Pirelli has outdone themselves this year with their exclusive Pirelli calendar. The pity is that none of us plebians can get a copy.
This year, the innovative automotive and cycling tire company used Alice’s Adventures in Wonderland as its inspiration and, in a stroke of genius, the company decided to use an all-black cast.
The cast, ranging from entertainment and fashion figures to social activists, were styled by Edward Enninful (now serving as British Vogue’s Editor-in-Chief) and shot by English photographer Tim Walker.
The cast includes (according to the press release):
Adut Akech as The Queen of Diamonds; Adwoa Aboah as Tweedledee; Alpha Dia as Five-Of-Hearts-Playing-Card Gardener; Djimon Hounsou as The King of Hearts; Duckie Thot as Alice; Jaha Dukureh as Wonderland Princess; King Owusu as Two-Of-Hearts-Playing-Card Gardener; Lil Yachty as The Queen’s Guard; Lupita Nyong’o as The Dormouse; Naomi Campbell as The Royal Beheader; RuPaul as The Queen of Hearts; Sasha Lane as The Mad March Hare; Sean “Diddy” Combs as The Royal Beheader; Slick Woods as The Madhatter; Thando Hopa as The Princess of Hearts; Whoopi Goldberg as The Royal Duchess; Wilson Oryema as Seven-Of-Hearts-Playing-Card Gardener; Zoe Bedeaux as The Caterpillar.
When I saw these photos, I certainly saw shades of traditional fashion styling, but I also saw veiled, if unintentional, callbacks to late ’90 music video filming techniques, such as the slight fish eye lens, Hype Williams-esque quality some of the images have, the boldness of the costumes chosen, and the sheer attitude that jumps from the images. Here’s some images from the calendar, posted to Pirelli’s Instagram page (click picture to see image on Instagram):
Couldn’t Pirelli lift their “not for sale” rule on their calendars just this once? I know tons of us would love to own this one. Go to pirellicalendar.pirelli.com to learn more.
What do you think about these pictures? Give your opinions in the comments section below!
Rapper, model, and actor Kris Wu is making waves in America as the first Chinese artist to reach the top spot on the US iTunes charts with his single DESERVE, a collaboration between him and Travis Scott.
Wu, who moved to Vancouver as a kid, has blown up since his time in K-pop boy band juggernaut EXO–he’s starred in xXx: The Return of Vander Cage and Valerian and the City of a Thousand Planets, reps Burberry as the brand’s first non-British global ambassador, and is killing it on Weibo and Instagram, among other accolades. He’s also only 26 years old.
I-D’s Taylor Glasby interviewed Wu about his big iTunes recognition and where he sees entertainment going as it relates to representation and his own brand. Here are four key takeaways from the interview.
On reaching #1 on US iTunes:
“I always want to be the pioneer when I do things..if I hit the Billboard top 100, I’ll be the first Chinese male artist to do it, I think. I’d treat my entire team to a vacation!”
On the responsibility of being a trailblazer for Chinese artists in America:
“I want to set an example to the youth but at the same time, this is me, this is what I do. I say I want to be a pioneer but some things just happen, then they work out and I get more ambitious, and there is responsibility. It doesn’t get so big like, I’m representing the people of China…no way. But I want to make my fans and myself proud.”
On befriending fellow xXx star Vin Diesel:
“When I first met him on set, I was a little scared, like is he gonna be cool with me? But he was super nice and ever since then we’ve been close. You wouldn’t imagine that we’d be gaming at home, like on internet games all night. Every time I come to LA, he tells me to come over and chill. He gives me advice, he introduces me to good people. We’re like family now.”
On Asian representation in Hollywood:
“You know what, recently I actually had an offer for a lead male in a Hollywood movie, and not an action movie. I can’t tell you what it is because I said no to it–I don’t have any time and I’m doing music–so yes, I do see it happening. Not in the next ten years, but the next two or three. Five max.”
