Exodus: Gods and Kings has had a rough road. Hundreds (probably thousands) of people rose up in arms over the inaccurate casting of the film, with the hashtag #BoycottExodusMovie. The film had a lousy opening weekend and has since fallen off the map domestically. Now, the film is facing even more heat from Egypt and Morocco. Both have banned the film over it’s “historical inaccuracies.”
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This Friday is going to be one of the biggest social justice weekends for movies. Why? Because, as the Universe would have it, Hollywood is ironically playing host to the best and worst of Hollywood’s tendencies when it comes to minorities in films.
Whenever I wonder, “What am I writing all this stuff for?” (since we all have moments of doubt), it’s news articles like the one from The Wrap that reminds me that I am doing my civic duty on my little corner of the internet by exposing the inherent racial (or blatant racial) bias in America.
Ghost in the Shell and Dr. Strange are two of the latest in a litany of projects in Hollywood that have whitewashed and otherwise erased Asian identity from film. The films have been an issue for as much as a year in advance (or, in Ghost in the Shell’s case, longer) before their initial releases, meaning worry for the respective studios and mounting anger for fans and moviegoers who want an authentic and culturally respectful film experience.
Each film has its many problems, but to give a short overview of what’s plaguing these films, here are the bulleted points:
Ghost in the Shell
• Scarlett Johansson cast as Major Motoko Kusanagi (now just called “The Major” in the film, possibly the first clue that the film is not only wiping away the main character’s Japanese racial identity, but also the property’s inherent ties to Japan’s post-World War II tech boom).
•According to ScreenCrush’s source, Paramount allegedly hired visual fx company Lola VFX to create a Japanese filter for a character, probably Johansson’s Major. Paramount maintains that the fx filter was for a background character and never for the Major, but the fact remains that Paramount engaged in yellowface, regardless of who the character is.
• Sam Yoshiba, the director of Kodansha’s international business division (based in Tokyo), states that he’s fine with Johansson as The Major and that this is a great opportunity for a Japanese property to make it to the international (i.e. American) market. (which has rights to the Ghost in the Shell property). According to Kotaku, Yoshiba told The Hollywood Reporter, “Looking at her career so far, I think Scarlett Johansson is well cast. She has the cyberpunk feel. And we never imagined it would be a Japanese actress in the first place.” Yoshiba also told The Hollywood Reporter that “he was impressed by the respect being shown for the source material.”
• Max Landis, the screenwriter of American Ultra, released a video condemning the casting, but also states in his video (as reported by Entertainment Weekly), “The only reason to be upset about Scalrett Johansson being in Ghost in the Shell is if you don’t know how the movie industry works.” He also stated that outraged fans are “mad at the wrong people,” stating that the problem isn’t with parties such as Johansson, the studio or the director, but with the film industry itself. He also argues a point that many would disagree with—that there’s a dearth of big names in film. “As recently as about 10 years ago, there stopped being big stars,” he said. “There are fewer and fewer stars who mean anything.” Not true.
Meanwhile, the internet took matters into their own hands by fancasting Rinko Kikuchi, from Pacific Rim, as Kusanagi. What’s heavily ironic is that it seems like the costuming/hair department took direct inspiration from Kikuchi’s Pacific Rim character Mako Mori when designing The Major for the big screen.
How the Ghost in the Shell remake would have looked if Rinko Kikuchi was cast as Major Kusanagi (artist unknown) pic.twitter.com/f5sIPln4A3
— Samuel Dore (@Bursteardrum) April 18, 2016
• A video features Japanese participants talking about the Ghost in the Shell controversy. The throughline of the video is that the people interviewed don’t see a problem with Johansson as The Major. But now the video is being used by pro-Ghost in the Shell movie fans to denigrate those, particularly Asian Americans, who are against Johansson as The Major.
•Fresh Off the Boat actress Constance Wu invokes the term “blackface” when discussing the Ghost in the Shell casting controversy, making people upset.
The statement was made during a panel including Wu, Ming-Na Wen, Joan Chen, and Lynn Chen, moderated by Teddy Zee. “It was particularly heinous because they ran CGI tests to make her look Asian,” said Wu. “Some people call it ‘yellowface,’ but I say ‘the practice of balckface employed on Asians’ because that’s more evocative.” She also said the special effects tests “reduces our race and ethnicity to mere physical appearance, when our race and culture are so much deeper than how we look.”
Before the conference, Wen had tweeted about Johansson’s casting, writing, “Nothing against Scarlett Johansson. In fact, I’m a big fan. But everything against this Whitewashing of Asian role.”
• Tilda Swinton is cast as The Ancient One, originally a Tibetian character as well as an antiquated stereotype of an Asian mystic. Swinton was cast as a way to create a more updated, non-stereotypical version of the character, and while casting a woman is a unique decision for the character, the casting also erases the character’s original Asian roots. Check her out in the trailer:
(Personal commentary: aside from Swinton as a jarring Ancient One, hearing Benedict Cumberbatch with an nasally American accent is…upsetting.)
•Swinton tells Den of Geek that when she was approached to do the character, she was never told that she was playing an Asian man. “The script I was presented with did not feature an Asian man for me to play, so that was never a question when I was being asked to do it. It will all be revealed when you see the film, I think. There are very great reasons for us to feel very settled and confident with the decisions that were made.”
• C. Robert Cargill, the co-screenwriter for Dr. Strange, tells his friends, film reviewers and hosts of movie review/comedy show Double Toasted Korey Coleman and Martin Thomas, about the process he took in remaking The Ancient One. In his words, he didn’t want to offend China with a Tibetan character. (Discussion occurs around the 18 minute mark.)
