After having offered an examination of the Mammy’s archetype, including her characteristics, as well as proposed an analysis of the depiction of Big Momma in the film Big Momma’s House, an ample comparison between both can be made. First, placing the plot of the film in Georgia project the first evidence that the film’s protagonist Big Momma is, indeed, comparable to the archetype of the Mammy, since the Mammy has its roots in Southern America, displaying relevant responsibility in education of Southern white children (cf. DelGaudio, 1983). However, the Mammy and Big Momma differ mainly in their work area. Given the fact that the movie takes place after the abolishment of slavery and even after the Civil Rights Movement in the sixties, Big Momma has no longer the need to work as a servant for a white family in order to conduct a happy life. Unfortunately, being a slave, the Mammy has no choice – either she serves for the white family or she works on the plantation together with other African American slaves. Therefore, while the Mammy is considered to be the foil or shadow sister to the white American lady, Big Momma outlines her ability to lead her life independently (cf. Atkinson, 2004: 3; Patton, 1993). Therefore, K. Sue Jewell and Kimberly Wallace-Sanders’ agreement on hiring the Mammy as having the purpose to outline racial harmony, does not account for Big Momma’s situation (cf. 1993: 38; 2008: 13). Nonetheless, both share their extraordinary abilities in domestic