Tag Archives: Hollywood

How media sexism demeans women and fuels abuse by men like Weinstein

File 20171016 31008 59fzv3.jpg?ixlib=rb 1.1
Advertising continues to portray women as charming keepers of the home, making it harder to succeed at work.
Andrea44/flickr, CC BY-SA

Virginia García Beaudoux, University of Buenos Aires

The sexual abuse scandal currently embroiling media mogul Harvey Weinstein has stunned the United States, with Hollywood and the fashion industry declaring that “this way of treating women ends now.”

As an Argentinean woman who studies gender in the media, I find it hard to be surprised by Weinstein’s misdeeds. Machismo remains deeply ingrained in Latin American society, yes, but even female political leaders in supposedly gender-equal paradises like Holland and Sweden have told me that they are criticized more in the press and held to a higher standard than their male counterparts.

How could they not be? Across the world, the film and TV industry – Weinstein’s domain – continues to foist outdated gender roles upon viewers.

Women’s work

Television commercials are particularly guilty, frequently casting women in subservient domestic roles.

Take this 2015 ad for the Argentine cleaning product Cif, which is still running today. It explains how its concentrated cleaning capsules “made Sleeping Beauty shine.”

The prince could help clean up, but why bother when women can do it all?

In it, a princess eager to receive her prince remembers that – gasp – the floors in her castle tower are a total mess. Thanks to Cif’s magic scouring fluid, she has time not only to clean but also to get dolled up for the prince – who, in case you were wondering, has no physical challenges preventing him from helping her tidy up.

But why should he, when it’s a woman’s job to be both housekeeper and pretty princess?

Somewhat paradoxically, advertisements may also cast men as domestic superheroes. Often, characters like Mr. Muscle will mansplain to women about the best product and how to use it – though they don’t actually do any cleaning themselves.

Mansplaining domestic chores.

More recently, there’s been a shift – perhaps an awkward attempt at political correctness – in which women are still the masters of the home, but their partners are shown “helping out” with the chores. In exchange, the men earn sex object status.

Thanks for ‘helping out,’ hubby.

We’ve come a little way, baby

Various studies on gender stereotypes in commercials indicate that although the advertising industry is slowly changing for the better, marketing continues to target specific products to certain customers based on traditional gender roles.

Women are pitched hygiene and cleaning products, whereas men get ads for banks, credit cards, housing, cars and other significant financial investments.

This year, U.N. Women teamed up with Unilever and other industry leaders like Facebook, Google, Mars and Microsoft to launch the Unstereotype Alliance. The aim of this global campaign is to end stereotypical and sexist portrayals of gender in advertising.

As part of the #Unstereotype campaign, Unilever also undertook research on gender in advertising. It found that only 3 percent of advertising shows women as leaders and just 2 percent conveys them as intelligent. In ads, women come off as interesting people just 1 percent of the time.

Britain paves a path

Even before it was forced to reckon with allegations that Harvey Weinstein had also harassed women in London, the United Kingdom was making political progress on the issue of women’s portrayal in the media.

In July, the United Kingdom’s Advertising Standards Authority announced that the U.K. will soon prohibit commercials that promote gender stereotypes.

“While advertising is only one of many factors that contribute to unequal gender outcomes,” its press release stated, “tougher advertising standards can play an important role in tackling inequalities and improving outcomes for individuals, the economy and society as a whole.”

As of 2018, the agency says, advertisements in which women are shown as solely responsible for household cleaning or men appear useless around kitchen appliances and unable to handle taking care of their children and dependents will not pass muster in the U.K. Commercials that differentiate between girls’ and boys’ toys based on gender stereotypes will be banned as well.

Sticky floors

The U.K.‘s move is a heartening public recognition that gender stereotypes in the media both reflect and further the very real inequalities women face at home and at work.

Worldwide, the International Labor Organization reports, women still bear the burden of household chores and caretaking responsibilities, which often either excludes them from pay work or leaves them relegated to ill-paid part-time jobs.

In the U.K., men spend on average 16 hours per week on domestic tasks, while women spend 26. The European Union average is worse, with women dedicating an average of 26 weekly hours to men’s nine hours on caretaking and household tasks.