Francesca Andre has a message for everyone with her short film, Charcoal. The main theme of her film is about colorism and its damaging effects on the black diaspora. Her two main characters go through a journey of self-acceptance and self-awareness, and that journey is something Andre hopes is replicated in her viewers.
I’ve had the chance to speak with Andre recently about her film (which you can learn more about in a previous article and the trailer below) as well as her opinions on how colorism affects us. I also asked about the Dove ad that sparked controversy, and how we can heal as a people from our societal wounds. Andre offers clear insight into her own journey towards healing and how we can continue the process of healing in our own lives. Here are highlights from that conversation.
Charcoal can be seen at the Yonkers Film Festival Nov. 3-8.
The inspiration for Charcoal:
Colorism is something that has impacted my life at a very young age. It’s very common in Haiti—it’s not white people versus black people, it’s really lighter skin versus darker skin. At a very young age, I was made aware of that. When I was probably five years old, I received a dark-skinned doll. When I took it home, people started making fun of the doll, saying the doll is ugly. My mother being brown-skinned, my grandmother being lighter-skinned, and my grandfather and my father being darker skinned men, people just made comparisons to the skintones.
Colorism and the lasting effects of racism in the black diaspora:
We’re still dealing with the consequences [of racism] as a people when it comes to economic empowerment, how we are being perceived and anything else—colorism sits right in there. It’s still affecting us, we’re still dealing with it, it’s not a thing of the past. We’re still healing from it. Those of us who are aware and are making a conscious decision to talk about it. You can’t really talk about racism or the advancement of us as a people and not talk about colorism.
Here in America, [the Dove colorism ad] was a mainstream brand that everyone can see, but you have some smaller brands, when you go to Caribbean markets that are selling [similar] products. You have women making skin-bleaching lotion and selling it to other women. I guess for some people here, it’s not as blatant as it is in other cultures—if you go to CVS, you probably won’t be able to find it, right? But it’s happening. It never went away, at least from my experience; as long as I’ve been alive, I’ve always known about these products.
Even thinking about “good” hair,the hair is not closer to our hair texture. It’s something closer to European hair texture. But when you look at our hair and the versatility of our hair, to me it’s like, really good hair! It took me a long time to reprogram myself, my thoughts, and redefine what “good” hair was for me to access [my hair] and accept it, love it, and embrace it…I don’t have any problems with it now.
On how to heal from colorism:
I do feel like we need to start having conversations, and an important part of that is the healing part of that. I think you will see that you’ll find more women going natural more than ever. Here’s what’s fascinating: how so many black women did not know their hair period because they just haven’t been dealing with their hair…they did not know how to take care of their hair; it’s been processed. When they find out what products work on our hair and what they can do to make their hair do this and that. Again, it’s knowledge and healing and more women are stepping out. It’s not a strange thing now to see a black woman with natural hair in the workplace. There was a time when this wasn’t a thing. Now, more people are going natural, embracing it and being unapologetic about it. I feel like we’re going forward. Even with skintones, too—[online campaigns and phrases like] “My melanin’s poppin’,” #BlackGirlMagic—we are healing collectively. I hope the men are using those terms as well; I hope the men are healing because they are also victims of colorism. I hope that we as a people stop the vicious cycle.
…First of all, I think [the first step to healing is] knowing what colorism is. Many people don’t even know what colorism means. It really starts the conversation. It’s hard to change beliefs, but one way we can do that as a people is to talk—ask [about it] and dialogue. Increase representation [in the media] to make women more confident in who they are and how they look. As an artist and storyteller, the way I [change] people is including it and showing it, talking about it and not pushing it away…Whenever I see a girl with natural hair, I tell them “I love your hair” or “I love your twists”; I make it my job to remind them because all the messages they are receiving are the opposite.
How Charcoal can start viewers’ journeys toward self-acceptance:
I think there’s a universal aspect to it. I hope people feel inspired and hopeful. I hope people find some sort of healing or be the beginning of that journey. We all can relate to pain, and the characters go through that, but we can see how they overcome that.♦
This interview has been edited and condensed.