However, Cargill later clarified his comments on Twitter, since his original comments suggest that he and Marvel were of the same mind about the Tibet-China situation. “CLARIFICATION: that interview answer going around was to a question from a fan specifically about MY JUSTIFICATION, not Marvel’s…FOR THE RECORD: no one at Marvel or with the film ever talked to me about China, so contrary to headlines, I didn’t confirm anything.”
Entertainment Weekly also states that the film version of The Ancient One is now based in Nepal, which makes it even more confusing as to why a non-Asian actress was chosen.
• Marvel releases a statement about their record of inclusion, obtained by PEOPLE.
“Marvel has a very strong record of diversity in its casting of films and regularly departs from stereotypes and source material to bring its MCU [Marvel Cinematic Universe] to life. The Ancient One is a title that is not exclusively held by any one character, but rather a moniker passed down through time, and in this particular film the embodiment is Celtic. We are very proud to have the enormously talented Tilda Swinton portray this unique and complex character alongside our richly diverse cast.”
One could say their statement features many fictional statements as far as their film universe goes, because the MCU is still not diverse enough in terms of race, gender, and sexuality.
These are a lot of moving parts, and there’s a lot to parse through. At first, I was going to write a post providing my point of view, but the more I thought about it, the more I felt like I, a black woman, might want to sit this one out. I’ve written on entertainment moves affecting Asian Americans before, but let’s be honest; I’m not Asian, and I’m not about to wade in any “honorary Asian” waters, especially with how nuanced the issues surrounding these films have become. Instead, I thought I’d ask some of my online buddies if I could interview them about their opinions on these films.
Keith Chow is the creator and head of The Nerds of Color, a site focusing on the nerdy side of entertainment, but from the perspective of POC and other marginalized peoples. Claire Lanay is the new weekend co-host of podcast Afronerd Radio and CEO of Renegade Nerd Entertainment. I was happy to interview them both via email and break down just what people needed to understand about the lack of foresight and sensitivity that went into the creation of the Ghost in the Shell and Dr. Strange movies.
What were your initial reactions to the casting of Tilda Swinton as The Ancient One and Scarlett Johansson as Kusanagi?
Chow: I think like most folks, I was disappointed but not surprised. It’s hard to believe that whitewashing is still considered acceptable practice in Hollywood, and these castings are no exception. But in light of the outrage (and lack of box office) that movies like Aloha and Gods of Egypt engendered, you’d think the studios would start taking the hint.
Lanay: Initially, I was mildly annoyed yet amused by Swinton’s casting as The Ancient One…I tried to play devil’s advocate and ask myself what discussions led to this outcome? Similar to the problems with the Mandarin in Iron Man 3, many of these comic book characters were created several decades ago and are inherently racist. Other properties were created as a result of cultural appropriation which has now become a recognizable trope in it of itself i.e. White guy learns the ways of the East, masters it in a day and is better suited to unlock the wisdom, magic and skills of these mystic teachings in a manner the savage natives never could – Iron Fist, anyone?
So why switch The Ancient One from a Tibetan man to a British woman? Could the reason have been that without including another female character, the film would look the way most movies, comic book or otherwise, do – a sausage fest? OK fine. Let’s make her a woman.
I half-jokingly tell my friends that Hollywood has an unspoken rule about not allowing more than one person per color per movie or TV show (if at all). On the rare occasions there is more than one person per color, they’re usually a minor/expendable character and therefore, the first to get killed off…Unless you’re Empire or Blackish, you can’t have more than one black character…Doctor Strange has Benedict Wong playing the servant. They have Chiwetel Ejiofor playing Baron Mordo. So, of course, they most certainly cannot have another POC playing the Ancient One. Heavens, no! Too many minorities! I may not like Hollywood’s twisted logic and how they conduct ethnic/gender musical chairs to feign balance or political correctness, but I’ve grown accustomed to it.
Now that they’re saying the reason why the character isn’t Tibetan is because it would piss off China… I’m right back to square one asking “WTF?” Here I was trying my hardest to understand their reasoning and then they go throwing me for a loop with their mental gymnastics in a weak attempt to rationalize whitewashing. Just because you don’t want the character to be Tibetan doesn’t mean the character cannot be Asian. Would The Ancient One originally have announced him/herself as Tibetan? If they’re so worried about making all that Chinese dough… why not make the character Chinese? Have him/her speak Mandarin. Have him/her walk around with a large neon sign that says “Made in China”.
They’re implying that in order to avoid offending other cultures, they have to erase them. Are they so lazy that they are not willing to put any thought into how they could modernize these POC characters for today’s audience?
As for Ghost in the Shell, here are some thoughts I had in regards to Max Landis’ comments:
To make a blanket statement that there are no Asian A-List actors, well yeah, if Asians are not even allowed to play Asian, then I don’t see how it would be possible for them to be visible enough to become A-list. That’s not by accident, that’s by design.
The other thing that was mentioned was that there are no Asian actors capable of getting a movie greenlit… See the highlighted movies on this list [in this article’s inset]. [Most] fail, flop, bomb. Yet, nothing changes. I’m starting to wonder if they ever will…Scarlett Johansson is playing a character named Motoko Kusanagi. It baffles my mind that there are people who don’t see this as offensive.
Marvel has had a long-standing issue with casting for a certain demo; i.e. casting all male leads except for the Black Panther as a white male (even more specifically, a white male with either dark or blonde hair and a “dudebro”-ish attitude, even if the character wasn’t originally written that way). Marvel has no Asian superheroes, and the chance they could have had to give representation, with Iron Fist, was missed [for more information on Iron Fist and the lack of Asian representation, visit The Nerds of Color and Twitter hashtag #AAIronFist]. With that said, how do you feel Marvel should have tackled The Ancient One?