In Argentina, my home country, fully 40 percent of men report doing no household work at all, even if they’re unemployed. Among those who do pitch in, it’s 24 hours a week on caretaking and domestic chores for men. Argentinean women put in 45 hours.

You can do the math: On average, Argentinean women use up two days of their week and some 100 days annually – nearly one-third of their year – on unpaid household labor.

Real-world consequences

These inequalities, combined with advertising that reinforces them, generate what’s called the “sticky floors” problem. Women – whether would-be investment bankers or, I dare say, aspiring Hollywood stars – don’t just face glass ceilings to advancement, they also are also “stuck” to domestic life by endless chores.

The cultural powers that be produce content that represents private spaces as “naturally” imbued with female qualities, gluing women to traditional caregiving roles.

This hampers their professional development and helps keep them at the bottom of the economy pyramid because women must pull off a balancing act between their jobs inside and outside of the domestic sphere. And they must excel at both, all while competing against male colleagues who likely confront no such challenges.

Former U.S. president Barack Obama once pointed out this double standard in homage to his then-competitor Hillary Clinton. She, he reminded an audience in 2008, “was doing everything I was doing, but just like Ginger Rogers, it was backwards in heels.”

The ConversationThe sticky floor problem puts women in a position to be exploited by men like Weinstein, who tout their ability to help female aspirants to get unstuck. Until society – and, with it, the media we create – comprehend that neither professional success nor domesticity has a gender, these pernicious powerful dynamics will endure.

Virginia García Beaudoux, Professor of Political Communication and Public Opinion, University of Buenos Aires

This article was originally published on The Conversation. Read the original article.

About Kevin Spacey (and the others)…

Kevin Spacey presents his new movie Margin Call at the Berlin Film Festival 2011 (Wikimedia)

I’ve about had it with Hollywood. Between Austin’s film scene with Ain’t It Cool News’ Harry Knowles and Birth.Movies.Death’s Devin Faraci, Harvey Weinstein, and the various other sexual assault/harassment allegations that have surfaced from all corners of society, it’s clear that the problem connecting all of these is that Hollywood and other industries offer umbrellas of protection to those who have power, money, and–most often–penises. Those who are the least protected are the young (girls and boys), women in general, and those who come from marginalized and underrepresented communities, including–but not limited to–racial and cultural communities, the disabled, and those from the LGBT community.

Most of the cases we’ve heard about involve women facing lecherous, predatory men, such as the 80+ women who have come out to tell their stories involving Weinstein–including Rose McGowan and Annabella Sciorra, who say Weinstein raped them–and the 300+ women who say director James Toback sexually abused them. But there are also those cases involving men, such as Terry Crews, and minors. We’ve heard it from Corey Haim and Corey Feldman. We’ve heard it from those who have accused Bryan Singer. And now we’re hearing it from Broadway actor and Star Trek: Discovery star Anthony Rapp, who was preyed upon by Kevin Spacey when Rapp was 14 years old.

Rapp’s account–which you can read in full at Buzzfeed–is horrifying.

Rapp having to relive a memory he hadn’t told anyone about since it happened was made even more traumatic by the type of statement Spacey released as an “apology.”

There’s so much wrong with this statement–and folks are right to compare it to the equally obtuse and rambling statement Weinstein put out at the beginning of his saga, via The New York Times:

Both statements are exercises in trying to shift blame to anything and anyone other than themselves. For Weinstein, his scapegoats were the times he grew up in and his demons–which he does have, most definitely, however from actresses’ statements, he seemed untroubled by his demons until he had to issue an apology. For Spacey, his scapegoat is…being gay. Spacey certainly has his demons too, but they have nothing to do with his sexual orientation. They, like Weinstein’s, have everything to do with falling in lust with absolute control and absolute power.

To equate being gay to molestation is a two-fold act of cowardice and violence. First, the conflation is a slap in the face to the LGBT community, a community he has apparently run from his entire acting career, despite decades of rumors and direct questions about his sexual orientation. Secondly, it sets America’s progress with LGBT rights and attitudes back to the stone age. LGBT Americans have had to live with these types of regressive stereotypes for much longer than we straights have been aware of them. In fact, it’s straight America that has perpetuated these myths within our society. Again, the demon at work is absolute control and absolute power, and those who are in the majority have the power to control the narrative however they want. In this case, it’s straight people passing along the stereotype that those who are gay or otherwise along the spectrum are pedophiles and predators.