If you’ve seen Marshall, the origin story of future Supreme Court justice Thurgood Marshall, you’ve seen Mark St. Cyr. The actor plays August, the boyfriend of Thurgood Marshall’s frenemy, poet Langston Hughes.
While August might be happiest acting as a support system for Hughes, St. Cyr is hoping to stand out from the crowd and make a big dent in Hollywood. Marshall is just one of the major plays St. Cyr has under his belt; he’s also starring in the upcoming webseries Giving Me Life: In the Land of Deadass, which St. Cyr described as Friends, if Friends was directed by Issa Rae. The webseries has made its world premiere Oct. 24 at the New York Television Festival and has been featured as a Kickstarter creator-in-residence.
I’m glad I got a chance to speak to St. Cyr and learn more about his character in the film, his experiences on set, and what it’s like to be in the same room with Empire‘s Jussie Smollett and Chadwick Boseman, who has played Jackie Robinson in 42, James Brown in Get On Up, and the Wakandan king T’Challa in the upcoming Marvel juggernaut Black Panther. Check out these five moments from our conversation.
On playing August: I play August and the key thing that August does in the film is he represents the outside world. Marshall is kind of in a small, claustrophobic courtroom world—he’s trying to solve the case at hand [involving] Sterling K. Brown [star of NBC’s This Is Us]. In the middle of the movie, he takes a break from that small courtroom and comes back to his hometown of New York to see what the world going on. [People] in the black world have their own opinions on how it’s going to go. August and Langston Hughes represent what the black elite artistic culture are thinking about Marshall at that moment. August supports the opinions of Langston Hughes as he and Marhsall duel it out at the jazz club.
On working with Jussie Smollett: He’s great. He’s incredibly humble and very warm and open. He shared a lot of wisdom with me, I was able to ask him about things that could help me on my own journey, and he was very gracious and generous and he did a great job.
On playing opposite Black Panther‘s Chadwick Boseman: It’s pretty cool [laughs]. It’s a little surreal. He’s a man—you get used to thinking he’s going to jump on top of cars, and then you see him in hair and makeup getting his hair [styled] into Marshall’s. It’s a funny juxtaposition, but it’s cool.
Everybody’s celebrating Chadwick and it feels like when one of us succeeds in a major way, all of us succeed in a major way. The fact that it’s being made at all is a [big win]. There’s just a lot of energy supporting that film and getting that [energy] so far before it’s been released– that’s a victory in and of itself. Having an opportunity to be a part of that energy is really great.
What St. Cyr learned about Thurgood Marshall and Langston Hughes: Marshall’s all about going inside the system and changing the laws. He’s very direct in his method and Langston Hughes is about creating art that moves people and stirs people from the inside out, writing about it in a way that…moves people’s conscience. It’s kind of a covert mission whereas Marshall is guns blazing. In the movie, Marshall disagrees with the way Langston goes about [challenging racism] and I think that’s still something we deal with now.
What moviegoers can learn from Marshall: People see Marshall as this iconic figure who won everything he ever did and went to the Supreme Court and lived happily ever after. I think a lot of times, people need to see the struggle chapters of some of our heroes, and I think this is the moment to show you [that] he was a man and he was not invincible. He may have become an American hero, but he was [human]. Our heroes are human…but they are capable of doing great things, as we all are. The world is always going to need heroes.♦
This article was edited and condensed.
Kenny Leu is an actor you’ve probably seen before in your favorite shows and films, like NCIS, The Player, and Independence Day: Resurgence. He’ll make his biggest mark yet as Sgt. Eddie Chen in the upcoming National Geographic miniseries The Long Road Home, based on ABC News’ chief global affairs correspondent Martha Raddatz’s book about the true story of American forces who are ambushed in Sadr City, an Iraqi neighborhood. But before that, you can get to know him better as the star and an executive producer of the new webseries, Munkey in the City, which follows a young man who is trying to find fame–and himself–in the big city.