Chow: The problem is that Marvel, like a lot of people, assume whiteness is the default. So when they encounter tricky ethnic characters (i.e., stereotypes) like the Mandarin or the Ancient One, their solution is to remove that character’s race and think they’re doing us a favor. I said this during the whole #AAIronFist thing, but the way you deal with negative racial stereotypes isn’t to erase race from the equation, just write the character better. In the case of the Ancient One, just make the character not one-dimensional, and he/she could still have been Asian.
I guarantee an actress of Tilda Swinton’s caliber would not have taken the role if it was one-note. So why not afford that opportunity to an actress of color? Better yet, if you had to racebend Ancient One (for fear of Chinese censors or whatever) then don’t cast Benedict Cumberbatch as Doctor Strange! Can you imagine someone like Sendhil Ramamurthy or Naveen Andrews in the role? Hell, I would have been happy with Keanu Reeves (who was rumored). But they cast the whitest man in the world? Come on now.
Lanay: Wasn’t anybody out there the least bit curious as to what George Takei could have done with The Ancient One? Ken Watanabe? Chow Yun-Fat?…How about Michelle Yeoh? Joan Chen? Gong Li? Bai Ling?
I’ve had so many heated debates and arguments with people about Iron Fist. The argument for keeping Danny Rand white is that “it’s what the author intended for how that character’s story should be told”. According to that logic, we should stay 100 percent true to the original cannon and lore even if that means 80-plus years of American comic book history has primarily only given us white male leading characters as the hero and a handful of female/POC characters seen mostly as sidekicks, background or filler.
Recall, if you will, Michelle Rodriguez’s comments after Michael B. Jordan was cast as Human Torch and Jason Momoa was cast as Aquaman – “Stop stealing the white people’s characters and make some of your own”. As if no one has tried? Even if I understood why it’s bemoaned when a POC is cast as a character originally envisioned as white, why is it ok to “steal” our characters who were specifically created to be of color?
As much as I like and respect Marvel, I am truly disheartened by their approach to this issue. They rather avoid it than face it head on. For a company whose brand is kick-assery and bravery, this looks cowardly. Am I surprised? No. Disappointed? Yes. Captain America: Civil War will be their 14th film and only now are they barely getting Black Panther and Captain Marvel on the film schedule.
I will say that they do seem to be putting in a concerted effort on the TV side. Agents of S.H.I.E.L.D. has the wonderful Ming-Na Wen as Melinda May and Chloe Bennet’s Daisy Johnson (nee Skye) has addressed her bi-racial parentage. I’m pleased to see that has been acknowledged since other hapa actresses such as Kristin Kreuk have played fully white characters on shows like Smallville.
Dr. Strange, as a comic book series, draws its inspiration from the 1930s radio series Chandu the Magician, which also features a white man receiving mystic instruction from an Asian teacher, this time an Indian yogi. With all of the stereotypical Asian mysticism Dr. Strange is based in, how do you feel the film should have been approached (despite the fact that we haven’t seen the full movie)? With Benedict Cumberbatch playing Dr. Strange and set pictures featuring non-Asian actors in Asian locations and in Tibetian monk-esque clothes, how do you feel about the appropriation factor of the film?
Chow: It’s the same problem with Iron Fist, Doctor Strange is another example of the white man goes to the Orient for enlightenment trope. It’s so obvious that people’s reaction to the trailer was “Didn’t we already see this in Batman Begins? And I’d answer, yeah, you’ve seen it in every movie! At this point, Hollywood should start casting more POC leads just to stand out from the pack. Studies have already proven those films make more money anyway. But Strange and Iron Fist and even Daredevil prove Hollywood only thinks of Asians as set decoration and not human beings.
Lanay: I do not deny they have a very talented roster. I’m a Sherlock fan, so I don’t doubt Cumberbatch will bring something interesting to the role. Tilda Swinton also played a role originally meant for a male in the movie Snowpiercer. Her bizarre character was in no way defined by gender or race regardless of the fact the movie was directed by a Korean or that the story was based on a French graphic novel. Swinton’s look is androgynous, unique and has always benefited her with sci-fi roles. For all we know, she’ll be utterly fascinating to watch in Doctor Strange.
As for them playing dress up in monk-esque attire? Appropriation is unavoidable. I’ll say this – I have a problem with folks using all of my toys but not allowing me to play with them.
Swinton has come out and said that the way she was approached for the role was never under the guise that she was playing an Asian man and that she’s confident in how she’s portrayed the character in the film. How do you feel about her statement? Also, what do you think about the compounded problem Marvel has created by whitewashing a character, yet adding diversity by making the character a woman?
Chow: It could have been a woman of color. Just because they gender bent the character doesn’t give them a pass if they’re still being racist. If they were going to change the character, and not make him “Asian,” then what’s with all the orientalism in the setting? Even then, it’s still wrong because they’ve taken yet another POC character and erased him from existence.
That goes back to what I said earlier, she may not be “playing Asian” but that doesn’t mean they didn’t whitewash the character. They still took an originally Asian character and bent over backwards to come up with a reason for why said character had to be played by a white person. This is the double standard that’s the most frustrating. When I called for an Asian American actor to play Danny Rand, I had to come up with every justifiable reason for the suggestion, how an Asian American would not alter the character whatsoever. But white folks are like “just shave your head, it’s all good.”
|Hollywood’s History of Whitewashed Asian Films (as provided by Claire Lanay)|
Ghost in the Shell is, as Jon Tsuei has written on Twitter, an inherently Japanese story, but now the history is probably getting taken out of the film. Do you think the film is on the path of ignoring some of the historical and cultural elements that makes Ghost in the Shell as provocative as it is?
Lanay: If that’s the case, then why call it Ghost in the Shell? If you’re going to remove the character’s backstory and culture, then call it something else. At least Tom Cruise and Doug Liman understood that when they were making ‘Edge of Tomorrow’. It was an American adaptation of Hiroshi Sakurazaka’s All You Need is Kill. They weren’t going to be idiots and keep the same title, the same character names and the same history. Would you buy Tom Cruise playing a character named Keiji Kiriya?
