series (2012-2019) where Julia Louis-Dreyfus plays Vice President Selina Meyer, who ascends to the presidency.
Another reason to revisit “Veep” is Laura Montez, one of the few fictional presidents breaking the mold of Black men and white women. She remains a secondary character with only brief references to her Latina heritage. In the series finale, Selina Meyer’s funeral features Richard Splett, who became president after Meyer, bringing peace to the Middle East and enjoying retirement. Meyer’s and Splett’s stories encapsulate a half-century of fictional presidents, with Montez, the Latina president, remaining in the periphery.
Constance Payton, the only on-screen Black female president, was portrayed by Alfre Woodard in “State of Affairs,” which lasted just 13 episodes in 2014-15. Woodard highlighted gender dynamics over racial ones, noting, “Constance is, of course, a woman, and Charleston (the CIA analyst) is a woman, so we watch the work they do to keep America safe.”
All these fictional presidents share a common goal: normalizing the idea of a female or Black president. Generally, they are depicted as thoughtful, serious, globally aware, and ready to face challenges head-on in service of the nation. Selina Meyer, characterized by her selfishness and narcissism, stands out as a unique fictional female president.