In my hour-long conversation with Leu, I got to better understand Leu’s commitment to increasing Asian American visibility in the media, his thoughtfulness on nuanced topics such as colorism, his willingness to learn from others’ cultural and racial experiences, and what he learned on the set of The Long Road Home. Here are five takeaways from our conversation.
•On landing the part of Munkey:
“I’ve been in LA now for almost four years. Before I moved out to LA to pursue acting full time, I was pursuing acting part-time in the San Francisco Bay area. I forget how I got this audition notice,but I was told about this project…went into audition for it, and ended up getting the part. We started to collaborate after I read the script and…it just reads as a very genuine story.
Our version of the series came out all right; there were a lot of things I felt I could have done better; I was still growing a lot as an actor and he was still growing a lot as a filmmaker. We shot our first draft of it in the San Francisco Bay before I moved down. I had already moved down to LA for a year before I saw his latest draft…By that time, I had taken really great classes, I had really learned a lot. I was like, “Michael, if I get another chance, I want to redo it.” He was like, ‘Dude, let’s do it then!’”
•On Munkey’s importance:
“One of the biggest things that drew me to this project is that I relate a lot to Munkey. He’s an aspiring writer, he moved to the city to become someone. He’s still figuring out who he is and what he wants in life. I feel that’s a very universal theme for a lot of people. What kind of struck me most about this project is that it’s a character who’s Asian American yet has these universal themes. He’s very human—he’s not perfect, he’s not a bad person, he’s just a guy who’s trying to get by. There’s a lack of stories in mainstream media where you have an Asian guy who’s just trying to live. That was the first thing that really drew me to this project; he just felt like this very real person and he just happened to be Asian American.
I relate very much personally to this to because I feel this is something very unique to Asian Americans. I feel like Asian Americans in general don’t ask ourselves what we want until later in life than most other cultures. At least, that’s me personally and a bunch of my friends who went through the school system, were very successful students, and before we woke up to what we wanted in life, we kind of already had this career going for us.
Before I was an actor I got a degree in mechanical engineering from Berkeley, and I was working…before I realized acting was something that fulfilled me more deeply than engineering will. It was a matter of taking everything that I’d had, everything I’d worked hard for—terrific salary, great job, terrific opportunities, potentially a family, your parents’ smiling faces, knowing they’ll have grandkids soon, health insurance—it’s all in my hands. I remember the moment I took all of it and threw it away. That’s something I think a lot of Asian American families, especially the ones who immigrated in the ’80s, really had to go through, that there is a choice between what everyone tells you is happiness and what you really want for yourself.
I think Munkey is reflective of that. I’d like to imagine Munkey had a career before he became a writer and that’s why he’s so lost,[thinking] ‘Am I stupid for doing this? Why do I want to become a writer? I’m not making any money from this, my roommate’s hooked on coke, I’m living such a shitty existence and some instinct tells me this is the only path forward.’”
•On Asian representation in Hollywood:
“I think things are definitely changing. Me being a part of the industry down here, I know for a fact that executives are trying. I think their efforts are still pretty clumsy and they’re still just holding onto some old beliefs that just aren’t true anymore. For instance, they still don’t believe an Asian American man can be the lead of a movie. …It’s very discouraging to see that that’s still a belief, because it’s still very much reflected in how people see each other here, I believe. My take on it is that I’m very optimistic, but cautiously [so]. I think there could still be more changes.
I think this is the first time ever where Asian American voices are united and persistent on something…It’s very hard to unify our voices because we come from such different backgrounds. But this is the first time I feel like we’ve worked in unison on something, and it’s made an impact, especially on Twitter, #OscarsSoWhite, [etc]. I’m very excited this is happening.
My hope is that we get an Asian American movie star whose name transcends his ethnicity. I feel like if you’re African American, you’ve got Denzel Washington and Will Smith, who I believe are such stars that their ethnicities aren’t as important as their names. I feel like we as Asian Americans don’t have that. That’s the crux of how I feel like a lot of Asian Americans get treated out here. It’s very easy to feel like you’re invisible, to feel like you don’t matter. Personally, I’ve received this a lot—a person treats me based on my race rather than on who I am. We’re fighting for the constant visibility that I think is specific, but not unique to, growing up Asian American in the United States. It’s not the overt hostility that African Americans face; it’s the complete opposite. It’s complete apathy.”