The publisher of Kodansha has stated that he sees nothing wrong with Johansson playing Kusanagi, and quite a few Japanese movie goers have expressed the opinion of not going to see the movie anyway. What does this tell you about how the international market, particularly the Asian market, might accept or reject this film?
Chow: The way we view and discuss race in America is very different than how people in other countries view and discuss race. Japan has its own issues with how it views race and ethnicity that is irrelevant to Asian Americans in America.
To be blunt, folks in Japan or China might flock to the movie. Who knows? But that isn’t the problem. My advocating for Asian American actors has nothing to do with Chinese moviegoers, to be honest. China has its own movie industry with its own stars. There are a billion and a half Chinese people in the world. In China, “representation” of Chinese faces isn’t an issue. That is not what’s happening here, however. We [in America] have to move away from this idea that Asians in America are all foreign. Going back to Iron Fist, the whole gist of my original essay was to prove that we too are American. Why does “westernizing” something automatically require casting white people? This is the question I want people to ask themselves.
Lanay: The reason why a lot of folks in Japan are not upset about Johansson’s casting in Ghost in the Shell is because they already have their own media infrastructure. They already have their own, actors, singers, dancers, writers, producers, directors. They already have their own content made for them by them. So they don’t really care about one movie with one white actress. In this country, Hollywood gives us less than a handful of opportunities to see ourselves represented in movies and television, so of course we’re clamoring for whatever crumbs and scraps are tossed our way. The rest of the world soaks up our content, but we don’t promote or watch content from the rest of the world. That makes seeing diversity in American media all the more important to POC in this country because it’s such a rarity.
Do I think it’ll do as well as Lucy? Doubtful. Do I think a Black Widow movie would be the better option for Johansson? Absolutely! She’s not hard up for cash or some struggling actress trying to make her big break. She didn’t have to say yes to Ghost in the Shell.
I want to see Doctor Strange. Controversy aside, I am a fan of Benedict Cumberbatch, Tilda Swinton and Chiwetel Ejiofor. I’ll take a look at Iron Fist since I’ve enjoyed watching Daredevil and Jessica Jones. Even though the nasty discourse has left a bad taste in my mouth, I’m very curious to see how they build towards The Defenders. Can’t wait to see Luke Cage! Will I watch Ghost in the Shell? Nah, I’ll be skipping that one.
Recently, several actresses of Asian descent have called The Major “blackface,” launching another layer to the outrage. Do you think about the controversy over calling such casting “blackface,” despite the term “yellowface” in existence?
Chow: Yeah, I cringed when I saw that report. I in no way condone the analogy, primarily because yellowface is an offensive and racist enough practice on its own — but I get why Constance felt she had to make it. One of the problems is that most people think race in America is binary. This has always been part of the struggle for Asian Americans when discussing race in that context.
Often in matters of race, Asian Americans are only perceived depending on their relation to whiteness or blackness. But I don’t think that excuses co-opting black struggle to make a point. I think as a community we have to be mindful about how we coalition build and support one another without being anti-black in the process. This is why the backlash against #OscarsSoWhite was disheartening. This was an example of a pan-ethnic protest against the industry’s overwhelming whiteness, but for whatever reason non-black POCs thought their issues were being ignored. It didn’t help that during the telecast aired, Asians were still openly mocked.
So I understand the frustration and feeling like you’re invisible. But we shouldn’t criticize others for not standing up for us if we don’t first stand up for ourselves. This is why I’m working with Ellen Oh (of #WeNeedDiverseBooks fame) to launch a campaign to bring even more attention to the racist practice of whitewashing. We’ll be attempting to take to social media on May 3 with the hashtag #WhitewashedOUT. I’ll have more details on that soon[click here for that information].
Lanay: As someone who was fortunate enough to grow up with friends and influences of all backgrounds… As someone who has so much love and respect for the African American community… As someone who is deeply proud to call many intelligent, creative, beautiful Black people my friends… I’m very troubled by Constance Wu’s choice to use the term “blackface” over the term “yellowface” in regards to what we’re discussing here. She specifically said “blackface” because she thought it would be more “evocative”.
While I fully appreciate the outrage towards her comments, I have some idea of where she’s coming from. During the Oscars telecast, Chris Rock did a fine job of addressing the #OscarsSoWhite elephant in the room. So all the more reason people in the Asian community were upset and insulted by three little Asian kids being paraded on stage to make fun of their own kind. Can’t forget Sacha Baron Cohen’s “little yellow people with the tiny dicks” joke.
While I deem her tone to be a little aggressive or hostile, I can understand why Wu and many others were incensed by these jokes during a show that was basically hammering diversity down people’s throats. Yes, there were no Black nominees. There were no Hispanic, Asian, Native American, Disabled, or LGBT ones either (as far as I know).
…When I came across the “blackface” comment, my first thought was: “Why all of the sudden, are Asians getting angry now? Why weren’t they speaking out and standing up when we were getting disrespected or excluded before?” I was starting to feel like I was the only Asian-American who gave a damn. Why are the rest of them so late to the party?
…I’m bothered by Wu’s comments because it reinforces the divide amongst POC. We should be working together. It’s bad enough that we keep falling into the trap of begging Hollywood for a seat at the table and trying to convince white people of our worth without us turning on each other too.
What do you want Hollywood to learn from these casting debacles?
Chow: Mainly that white people are not the only people in the world. I wan the studios to understand that having non-white people in a movie can actually be a good thing. But mostly, I want there to be more opportunity for actors of color.
Lanay: The studio executives don’t view these decisions as debacles. They’re not listening. They don’t care. They wanted to cast name-actors, so they did. White is the standard of beauty. White is the grade for which excellence is measured. White is the default setting. Anything outside of that is seen as an abnormality.