For Spacey to, as many have said, hide behind the rainbow flag now after he’s ran from it for so long is ugly and morally lacking. He should be ashamed of himself.

Speaking for those of us who review TV and film for a living, there’s the added moral condition of how to approach Spacey’s body of work after this bombshell.

I’ve followed the Weinstein saga closely, and provided my point of view to Bustle on how women in in the film criticism industry could come to terms with approaching Weinstein-backed films now that the facts are out in the open. One part of my opinion that got edited out (since most of us in the article were on the same wavelength and repeating each other), was that if it were a case of avoiding one actor and his filmography, say Woody Allen, then it’d be easy to avoid and remove our support from that actor. That’s what I’m going to do when it comes to Kevin Spacey. Just like with Weinstein, where there’s one story of wrongdoing, there’s bound to be more (whether or not they come forward).

It seems like Netflix is taking this avoidance approach with Spacey as well; the streaming network has announced that it will end House of Cards after the sixth season, which is currently in production. Netflix and Media Rights Captial’s joint statement (via The Hollywood Reporter)

“Media Rights Capital and Netflix are deeply troubled by last night’s news concerning Kevin Spacey. In response to last night’s revelations, executives from both of our companies arrived in Baltimore this afternoon to meet with our cast and crew to ensure that they continue to feel safe and supported. As previously scheduled, Kevin Spacey is not working on set at this time.”

Various celebrities, particularly those who are gay, also spoke out against Spacey’s conflating statement, as well as Beau Willimon, the creator of House of Cards.

Thankfully, the tide of voices has helped keep the narrative on Rapp’s story and not on the spin Spacey and his team were trying to pull (which, on some outlets, they succeeded). The focus should always be on the side of the victim and not on the perpetrator, who is still only out to control and use power, even when his (or her) back is up against the wall. If Hollywood could come to terms with its demons and finally rid the industry of predators, it’d be a much more enjoyable industry for actors and crew, film and TV critics, and the audience at large.

With that said, the best way to end this is with Rapp’s words on why he decided to come forward.

Being Latinx in Hollywood: Media creators talk representation

Latinx representation in Hollywood is something that seems to be suspiciously under the radar, even though it’s highly important, as the Latinx identity is one that is diverse and multifaceted. Despite characters like Sofia Vergara’s Gloria in ABC’s Modern Family and the casts of Lifetime’s Devious Maids and TNT’s Queen of the South existing in the media, there’s still more that needs to be done in Hollywood, such as focusing more on darker-skinned tones, racial diversity, and whitewashing. For every Gloria onscreen, there’s only one April Sexton, Yaya DaCosta’s Afro-Brazilian role on NBC’s Chicago Med, or Carla Espinosa, Judy Reyes’ proud Dominican character on NBC’s Scrubs. Even the roles like Vergara’s role—which is a “sexy Latina” stereotype—need work in order to exist outside of the stereotypes that have been wrongly attached to Latinx characters and actors.

Two of the latest instances of Hollywood’s failure at Latinx representation are X-Men Sunspot and Dr. Cecilia Reyes. The Afro-Latinx characters, which will be part of the new X-Men film The New Mutants, will be played by Henry Zaga and Alice Braga. Zaga is Brazilian, but he isn’t black or biracial, which removes much of the context from Sunspot’s character, as his characterization stems from the racial issues he’s had to face as a biracial Afro-Brazilian. Alternatively, Braga is Afro-Latina, but being light-skinned, she’s able to exhibit a privilege that the original, darker-skinned actress up for the role, Rosario Dawson, can’t. Again, it takes an important piece away from a character that is not just Puerto Rican, but defined by her place in the African Diaspora.

Throughout this year, I spoke with several Latinx creators about how they feel about Hollywood’s Latinx representation and what can be done to make it better. This is a longform piece, so I’ll break this up into several sections:

The roles afforded to Latinx actors in Hollywood

Diego Luna in Dirty Dancing: Havana Nights (Lionsgate)

Latinx actors, like many POC actors, are offered less than their fair share of meaningful roles. When they are offered roles, they’re often racist.