•On colorism in Hollywood, as seen in Crazy Rich Asians
“On the one hand, I think this Crazy Rich Asians is terrific. I hope this is going to be our generation’s Joy Luck Club and people will see that it’s interesting to watch Asian Americans on the big screen…and people will become more confident in investing in films like that in the future. Me personally, I tried reading the book, and I read a lot, but for some reason I just couldn’t finish this one. There was nothing interesting about it to me; a lot of it was just talking about clothes and a culture I couldn’t relate to at all. Maybe I was expecting it to be more of an Asian-American story…it’s not; it’s very specifically Asian, and it’s also very specifically the ultra-ultra-ultra-ultra-rich Asian. That’s very hard to relate to. I think going back to the crux of what Asian-Americans need to tackle in order to become accepted in the mainstream is this idea that we’re human too and we deal with universal issues like what Munkey’s going through and not like kung fu movies and math problems.
On top of that, something that bummed me out was when they cast Henry Golding in the lead. The reason why is because…something that I’ve noticed a lot is that our faces are kind of getting erased. Almost all of the parts go to Eurasian people. It sucks because we’re being horribly misrepresented, like our features aren’t good enough to be on the big screen. ‘He looks too Asian to ever be all right. It’s just a very Eurocentric way of looking at what beauty means and what it means to be handsome and that kind of stuff…I’m very cautious of our faces getting erased for an ideal that I believe is not true.
I know that this is something that has stemmed back [with black America] for hundreds of years; I’m reading a Malcolm X book, his autobiography, and he talks about that even back in the 1930s. Being lighter-skinned was a thing that made you more accepted by white society. It’s very analogous to what all the other minorities will be going through [in Hollywood]; the whiter you look, the more accepted you are, but only on screen. It’s such a nuanced, yet perverse thing to have happen to us, which subconsciously tells all of us that if you’re ethnic, you’re less than, you’re beautiful, and you don’t deserve [someone relating to you].”
• On playing Lt. Eddie Chen in The Long Road Home
“Our whole platoon is incredibly diverse, reflective of true life. It’s just something you would never see Hollywood casting if it wasn’t based on a true story. Our lieutenant commander is Hispanic, and we’ve brought in a whole number of ethnicities. I’m the only Asian man in it, but you’ve never seen that in a military show. All kinds of people are being represented in this platoon[.]
The vets all came out to give us their blessing. This is the first week that I showed up, and the vets were already there, saying, “Thank you for telling our story, thank you for not making us heroes.” [The miniseries] is about these really awful, difficult decisions they had to make in order to live. It was such an incredible experience on that level.
On my first day of shooting, I was really nervous because we were shooting this big scene, and there were 400 extras in the scene. We’re all soldiers saying goodbye to their families; obviously, it’s very emotional. I’m walking through my scene with the director, making sure I’m hitting all my marks and that I know where the cameras are. In the middle of all of that, there are all of these extras that come up to me. Imagine the most Texan guys you could think of—they had the long mustaches with sunglasses and the big boots and big belt buckles and big bellies—they surrounded me and came up to me, and I was wearing my uniform at the time and they were reading my [character’s] name and my insignia. There was like a moment of silence. I was like, “Oh f***, what’s going on?” They were like, “You’re Sgt. Chen…we served with Eddie 13 years ago.” He was like a big brother to them and he was the guy everyone looked up to. He was the most honest, genuine person they’d ever known. I’m standing there on this field suddenly realizing how meaningful this story is to all these people. I was like, “Oh my God.” …That was something that rattled me to my core. You realize how important it is to tell stories like this, where people are represented properly. It makes you realize what a responsibility storytelling is.”♦
Watch Munkey in the City on its website , Vimeo page and YouTube page, and follow the series on Facebook, Twitter,and Instagram. The Long Road Home premieres on National Geographic November 7 at 9/8c.