Rinko Kikuchi is an academy award-nominated actress for her role in Babel. She’s already in the nerd-sphere starring in projects like Pacific Rim. Tao Okamoto is a supermodel in Japan. She was in The Wolverine and Batman v Superman: Dawn of Justice. I bet you anything, these women weren’t even considered. I bet you no Asian actress was considered for Ghost in the Shell.
There have been plenty of white-starred movies that have failed. There have been plenty of diverse-starred movies that have succeeded. Hollywood learns nothing. The outliers who take risks and go against conventional wisdom are the ones who will instill change… eventually. I hope I’m still around to see that change. Scratch that. I am going to be part of that change. ♦
The controversy surrounding these films are needed, and the conversations they’re starting are necessary. If Hollywood is really going to put their money where their mouth is when it comes to proper representation, two of the first places to start are finally ending the practices whitewashing and yellowface. When a group of people grow up hardly ever seeing themselves on-screen, that causes serious psychological, social, and cultural repercussions. Ending these practices and representing people fairly on-screen would allow for everyone to feel accepted and like they are a valued part of America. Lanay states this point best:
“For a long time, I hated being Asian. I hated the way I looked. I hated not getting the auditions I wanted. I hated not being taken seriously. My mother would always tell me not to make waves. With all due respect – F*ck that sh*t! I’m making some damn waves! Nobody should feel like they were born in the wrong skin. Nobody should feel ashamed for being what they are.”
Other articles to check out:
N.O.C. One-Shot: Whitewashing in Black and Yellow| The Nerds of Color
Some Thoughts on Scarlett Johansson in Ghost in the Shell|The Nerds of Color
What a Shitty Week to be an Asian American Woman in Hollywood|The Nerds of Color
Why Won’t Hollywood Cast Asian Actors?|New York Times
2015 was the year of TV specials, such as History’s Texas Rising (which was, to use a buzzword, problematic for me), Sons of Liberty, and Saints and Strangers (which, from the commercials at least, also looked like it had its moments of historical propaganda). But, there were two specials that stood out, at least for this writer. Tut and The Wiz Live! were what TV specials should aspire to in this day and age. Why? Let’s take a look.
Why Tut was great: This year is supposed to be the year in which I use a lot less “I” in my posts, but I have to break my rule for just a second and put in some personal opinion; I’ve wanted to see a proper dramatization of Pharaoh Tutankhamen’s reign for decades, which means, I’ve wanted that for most of my life. After seeing the travesty that was Exodus: Gods and Kings come to theaters, I was especially ready for a Tut movie or TV show (or anything concerning ancient Egypt) that actually cast non-white actors. I was robbed when FOX killed Hieroglpyh, but I was appeased and delighted when I learned about and later watched Tut.
Spike’s Tut, starring Avan Jogia, Ben Kingsley, and Sibylla Deen, was a boon for the network, and it was a joy to watch. Everyone gave stellar performances, and for me, the breakout star was Jogia, who proved he’s got leading man material. To quote part of my review:
It’s really Jogia’s shoulders that the film rests on, and he plays the part of a boy maturing into a seasoned, slightly jaded king exceptionally well. Perhaps you slept on his talent when he was in ABC Family’s teen soap Twisted. Perhaps you didn’t watch Victorious because you’d grown out of Nickelodeon dramas. If you weren’t aware of Jogia’s talent before, Tut will show you that Jogia’s not someone who’s cut from the same tween star cloth as some of his other contemporaries. His capabilities for drama and action not only relay his maturity and awareness, but also show how ready he is for the movies. Movie studios: if you’re still doing those same outdated practices of casting only white actors because you think they’re the only ones capable of being thought of as a leading man, you’re doing everyone, including yourselves, a great disservice, since Jogia should be on every casting director’s “leading man” list.
The most important part was that there wasn’t a white actor portraying a non-white character. Again, to quote my review:
Films that are set in either ancient Egyptian or biblical times are some of the films Hollywood loves to whitewash the most. I give some reasons as to why I think that is, but just a quick summation: Hollywood is still behind the times when it comes to casting. It still acts as if it’s still in the golden age of Hollywood, when a large majority of America was white and wanted to see only white faces instead of the diversity that existed around them in America and in the world (something Comics Alliance’s Andrew Wheeler points out in his takedown of the comic book movie and racial diversity).
Tut does an exceptional job at casting people who aren’t white. I know some people have said they feel the casting should have been of darker people. To that criticism, I say, “I understand.” But from my point of view, Tut gives us a vision of Egypt that’s closer to the truth than Exodus and other films like it have ever done. I’m extremely proud of how Tut decided to cast against Hollywood “business-as-usual” methodology. More than likely, I’ll have posts about this later, but for now, here’s my handclap for Tut‘s casting department.
As I addressed in the blockquote, there are some who are irritated that actual Egyptian actors weren’t cast for this film and some would say that this miniseries is just as whitewashed as Exodus for that reason. I’d say that while they aren’t Egyptian, let’s not compare Tut to something like Exodus, which went out of its way to copy the whitewashed biblical epics of the 1950s. Tut’s casting department did what casting departments should always do, and that’s cast non-white actors for non-white characters. And, Tut proved that stories featuring non-white figures, including dramatizations of historical characters, can and will bring in audiences, especially those thirsting to see themselves on screen.
|Want to read more about Into the Badlands and Mr. Robot? Read the inaugural issue of COLOR BLOCK Magazine!|
Why The Wiz Live! was great: The Wiz Live! is NBC’s first successful live musical event, and good for it, because it had a ton of expectation riding on it. In short, the direction by Kenny Leon (who was revealed in the making-of special to be a taskmaster in the best way), the talent, featuring Ne-Yo, David Alan Grier, Mary J. Blige, Queen Latifah, Elijah Kelley, Amber Riley, Stephanie Mills, Uzo Aduba, Cirque du Soleil, tons of dancers, and newcomer Shanice Williams, and the set design and use of the stage combined into truly magical entertainment.