“When Latinx actors do get roles, I feel they’re oftentimes stereotypes,” wrote Desiree Rodriguez, Editorial Assistant for Lion Forge sci-fi comic book Catalyst Prime and writer for Women on Comics and The Nerds of Color, in an email interview. “The Spicy Latina, the Buffoon, the Tough Chick Who Dies, the Sexual Exotic Fantasy, the Drug Dealer, the Gangster, and so on.

“…What I find frustrating is when Latinx actors do get roles, it’s a struggle and they are locked into stereotypes,” said Rodriguez. “I’m a huge fan of Diego Luna, but the first role I saw him in he played a Cuban – when he is Mexican – man who was basically the exotic fantasy for the white female lead in Dirty Dancing: Havana Nights. This isn’t even getting into how Afro-Latinxs, Asian-Latinxs, and other mixed raced Latinxs are barred from roles because they don’t fit Hollywood’s pre-packaged idea of what being Latinx looks like.”

“I think currently, while we are seeing more visibility, the current roles that are offered or available to Latinos are the role of a servant position, like a maid or something that falls in line with the stereotypes people have about Latinos, like maybe a sidekick or a criminal,” said Janel Martinez, founder and editor-in-chief of Ain’t I Latina, a site celebrating Afro-Latinas and Afro-Latinx culture.

“For example, in Orange is the New Black, a lot of people were hyped about the fact that there was a great representation of Latinas in the actual show, which is awesome, but when you look on the flipside of that, this is a show about women in jail,” she said. “Also, Devious Maids, [co-produced by Eva Longoria], it’s a full cast of Latinas, two of them identifying as Afro-Latina, and they were maids. I think people are seeing the visibility, people are excited to be able to say if you’re watching the show, you’re seeing our representation…but I think it’s still in a very limited scope. I find that it’s not just a Carrie Bradshaw or just someone who happens to be a Latina but maybe they’re the magazine editor in the movie. Their identity, while it’s important, isn’t in line with stereotypes and then manifested in the character that they essentially embody.”

“Typically, I see lots of immigrant, day laborers and criminal roles going to Latinx actors,” wrote Gerry Maravilla, Head of Crowdfunding at Seed and Spark and writer-director of Cross, in an email interview. “I think this comes from often lack of interaction on behalf of writers and filmmakers with Latinx people in the real world. As such, they rely on what they’ve already seen in films or what they see from the vantage point of their more insulated experience.”

“By ‘insulated,’ I don’t mean that they live secluded or antisocial lives, but rather the lives they lead don’t actually include Latinx people in any meaningful way,” he said. “Instead, they see the Latinx peoples working in roles like day laborers or think about Latinx gang culture because of its coverage in the media.”

I think the most important thing to remember about stereotypes is how detrimental they are to Latinx actors who are trying to be cast in roles that are meaningful [as well as] to creators and consumers as a whole,” said Kimberly Hoyos, filmmaker and creator of The Light Leaks, a website designed to support, educate and empower female and gender non-conforming filmmakers. “As a Latina creator, I’m not going to write a character that I wouldn’t personally maybe want to act as. I wouldn’t create someone who is my ethnicity that doesn’t represent something larger as a whole. As a consumer growing up, that’s what I would see, maids and…anything that was oversexualized or overcriminalized. I think that in part pushed me to be a creator so I would be in charge of what was being produced.

Amy Novondo, singer and actor, said that several people she knows are frustrated with the lack of quality roles.

“[Hollywood] thinks of that over-dramatized telenovela atmosphere and [they think that] Latinos are only capable of that kind of acting their minds,” she said. “I know a couple of Latinos who are really mad about this because we barely get a chance to get into the audition room and when we do, we’re stereotyped right out of the box. It’s like, come on—I want a little more than that.”

Dascha Polanco in Orange is the New Black (Netflix)

Why have these stereotypes stayed around, and why have they kept their power? The answers lie in the pervasiveness of media itself, wrote Rodriguez.