This article has been edited and condensed.
Hugh Hefner, the founder of the long-running Playboy Magazine empire, has died at age 91. I haz a sad.
First of all, before anyone decides to come for me for saying I’m a little bummed, YES, I know that Playboy is based on a sexist and, frankly, racially-biased interpretation of feminine beauty–regardless of Hefner wanting to appeal to the James Bond “lascivious gentleman” aesthetic of the 1950s and 1960s, Playboy, and the aesthetic it played upon, showcased women from the male gaze, and that’s putting it mildly. Also, despite Hefner being a supporter of civil rights and providing a platform for Malcolm X (who was interviewed for the magazine by none other than future Roots author Alex Haley), the track record for notable black Playboy models is bleak. The first black Playmate of the Month, Jennifer Jackson, made her debut in 1965, 12 years after Playboy was founded and first published. The first black Playboy cover model was Darine Stern in 1971, and according to Wikipedia, there are only 29 black Playboy Playmates of the Month (not counting Playboy‘s regular pinup shots), and the first black Playmate of the Year was Renee Tenison in 1990. (Complex has a good article on 25 of those Playmates.) In case you need more proof that Playboy has been behind the eight-ball in the area of representation, the magazine has only just had its first Mexican-American Playboy Playmate of the Year in 2013 with Raquel Pomplun.
I understand all of the issues surrounding Playboy and Hefner. And yet, I am a little downtrodden. As horrific as it might sound, generations have grown up with the presence of Hefner in his Playboy Mansion. For better or worse, he was a huge part of our pop culture fabric. And, despite all of the facts I laid down about Playboy‘s racial issues (and some I didn’t, like the fact that the majority of the black Playmates of the Month range from light beige to toffee-colored, further pushing a colorism narrative), there’s one Playboy fact involving the black image that goes routinely unnoticed–the iconic look of the Playboy Bunny comes from the mind of a black woman.
Zelda Wynn Valdes is who you have to thank for the classic Playboy Bunny costume, a costume so ingrained in our psyche that the silhouette alone tells you what you need to know.
Valdes, who died in 2001, opened the first African-American owned boutique, Chez Zelda, in Manhattan in 1948 (the shop later moved to Midtown in 1950). She dressed some of the biggest names of the ’40s, ’50s, and ’60s, including Dorothy Dandridge, Mae West, Ruby Dee, Marian Anderson, Josephine Baker, Eartha Kitt, Jessye Norman, Gladys Knight, the entire 1948 bridal party of Nat King Cole and Marie Ellington, and “the black Marilyn Monroe,” Joyce Bryant. She also served as the President of the New York chapter of the National Association of Fashion and Accessory Designers (NAFAD), an organization founded by Mary McLeod Bethune. Later in life, she also designed costumes for the Dance Theater of Harlem. She started working with the company in 1970 and continued there until she died at the age of 96.
Valdes’ flattering, sexy, body-hugging designs garnered Hefner’s attention, particularly because, I’m sure, he was opening his Playboy Clubs and needed costumes for his waitresses. The original idea for the bunny costume might have been conceived by the Playboy’s director of operations Victor Lownes, but it took Valdes’ flair and artistic eye to bring that idea to fruition. Also, Valdes’ Playboy Bunny costume became the first service uniform registered with the U.S. Patent and Trademark Office, furthering Valdes’ legendary status.
Or, rather, it should be a legendary status. Valdes’ contributions to Playboy, and to fashion in general, seem to go unnoticed by society at large, and that’s a shame. Valdes helped shape the idea of a glamorous woman through her high profile clients, and for better or worse, she helped shape the ideal image of the the Playboy Bunny and the conversation we have about beauty and body image.
This is where the history of the costume gets into the weeds, since, ironically, the image of the standard Playboy Bunny is this:
Despite the fact that the design was brought to life by a black woman.