It was fantastic to see black representation on this apologetic of a scale. In a way, the production plays on the core tenet of Afrofuturism; that blackness is defined by black people only, not by the society in which black people exist at present. Within Afrofuturism, black people aren’t “black people.” They’re just people, defined by their circumstances, just like how every white person in every movie and TV show is defined.
It was also a historical production on account of the first showcase of ballroom culture on standard television. The gay ballroom scene has still remained underground, despite some of the dancers featured in The Wiz Live!, Dashaun Wesley, Danielle Polanco and Carlos Irizarry, being dancing legends in their own rights (as well as working choreographers) and despite pop culture’s penchant for lifting heavily from gay club culture. But famed choreographer Fatima Robinson brought the ballroom to mainstream America in the most creative and funky way; by making The Emerald City one big ballroom. (Also amazing: seeing Queen Latifah’s Wiz as a drag king, which was the icing on the Emerald City cake.) Between seeing Williams’ star born right on their screens, Uzo Aduba inspiring all of us to believe in ourselves, and being bowled over by the surprise of The Emerald City, Twitter was on fire with people tweeting about how much the amount of representation present in The Wiz Live! spoke to them.
What did you think of these specials? Give your opinions in the comments section below!
Gods of Egypt has been a much-belabored film like Exodus: Gods and Kings, and like Exodus, expect it to fail big time.
Hollywood continues to mystify the masses asking for proper (keyword: proper) representation with HBO’s upcoming project, My Dinner with Hervé, detailing a moment in time with Fantasy Island star Hervé Villechaize. According to The A.V. Club, HBO’s project supposedly recounts “‘a life-changing’ encounter Villechaize…and a struggling journalist in 1993, the year the Fantasy Island star killed himself at the age of 50.” HBO has released the first image the TV movie starring Jamie Dornan as the journalist in question, Danny Tate, and Peter Dinklage as Villechaize.
If the image looks weird, it’s because Dinklage, unfortunately, pulling a brownface moment. In real life, Villechaize was half-Filipino and half-English. Dinklage, on the other hand, isn’t.
What was the thought process behind this casting decision? More importantly, what was the thought process behind Dinklage, who understands the annoyance of playing stereotypical roles, taking it?
Dinklage, who has achondroplasia (one of the common causes of dwarfism), has been very outspoken about the types of roles he feels are stereotypical for actors with dwarfism. As he told The New York Times in a 2012 interview, he acted onstage and would refuse to book commercial jobs that would have him playing leprechauns or elves. As the article quotes Dinklage as saying in past interview to a theater website, “What I really want is to play the romantic lead and get the girl.”
Even though Dinklage’s defining role as Tyrion Lannister on Game of Thrones turned out to be the best of all possible worlds as far as a role goes, Dinklage was initially hesitant about it because of his hesitancy about playing dwarves in fantasy in general, particularly after just playing dwarf character Trumpkin in Chronicles of Narnia: Prince Caspian, in which he acted under a huge beard. He wanted to make sure the character in Game of Thrones wouldn’t have a beard or pointy shoes.
“Dwarves in these genres always have this look,” he said. “My guard was up. Not even my guard—my metal fence, my barbed wire was up. Even The Lord of the Rings had dwarf-tossing jokes in it. It’s like, Really?”
Of course, as we know now, Tyrion Lannister is nothing like a stereotypical fantasy character, which led to Dinklage signing on.
With Dinklage’s clear awareness at the issues facing actors with a disability such as his own, why choose this role, which is essentially taking an opportunity from someone else who needs a big break and could crush it? It seems like the answer lies in one main issue: the lack of roles that are available to actors with dwarfism–in other words, the pervading practice of ableism as the code of business for Hollywood casting.
At the risk of sounding like I’m giving Dinklage an out (I’m certainly not), a role like Hervé Villechiaze doesn’t come around everyday—a role that specifically highlights an actor with dwarfism in an attempt to show the human behind the limiting role he played on television. The casting process, being what it is, was probably HBO making a beeline to Dinklage’s agent, since Dinklage is practically the only hot actor who can fill the role and bring an authenticity to it. With the role being what it is, it’s not a surprise that Dinklage would take it. In all of these films with whitewashing, it’s never a surprise as to why the actors take it—with roles in “swords and sandals” movies like Exodus: Gods and Kings or sci-fi films like Ghost in the Shell, the draw is money, higher star wattage, and more big roles down the road.
However, while Dinklage will most certainly bring authenticity to the role from his experience as a person with dwarfism, he clearly can’t bring authenticity to it as far as racial experiences go, and biracial experiences to be specific. If you have to darken your skin because the person you’re playing is a person of color, it’s clear you probably shouldn’t be playing the part.
As a whole, Hollywood isn’t a place that utilizes lateral thinking often; it might seem like Dinklage is the only game in town, but there are, in fact, tons of actors with dwarfism who have been playing fantasy dwarves and dehumanizing roles for years who could also be just as good as Dinklage in this role, if not better. Take for instance, Ronald Lee Clark, an actor who appeared alongside other veteran character actors with dwarfism like Martin Klebba, Danny Woodburn, Mark Povinelli, Joe Gnoffo, and Jordan Prentice in Mirror, Mirror. While Clark might not be Filipino, he is actually Asian, which for Hollywood standards would be a step in the right direction. If Clark was given the chance to audition, who’s to say he wouldn’t have aced it? At the very least, the makeup team wouldn’t need to commit the movie-making sin of brownface.
