(Miki Jinno in Beerland. Photo credit: Vice/Screencap)
As regular readers might know, I’m a resident of Birmingham, AL, so I’m quite stoked to finally feature someone from my neck of the woods who’s changing perceptions and challenging stereotypes. This time though, the playing field isn’t entertainment–it’s the world of beer.
Last month, I highlighted Viceland’s Beerland and its Alabama-centric episode featuring Birmingham home brewer Miki Jinno. Originally from Japan, Jinno’s foray into Birmingham’s home brewing scene has a charmingly Seinfeld-esque beginning–she regifted a present meant for her former father-in-law back to herself–and since then, she’s been on a journey to bring Birminghamians beer infused with a unique Japanese flair.
I interviewed Jinno mid-December after the Beerland episode to ask her more about her brewing, what inspires her, and where she sees home and craft brewing in Birmingham going in the future. As a home brewer, Jinno makes her brews for friends and family, but you can try Jinno’s beer each year at the Moss Rock Festival in Hoover, AL, about an hour’s travel outside of Birmingham.
I watched your episode of Beerland and I thought your approach to beermaking is really interesting especially since there are so many beermakers here in Birmingham; yours can stand out from the crowd.
What got you interested in making beer?
I gave my ex-husband’s father a beer-making kit. He’s a scientist and my background is in science, too. I thought he would like it, but he didn’t use the kit. He just left it on the shelf. I didn’t want to waste the kit, and I was also interested in making beer. I started using that kit to make beer. But of course with a beer kit, you’re not [making great beer.] So, I changed all the ingredients to fresh ingredients, researched what kind of hops to use and fresh yeast to use to make a great beer.
You said in your episode that people didn’t expect someone like you to make beer. What do you think people expect when they think of a brewer?
A beer maker is usually big, has a beer belly. Beermasters, cowboy junkies—those guys are big, and they’re usually older. We go once a year to the Emerald Coast Brewfest, and we usually stay overnight with those guys and they’re telling me, “Hey, Miki, you’re too skinny to brew beer, you need more food.” In the first couple of months or more, I couldn’t really belong to those groups even though I brew beer. First, I’m a female and I’m relatively skinny, and I’m Asian. They think “Oh, you brew beer, but you don’t really get into it.” After they got to know me for about a year, maybe less, they start recognizing how I make beer. That broke the wall of the stereotypes of how they view me…It really took a while for the craft beer people to become comfortable because I’m not that guy that they’re expecting.
I’ve read about your infusion of your Japanese culture into your beermaking? How does your background influence your beer?
As a Japanese person, I have access to lots of Japanese ingredients. Right now it’s [about] Asian fusion—Asian fusion restaurants and ramen noodle places in Birmingham are becoming [more popular]. Everybody likes green teas and being healthy. I think as a Japanese person, I can bring something very unique to the U.S…It’s a great opportunity for me to put something in the beer to introduce people to something they’re unfamiliar with, like Japanese tea or Japanese citrus, which as a different flavor from American tangerines and stuff like that. Something like Yuzukoshō, it’s something that you’ve never tasted before, but I have because I grew up with it. Those little unique, great things are things I can introduce to American people.
As someone who has never had any kind of alcohol, what would be one that would be a good starter for me?
If you like tea, you definitely need to try my green tea beer, or another one I made with kukicha, another type of tea. You don’t taste any bitterness, only tea flavor. I also drop lemon into the beer, so it’s more like refreshing tea. Also, if you like coffee, I made a porter—imagine it’s a hot summer, and you have a choice to drink iced coffee or drink beer, but you want to drink both. So I made a coffee porter.
I’ve never thought about how many types of beer there can be, but this is really interesting.
Thank you. I’m a BJCP [Beer Judge Certification Program] judge, so I actually go to judge other beer at home brew competitions. We judge homebrew competitions everywhere, but I usually judge the Birmingham Brew-Off, Peach State Brew-Off, and Boardtown Brew-Off. Sometimes a brewery will invite me to taste their beer before they make a big batch. Going through this judging program, I learn [about] a ton of new beers, so many different types, so many different ingredients, it’s really interesting. It’s not the [usually] beer you think about—there are beers that taste like wine or taste like a scotch. There are so many kinds out there.
Where do you see Birmingham going in the next few years?
The next few years are very interesting. I think more breweries are going to pop up. It’s interesting that within five to six years, so many breweries are opened. I think it’s going to double. Probably in the rural areas, like Alabaster or other areas north and south that are not highly populated, I think they’re very interesting, too. I think there are going to be more smaller breweries opening up because people are recognizing how amazing this craft beer is.♦
This interview has been condensed and edited for clarity.
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.
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
- Whitewashing and brownface in Hollywood
- The good and bad of Hollywood’s Latinx representation
- Wrapping up—why you must take Latinx representation seriously
The roles afforded to Latinx actors in Hollywood
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.”
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.”
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