“Media has a lot of power. The images we see, coupled with the words we read or we hear imprint on us however subtly,” she wrote. “It’s something of an irony that the Latin Lover trope can be attributed to Rudolph Valentino’s – a white Italian man – performance in 1921’s The Sheik, while stereotypes like The Domestic – where Latinx characters are gardeners, maids, etc – are perpetrated by popular, well known Latinx actors like Jennifer Lopez. And in Lopez’s case, we have an instance where Hollywood shows how deeply entrenched it is with its discomfort and ignorance dealing with the Latinx identity.”

Rodriguez references The Wedding Planner and Maid in Manhattan, which exhibit Lopez in two roles that reinforce racial and ethnic hierarchies.

“In The Wedding Planner, Lopez plays an Italian woman who is, for all intents and purposes, highly successful and comfortably well off. In Maid in Manhattan, Lopez plays a Latina woman who works as a maid in an expensive hotel, just scraping by as a single mom, and only finds success after she falls in love with a white man,” she wrote. “This creates a distorted image. As an Italian woman, Lopez’s character is an independent and successful career woman who eventually finds love. As a Latina woman, Lopez’s character is a single mom (enforcing the idea that Latino men are absentee fathers/bad family men), working as a maid until a rich white man “saves” her; then and only then does she find success.”

“This is, perhaps, a cynical viewing of what are two separate, and admittedly tropey romantic comedies. But again, media has power. Consciously or not, there’s a negative message to be had in the fact that Lopez’s Latina identity was erased in favor of an Italian one in The Wedding Planner,” she wrote. “By erasing our Latinx identities in favor of white ones, either by erasing the very existence of our Latinx identities or whitewashing them with white actors, media contributes to misinformation about what being Latinx is. Who we are as a collective culture and people – which is highly diverse and layered. Yet these stereotypes are upheld by this continued enforcement of ignorance and whitewashing.”

“[Stereotyping is] very, very detrimental and limiting because when you think of Latin America, we’re talking about over 20 countries and yes, we’re talking about Spanish [as a language] there are other languages [as well]…so I will say that when it comes down to not just representation, but inclusion in Hollywood, a person has to be invested in learning about the culture because there’s so many different moving parts,” said Martinez. “You can be Latino, Latina, Latinx, but you can be black, you can be Asian, you can be white and Latino. There has to be a great understanding of the culture.”

“…I think the work that is needed to really depict a Latino hasn’t been done and I think, specifically, when it comes to the representation, a lot of times they don’t even specify the nationality of the Latino [character]. …[Viewers] don’t even know if this person is Ecuadorian or Puerto Rican or if they’re from Honduras or Nicaragua or wherever because whoever wrote the role[.]”

Martinez also talked about how the different languages, slang words, and other cultural identifiers that make up Latin America aren’t taken seriously as characterization tools.

“When we see the portrayals on our screen, those things are not necessarily taken into account,” she said. “I don’t think there’s a strong grasp on what it means to be Latino, either Latino in America or Latino abroad.”

Jennifer Lopez and Tyler Posey in Maid in Manhattan (Columbia/TriStar)

Hoyos said that stereotypes are at their most insidious when people don’t even recognize them as such.

“I think the most dangerous thing about stereotypes is that to the untrained eye, they’re not seen as anything negative…To the average viewer, if they see one crime movie with Latinx as they gang members or the thugs, they may not even call that movie racist,” she said. “They might be like, ‘Oh, other movies do that.’ It becomes a normalized thing, and I think that’s why need to educate ourselves as a whole. I think a lot of that goes to correcting others when we see problematic media as a whole.”

Maravilla echoes this point by examining the news’ portrayal of Latinx Americans.

“I think these stereotypes originate from a similar place as the kind of roles that go to Latinx actors. They come from an isolated or insulated experience from Latinx people that prevents them from seeing or understanding them as complex, three-dimensional people,” he wrote. “When you look at other films, Latinx people are often criminals, immigrants, blue-collar people, and when they look at news coverage, this is also typically our depiction.”

“As filmmakers try to balance telling an engaging and affective story, it’s easy to get caught up in the mechanics of making a narrative work at a story level, he wrote. “Because their focus or interest isn’t necessarily on accurate cultural representation, they rely on stereotypes to satisfy their story needs, but end up not fully realizing (and in some cases just not caring) about the harm these stereotypes are doing.”