Also, if I could find Clark by utilizing my memory and an IMDB search, couldn’t the casting office have done the same? Specifically, couldn’t they have scoured Hollywood for an actor who had dwarfism and was also Filipino? Of course, if they actually wanted to. Sure, they wouldn’t get a “big name,” as it were, but arguably, Dinklage himself wasn’t a super big name, even with the Chronicles of Narnia credit, before he was given a chance with Game of Thrones. His role could have easily gone to another actor of typical size who’d be willing to play smaller with the help of movie magic. It’s not like it hasn’t happened before, with Gary Oldman playing a dwarf in the film Tiptoes, a film where Dinklage himself played a family friend (as referenced in the New York Times interview).
For this article, I reached out to Vilissa Thompson, disability advocate and owner of Ramp Your Voice!. Her take expresses much of the same confusion and irritation about Dinklage being cast as a disabled person of color.
“Authentic representation of disabled people, whether fictional characters or real-life persons, is hard to come by due to many factors, such as cripping up, stereotypical portrayals, and a resistance to show diverse disabled perspectives,” she said. “What occurred with the Peter Dinklage situation is upsetting because we finally have a role that a disabled person should be casted in, and even that was done incorrectly by the whitewashing.”
“This is classic Hollywood, but it’s perplexing to me how you get one aspect of the casting correct (hiring an actually disabled actor) and not the whole thing (hiring a white man instead of an actor of color),” sie said. “It’s disappointing that Hollywood continues to not support disabled actors of color. What a missed opportunity for little people of color to be represented fully. Hollywood has a #DisabilityTooWhite issue when it comes to disabled people of color and media representation – this adds to it. Not only do we not see our stories on the big and small screens; now we have to be concerned about being whitewashed, too?”
It would seem that fear of whitewashing is yet another hurdle disabled actors of color and audience members of color alike have to face when it comes to proper representation. Time will tell if My Dinner with Hervé will get the same social media treatment Ghost in the Shell, Doctor Strange, and Iron Fist received when it tried to pass off a white actor as an Asian character.
Science and the fight for representation in the media has intertwined in a brand new study coming from Germany. The study focuses specifically on ancient Egypt. What the scientists have to say about their findings could give Hollywood food for thought, if they decide to dissect the scientists’ results.
What the DNA discovery actually is
As CNN reports, researchers from Germany’s University of Tuebingen and the Max Planck Institute for the Science of Human History in Jena have finally been able to do what scientists invested in studying Egypt have been trying to do for years–learn more about the genetic history of ancient Egyptians, a people who have been fought over by the Western World. That fight has played out in our modern media, with white actors playing the parts of historical ancient Egyptian characters, most notably the sheer number of actresses who have played Cleopatra.
The scientists used 151 mummies from Abusir el-Meleq, Middle Egypt. “The samples recovered from Middle Egypt span around 1,300 years of ancient Egyptian history from the New Kingdom to the Roman Period,” states the study, which was published in Nature Communications. The scientists found that ancient Egyptians from that area were more closely related to “Neolithic Anatolian and European populations.” Modern Egyptians, however, have more of a a genetic relationship with sub-Saharan Africans.
The reason behind the genetic surprise isn’t much of a surprise when you take into account the historical context the ancient folks of Abusir el-Meleq lived in. According to the study, Abusir el-Meleq was inhabited from around 3250BCE to about 700CE and was an attractive burial site because of its active cult to the god of the dead, Osiris. The site was part of a wider region during the third century BCE, a region that included the northern part of the Harakleopolites province and the Fayum and Memphite provinces, the latter two of which Abusir el-Meleq had close relations with. The Fayum province saw a huge influx in its population, more than likely from Greek immigration. During the Roman Period, many Roman veterans, described by the study as being people who weren’t “initially at least…Egyptian but people from disparate cultural backgrounds,” settled in the Fayum province after their time with the Roman army was done. After settling, they became a part of the local society and intermarried among the locals. Immigrants also influenced culture in Abusir el-Meleq, where coffins featuring Greek, Latin, and Hebrew names and Greek art remain.
However, the rate of intermarriage in the Fayum and surrounding areas was localized because of the high population of Greek and Roman immigrants. Intermarraige also seemed to serve political and social gains, since Roman citizenship was at stake and while Egyptians were granted citizenship under Roman rule, no doubt one could gain more rights of a Roman citizen if they married up, as it were.
“Our genetic time transect suggests genetic continuity between the Pre-Ptolemaic, Ptolemaic and Roman populations of Abusir el-Meleq, indicating that foreign rule impacted the town’s population only to a very limited degree at a genetic level. It is possible that the genetic impact of Greek and Roman immigration was more pronounced in the north-western Delta and the Fayum, where most Greek and Roman settlement concentrated, or among the higher classes of Egyptian society,” states the study. “Under Ptolemaic and Roman rule, ethnic descent was crucial to belonging to an elite group and afforded a privileged position in society. Especially in the Roman Period there may have been significant legal and social incentives to marry within one’s ethnic group, as individuals with Roman citizenship had to marry other Roman citizens to pass on their citizenship. Such policies are likely to have affected the intermarriage of Romans and non-Romans to a degree.”
The amount of sub-Saharan ancestry in modern Egyptians possibly comes from greater trade between the two regions. That trade also includes transporting slaves.
“Possible causal factors include increased mobility down the Nile and increased long-distance commerce between sub-Saharan Africa and Egypt,” states the study. “Trans-Saharan slave trade may have been particularly important as it moved between 6 and 7 million sub-Saharan slaves to Northern Africa over a span of some 1,250 years, reaching its high point in the nineteenth century.”
Despite the genetic breakthrough of tracing the genetic lineage of Abusir el-Meleq, the scientists stress that this one study probably (and more than likely isn’t) indicative of the lineage of the entirety of ancient Egypt.
