Rush Hour is a film that represents a substantial shift in the culture and representation of race. The ideological tone of the film reveals not only the racial hierarchy between mixed races but also how the characters consistently conform to negative minority stereotypes that can be deemed racist. The ideological implications in the film conveys comical elements of race related stereotypes that discuss a harmless approach to how the narrative is executed. Through cross-racial reception analysis the Asian, Black and White viewers of this film can all react to harmless racial jokes that convey numerous racial stereotypes; one example would be when Chris Tuckers character reveals to Jackie Chan that it is ‘never a good idea to touch a black mans radio.’ Through this convergence an audience can find valuable insight into how racial stereotypes in comedy neutralize racial differences. The film disrupts the racial hierarchy that is ever so often presented in almost all Hollywood buddy films. Rush Hour refuses to make one of the buddies an ideological chaperone otherwise known as subordinate sidekick. Through the device of openly addressing racial issues and tensions in a comical manner is what ultimately adds to the films success. Both characters in some way or another succeed at remaining disenfranchised by a system that refuses to take them seriously, and in typical Hollywood fashion, they learn to work together. What is less typical is the explicit racialization of the power imbalances at work. Most buddy films displace differences onto other issues in order to fulfill a fantasy of racial harmony…in Rush Hour, racial and cultural differences are foregrounded, and both stars are distanced from a white power structure. This method is seldom practiced within the confines of the Hollywood juggernaut. It definitely worked both economically and ideologically in the case of the Rush Hour franchise.