Next: Whitewashing and brownface in Hollywood

“Being Asian in Hollywood” is now a free e-book!

being-asian-in-hollywood

Recently I posted my longform article “Being Asian in Hollywood,” featuring several members of the Hollywood community. I’ve now compiled the article into a free e-book, just for JUST ADD COLOR readers.

The design of this e-book was inspired by the beauty and talent of Anna May Wong, and photography featuring her decorate the pages of this book in homage to her. Wong is someone who wasn’t featured prominently in this article, but it’s due to her sacrifice, and the sacrifices of other Asian actors in old Hollywood, who paved the way for today’s current crop of stars.

Here’s a look at some of the pages that you’ll see inside:

Download Being Asian in Hollywood here or click the cover in the site’s sidebar!

3 Ways the Live-Action “Mulan” Film Could Be a Hit, If Disney Listens to the Advice

Disney (Twitter)
Disney (Twitter)

Disney is continuing its live-action bent by making the rumor of a live-action version of Mulan movie true. The studio officially announced that the film, based on the studio’s animated 1998 hit, is in the works. Cue the anxiety, and rightfully so; Asian characters are the least showcased group in movies and in television. The penchant for Hollywood to not only showcase Asian characters, combined with their penchant to whitewash and cast white actors as leads in movies with mostly Asian casts, such as Matt Damon’s The Great Wall, has many people already upset at the prospect of Disney ruining a live-action Mulan film.

To that end, nearly 90,000 people have already signed a petition asking for proper casting when making this film. Social media reacted to the news of the film and the petition like this:

The petition and the sheer amount of signers will hopefully get Disney’s attention. To go along with that, here’s some free advice to Disney when creating this film.

1. Actually cast Chinese and Chinese-American actors. Specifically Chinese and Chinese-American actors.

This seems like it would be common knowledge, seeing how the film’s story is one from Chinese legend. But you never know about Hollywood; they cast Scarlett Johannsson as The Major in Ghost in the Shell after all.

It’s also heavily important that Disney specifically hire Chinese and/or Chinese-American actors. Hiring Asian actors who aren’t Chinese reinforces the idea that the pan-Asian experience is an interchangeable one, when it’s not. Korean culture isn’t the same as Japanese culture, which isn’t the same as Chinese culture. Also, interchanging one Asian actor with another is quite offensive: many Japanese were offended when 2005’s Memoirs of a Geisha cast its main leads with Chinese actresses—Ziyi Zhang, Michelle Yeoh, Li Gong, Tsai Chin. There’s also quite a number of other non-Japanese Asian actors in a film depicting a Japanese story.

Folks on Twitter have given tons of free casting advice to Disney:

It would behoove Disney to actually look at the suggestions and cast accordingly.

2. Hire Chinese consultants (and actually listen to them)

From my cursory research, it is unclear if Disney actually used consultants adept in ancient China, particularly the Tang Dynasty (one of the dynasties it’s believed the Legend of Hua Mulan comes from, as it’s not exactly clear which dynasty the story originated). But if going by this portion of the film’s Wikipedia page says anything:

In its earliest stages, the story was originally conceived as a Tootsie-like romantic comedy film where Mulan, who was a misfit tomboy that loves her father, is betrothed to Shang whom she has not met. On her betrothal day, her father Fa Zhou carves her destiny on a stone tablet in the family temple, which she shatters in anger, and runs away to forge her own destiny…In November 1993, Chris Sanders, who had just finished storyboard work on The Lion King, was hopeful to work on The Hunchback of Notre Dame until Schumacher appointed him to work on Mulan instead…Acting as Head of Story, Sanders grew frustrated with the romantic comedy aspect of the story, and urged producer Pam Coats to be more faithful to the original legend by having Mulan leave home because of the love for her father…This convinced the filmmakers to decide to change Mulan’s character in order to make her more appealing and selfless.

It’s that they either didn’t have consultants or decided against learning from their counsel.

Also showing Disney’s lack of trusting consultants is how dangerously close the “matchmaker” makeup looks to Japanese geisha makeup, as well as the fact that Disney had also hired consultants for their 1995 hit, Pocahontas. However, they didn’t actively use the consultants to make a more historically-accurate film. To quote The Los Angeles Times back in 1995:

“This is a nice film–if it didn’t carry the name ‘Pocahontas,'” says Shirely Little Dove Custalow McGowan, a key consultant on the movie who teaches Native American education at schools, including the University of Virginia. “Disney promised me historical accuracy, but there will be a lot to correct when I go into the classrooms.”