“It is possible that populations in the south of Egypt were more closely related to those of Nubia and had a higher sub-Saharan genetic component, in which case the argument for an influx of sub-Saharan ancestries after the Roman Period might only be partially valid and have to be nuanced,” the study states. “Throughout Pharonic history that was intense interaction between Egypt and Nubia, ranging from trade to conquest and colonialism, and there is compelling evidence for ethnic complexity within households with Egyptian men marrying Nubian women and vice versa.”
In closing, the scientists stress that more studies need to be made of the ancient peoples of southern Egypt and Sudan in order to give a much more complete (or near-complete) picture of the vastness of the Egyptian genetic story.
How this affects the always-raging argument about how to portray ancient Egyptians in film and television? Does that mean Gods of Egypt is actually accurate??
Reading the original CNN article on this post, I knew there would be people, scholars who believe in the “Egypt-is-Anglo-Saxon” model in particular, who would take this study to mean that they are right and everyone who believes in a much more POC model of Egypt are wrong. While the study shows that there are European ties to ancient Egypt, some of these ties are what we’ve already learned from the history books–indeed, the Romans and the Greeks did come to Egypt due to its geological location as well as for political reasons (i.e. the Ptolemaic Dynasty–a Greek ruling family with origins in Macedonia–and the Roman Period), and Cleopatra herself, as the last Ptolemaic ruler, is of Egyptian and Greek-Macedonian background.
What is semi-new is the direct connection to Anatolia, otherwise known as Asia Minor or the Near East. Today, much of Anatolia is known as Turkey. While it’s always made sense that ancient Egyptians would share genetic connections to the Middle East simply because of Egypt’s geological location to many of the countries in the Middle East, the direct connection to Turkey has never been known.
In regard to this new knowledge, what does that mean for Hollywood when it comes to casting actors for films about ancient Egypt? Regarding this information about the citizens of Abusir el-Meleq, it would still be incorrect for a director to lazily cast characters since, going by old and new genetic information, ancient Egyptians were never “white” in the Western sense. For example, Gods of Egypt, which included actors hailing from Denmark (Nikolaj Coster-Waldau), Australia (Brenton Thwaites), Scotland (Gerard Butler), and France (Elodie Yung, who is of French and Cambodian descent), is still historically incorrect and, just on a base level, visually upsetting. Even Chadwick Boseman, who is part of the African Diaspora, more than likely doesn’t share any strong genetic ties to Egypt. Most of the actors who would at least, visually, present a better vision of ancient Egypt were actors or crew who either had bit parts or went uncredited–Josh Farah, Wassim Hawat, Julian Maroun, Ishak Issa, and Rhavin Banda, to be specific. Of course, having these guys might not make the film any more or less accurate either, since this casting would be based solely on skin color and not on historical accuracy.
Hollywood actors who would have been perfectly suited for these roles would have been actors who are of Egyptian or Turkish background, such as Numan Acar (Homeland, of German and Turkish heritage), Deniz Akdeniz (I, Frankenstein, Once Upon a Time), Osman Soykut, also known as Ozman Sirgood (The Hot Chick, Alias, Uncharted 2: Among Thieves, of Eastern European and Turkish heritage), Rami Malek (Mr. Robot, Night at the Museum series, of Egyptian heritage), Amr Waked (Lucy, Egyptian heritage), Khaled Nabawy (Kingdom of Heaven, Egyptian heritage), Sammy Sheik (American Sniper, Egyptian heritage), Ahmed Ahmed (Iron Man, Egyptian heritage), Kal Naga (Tyrant, Egyptian heritage) and plenty of other undiscovered Turkish and Egyptian actors in America looking to make their mark in Hollywood, as well as established Turkish and Egyptian actors who are looking to break into the American market. Ditto this list for a more accurate portrayal of biblical characters in Exodus: Gods and Kings.
However, that’s also not to say that the European ancestry of some ancient Egyptians shouldn’t be expressed in films. This needs to be done with care, since too often, the casting practice for Hollywood is, as we’ve seen with Gods of Egypt, to whitewash with abandon. Some of the actors I mentioned are biracial, which goes right into the picture that the study itself painted about the ancient Egyptians of Abusir el-Meleq. Overall, casting history should be done with care, not with Hollywood stereotyping and tropes.
If there’s been any production that made an effort to be at least visually appealing in regards to showcasing ancient Egypt is Spike’s TUT, which starred Avan Jogia and a mostly brown and black cast in an attempt to show how ancient Egypt and neighboring regimes in Sudan actually interacted with each other. Sure, it’s not historically accurate, but as far as Hollywood standards go, this was a knock out of the park. If Hollywood went in this direction more often, there might be less gripes from audience members.
In short, the new study doesn’t go against what folks who are vying for better represented Egyptian-themed movies have been preaching. If anything, it clarifies things even more. It showcases that there is not only a need to show ancient Egyptians as they actually looked, but there is also a need to remember that ancient Egyptians, just like us, existed in a multiracial, multicultural world, that included intermarriage and biracial/multiethnic offspring. It would be great if the people behind the films we loved showed an interest and curiosity in creating a film that not only had a great story, but also paid respect to the people whose stories they are telling.
I have two pieces of Warner Bros. movie news to share! First, we’ve got the first look of Gal Gadot in Wonder Woman! It seems she looks the part.
I don’t know why I’ve been putting off this post about The Martian for so long. I guess it might be because, even though I run a site about race and culture in entertainment, I get fatigued from having to write the same story over and over when it seems like Hollywood will never learn. Also, I didn’t feel like writing about Matt Damon again, even on the most ironic level (because the irony is that even though he’s not involved directly in the backlash The Martian faces, he has been embroiled in racial entertainment politics already, in which, as he said to The Hollywood Reporter after watching the now infamous episode featuring the heated exchange between him and Effie Brown, he made himself “look like an an asshole”). But I have to write about this, and you’ll see why.