There’s also a ton that can be said about the rigorous dieting the Bunnies must have had to be on to be able to successfully make it through pre-shift weigh-ins (wherein they could only gain or lose a pound), not to mention dealing with blatant objectification. Activist Gloria Steinem famously wrote about her time as a Playboy Bunny in an article called “A Bunny’s Tale,” which was published in Show Magazine in 1963. In the article, she outlines how degrading and sexually exploitative it was to work as a Bunny. Some of those awful working conditions seemed to be alluded to in the 2011 failed NBC Mad Men-esque drama The Playboy Club. Despite the fact that the show never quite got off the ground in terms of storytelling, it did, however, provide our best modern look at the Playboy Bunny costume in action, giving us an idea of what it must have looked like to see the costume at work in its heyday. Despite the awfulness surrounding the clubs themselves, you can’t deny that these costumes don’t have a touch of glamour, and even mystery, to them.
The instantly iconic look of the costume is why you always see it every year at Halloween or any type of costume party. Heck, if you’re an anime fan, you’ve probably seen this costume on several anime characters, the most notable character possibly being Bulma from Dragonball.
The Playboy Bunny suit has not only domestic, but international appeal. To me personally, it just looks cool. Somehow, Valdes was able to imbue playfulness, sexiness, allure, and a coquettish sensibility all in a corseted teddy, black sheer stockings, and bunny ears.
Playboy, the Playboy Clubs, and all the other trappings of Playboy Enterprises all revolve around the salability of the woman as a product, it’s true. There are tons of articles that can be (and have been) written about Hefner and his sordid, yet weirdly marketable empire of T and A. While the news of Hefner’s death is fresh, you should be able to find tons of articles out there that can supplement this one with all of the hot takes you need. Twitter alone will provide you with multiple angles on Hefner’s life and the complicated legacy he leaves behind.
At the end of the day, though, if there’s anything that can be said about Hefner, it’s that he didn’t build his empire alone. He, like most American “self-made” men, built it with the help of a talented black woman. One of these days, I’m going to don the Playboy Bunny costume to a Halloween party in Valdes’ honor. If only I could get over showing my upper thighs. 🐰
There’s tons of stuff going on in the media including the continued fallout L’Oréal is facing for firing black trans model/activist Munroe Bergdorf for her comments about systemic racism in relation to the violence in Charlottesville. Here’s what’s happening out there:
In Indonesia, 3 Muslim Girls Fight for Their Right to Play Heavy Metal|The New York Times
Waiting for a Perfect Protest?|The New York Times
You’ve seen Lana Condor even if you don’t remember her. If you’ve seen X-Men: Apocalypse, you’ve seen her as Jubilee, even though the film did her dirty and didn’t actually let her speak. But you’ll not only hear her speak in her latest film, To All the Boys I’ve Loved Before, she’ll be starring as the love interest, a dream she never thought possible.
Condor spoke to NBC Asian America about her role in the film adaptation of Jenny Han’s YA novel. In the film, Condor stars as Jean Song Covey, a biracial Korean/white American teenager who lives with her two sisters and widowed dad. The book and film will follow Covey’s love life, which gets completely turned upside down when the letters she’s written to boys she’s liked are taken from under her bed and sent.
“A few months ago when I was on a plane, I was daydreaming about how fun it’d be to act in a romantic comedy, because I don’t know of any rom-coms where Asian women are the leads,” she said. “And now here we are.”
Han herself gave Condor her blessing with the role. “That is truly groundbreaking,” she wrote on Instagram. “I haven’t seen Asian American women centered on the screen since Joy Luck Club which was nearly 25 years ago. Representation is so important, and this means the world to me. More than anything, I hope that the success of this movie will lead to more opportunities for Asian American actors and writers down the line.”
Condor said she hopes her work career can change the landscape for the Asian diaspora in Hollywood, something she started thinking about after landing her role as Jubilee.
“It got me thinking, if I can just put a little dent in the wall that is Hollywood in terms of race, then I’ve done enough,” she said. “Now, I’ve been so lucky in my career that I might be able to put an even bigger dent in that wall than I thought.”
You can read more at NBC News.