Sonny Skyhawk, founder of the Pasadena-based Ameriacn Indians in Film, is peeved that the film’s producer ignored his offer of help. “With few exceptions, the movie industry hasn’t got it right,” he explains. “And Hollywood has a long track record of not letting us see the product until it’s too late to make a difference.”

If Disney wants a live-action Mulan film to become a success, they should heed the word of Chinese consultants who will be able to steer them in the right direction. Just because Disney is the most powerful studio in the country, if not the world, doesn’t mean it knows everything.

Related: Recapping #WhitewashedOUT and the excitement for “Crazy, Rich Asians”

3. Take the Disney-isms out of this film

This sounds pretty pointed, but all of the quirks that Disney puts in its films need to be gone from Mulan. Disney consistently works from the viewpoint of middle-aged, straight white men “old boys club.” This point of view is something that ailed PocahontasThe Princess and the Frog, and in some ways, Mulan itself, even though they thankfully had the ability to see that Tootsie was not the right way to go with Mulan. To combat this, Disney needs to wake up and see the world outside of its mouse-eared tower. Disney needs to get in the trenches with this film, and make not a Disneyfied version of China, but a family-friendly tale that still adheres to its traditional Chinese roots. Basically, Disney just needs to do its best to make a faithful representation of a centuries-old story that also highlights a well-rounded representation of an often-stereotyped and underrepresented group. It isn’t a lot to ask, in all honesty. The commitment to do this, though, is what’s often the toughest thing for studios to adhere to.

BONUS: Address Shang’s sexuality

We gotta talk about this. When did Shang fall in love with Mulan? She wasn’t ever out of drag for long in the movie, so by just timing alone, it would seem that Shang fell in love with Mulan as Ping. Am I right or am I wrong? Can we ask B.D. Wong, Shang’s voice actor, this question? In my headcanon, Shang is either gay or bisexual. That’s the only way the love story can make sense to me.

Related: Queer Coding: Shang (Disney’s Mulan)

What do you think about the live-action Mulan film? Give your opinions in the comments section below! Also, if you like what I’ve had to say about the importance of consulting, sign up for notification of my upcoming character consulting service, Monique Jones Consulting!

JUST ADD COLOR’s “Ghost in the Shell” and “Dr. Strange” Online Roundtable featuring Claire Lanay and Keith Chow

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).

Scarlett-Johansson-GITS

•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.

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.”

Dr. Strange

• 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)
  • BORIS KARLOFF
    Fu Manchu in ‘The Mask of Fu Manchu’ 1932
  • KATHERINE HEPBURN
    Jade in ‘Dragon Seed’ 1944
  • JOHN WAYNE
    Genghis Khan in ‘The Conqueror’ 1956
  • MARLON BRANDO
    Sakini in ‘The Teahouse of the August Moon’ 1956
  • MICKEY ROONEY
    Mr. Yunioshi in ‘Breakfast at Tiffany’s’ 1961
  • ELIZABETH TAYLOR
    Cleopatra in ‘Cleopatra’ 1963
  • DAVID CARRADINE
    Kwai Chang Caine in ‘Kung Fu’ 1972-1975 &
    ‘Kung Fu: The Legend Continues’ 1993-1997
  • FISHER STEVENS
    Ben Jabituya in ‘Short Circuit’ 1986
  • LIAM NEESON
    Ra’s Al Ghul in ‘Batman Begins’ 2005
  • JUSTIN CHATWIN
    Goku in ‘Dragonball Evolution’ 2009
  • JAKE GYLLENHAAL
    Dastan in ‘Prince of Persia: Sands of Time’ 2010
  • NOAH RINGER, NICOLA PELTZ, JACKSON RATHBONE
    Aang, Katara, Sokka in ‘The Last Airbender’ 2010
  • BENEDICT CUMBERBATCH
    Khan Noonien Singh in ‘Star Trek: Into Darkness’ 2013
  • JOHNNY DEPP
    Tonto in ‘Lone Ranger’ 2013
  • CHRISTIAN BALE, JOEL EDGERTON
    Moses, Ramses in ‘Exodus: Gods and Kings’ 2014
  • EMMA STONE
    Ng in ‘Aloha’ 2015
  • ROONEY MARA
    Tiger Lily in ‘Pan’ 2015
  • GERARD BUTLER, NIKOLAJ COSTER-WALDAU
    Set, Horus in ‘Gods of Egypt’ 2016
  • TILDA SWINTON
    Ancient One in ‘Doctor Strange’ 2016
  • SCARLETT JOHANSSON
    Motoko Kusanagi in ‘Ghost in the Shell’ 2017

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:

#S4MBlerds: Dear Hollywood, whitewashing doesn’t make better movies|Blavity

Scarlett Johansson, Tilda Swinton, and How Hollywood Keeps Giving Asian Roles to White Actors|Complex

6 Japanese Actresses Who Could (and Should!) Replace Scarlett Johansson in ‘Ghost in the Shell’|Yahoo

Hollywood’s glaring problem: White actors playing Asian characters|L.A. Times

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

Hollywood’s upcoming films prove it loves Asian culture – as long as it comes without Asians|Media Diversified

What a Shitty Week to be an Asian American Woman in Hollywood|The Nerds of Color

Constance Wu And Ming-Na Wen Protest Hollywood’s Whitewashing Of “Ghost In The Shell”|Buzzfeed

Why Won’t Hollywood Cast Asian Actors?|New York Times

#DifferenceMakers: 4 New Racial/Gender Representation Initiatives

The #OscarsSoWhite controversy has shaken up Hollywood in one of the best ways possible. While there’s something that can be said for the lack of focus on other forms of representation in Hollywood (the media has been mostly focusing on the outward racial aspects and not other aspects of representation such as characters with physical or mental disabilities), Hollywood is trying to show that it can change, at least little by little. Four new initiatives tackling gender and racial inclusion have been created since #OscarsSoWhite; these initiatives have a bright future ahead as the pioneers of Hollywood’s new inclusion renaissance.

• We Do It Together: Variety reports that Juliette Binoche, Queen Latifah, and Jessica Chastain have joined together to create We Do It Together. The production company procudes film and television “that boost the empowerment of women.”

“The nonprofit is planning to develop a slate of ‘inspiring’ films by and about women to ensure future opportunities for known and emerging voices within the industry,” wrote Variety. “The first film will be announced in May at the Cannes Film Festival.”

• JJ Abrams’ new Bad Robot diversity quota: Bad Robot founder and film director JJ Abrams told the Hollywood Reporter that he decided, in the midst of #OscarsSoWhite, to create a serious outline of goals to meet when it comes to addressing inclusive casting and hiring practices.

“We’ve been working to improve our internal hiring practices for a while, but the Oscars controversy was a wake-up call to examine our role in expanding internally at Bad Robot and externally with our content and partners,” said Abrams, according to the Guardian. “We’re working to find a rich pool of representative, kick-ass talent and give them the opportunity they deserve and we can all benefit from. It’s good for audiences and it’s good for the bottom line.”

Click to read the latest issue!

• Zoe Kravitz’ collective: Zoe Kravitz has told the Associated Press about how she has had to turn down stereotypical role after stereotypical role, and how she feels a lot of the onus is on the actors themselves when it comes to choosing roles and breaking casting stereotypes. Kravitz has also decided to create a “creative collective,” states Hollywood’s Black Renaissance. Her collective includes “Hollywood filmmakers, actors, writers, and cinematographers and their goal is to meet each week to write a script that reflects the diverse world in which we live.” Kravitz is also going to “write, produce, and direct her own projects.”

Half: TV producer Ryan Murphy has launched Half, an initiative that will start “outreach efforts at colleges and universities,” states Forbes. Murphy “will pair candidates with mentors from his production company.” Murphy’s also creating “a database of names and contact information so other showrunners who want diverse directors can join the movement, as well.”

“I personally can do better,” said Murphy to The Hollywood Reporter. “[Publicist Nanci Ryder] said [at The Hollywood Reporter’s Women in Entertainment breakfast], ‘People in power, you have a position and responsibility to change the industry,’ and I thought, ‘She’s right.'”

What do you think of these initiatives? Give your opinions in the comments section below!