2015 saw a ton of explosive shows vie for our attention, from the new seasons of How to Get Away with Murder, Scandal, and Empire, to the new faces on rookie shows like Rosewood, Quantico, and The Grinder (or, in The Grinder‘s case, familiar faces we haven’t seen in a while). But if there were two new shows that captured the imagination more in 2015, they would have to be Mr. Robot and Into the Badlands.
COLOR posts a lot about Hollywood and movies and TV and media of that nature, but since I’m in a writerly household, I’ve realized that COLOR could and should cover more about writing opportunities, since like the entertainment world, the writing world is full of racism, discrimination, and blocked opportunities. There are too few writers of color in an industry dominated by white cis-gender men. Thankfully, there are beginning to be more opportunities for writers of color to make it in their chosen profession, and The Asian American Writers’ Workshop (AAWW) is one of them.
I don’t know why I’ve been putting off this post about The Martian for so long. I guess it might be because, even though I run a site about race and culture in entertainment, I get fatigued from having to write the same story over and over when it seems like Hollywood will never learn. Also, I didn’t feel like writing about Matt Damon again, even on the most ironic level (because the irony is that even though he’s not involved directly in the backlash The Martian faces, he has been embroiled in racial entertainment politics already, in which, as he said to The Hollywood Reporter after watching the now infamous episode featuring the heated exchange between him and Effie Brown, he made himself “look like an an asshole”). But I have to write about this, and you’ll see why.
Do you love the manga and anime Death Note? I do. If you love the franchise, you’re probably excited about the upcoming film. I would be, if I wasn’t already sure Hollywood was set to whitewash it. My fears were proven when Nat Wolff, best known for his role in Paper Towns, is now in talks to star in the American film adaptation.
I love Bradley Cooper. I love Emma Stone. I do not love Aloha. Neither does Hawaii. (You can read Sony’s “We have our own Hawaiian supporters so the film’s not offensive” defense here.) It’s one of those movies you know everything about it without having to watch it. Just viewing the trailer is enough. And, if you’ve viewed other films set in “exotic” Asian or Pacific Island locales with their own cultures, people, and ways of life, then you probably know everything Aloha will throw at you.
I read a lot of stuff in the past few weeks, but I can’t post all of it, so I’m only posting the most recent stuff. So many things. Let’s get to it.
If you’re looking for a new webseries to get addicted to, keep an eye on Munkey in The City. The upcoming webseries is written by Michael Nguyen and stars Kenny Leu as Munkey, a guy trying to make it as a writer while figuring out what it is he really wants out of life.
I was excited to discuss the webseries with Nguyen; in this email interview, we discussed the webseries itself as well as the state of Hollywood when it comes to the (lack of) Asian representation.
To learn more about Munkey in The City and where you can find it on social media, visit the webseries’ official site.
There have been several things that have been at play within the last few weeks. We’ve seen some new trailers featuring Asian actors, such as Blackhat, co-starring Leehom Wang and Terminator Genisys, co-starring Byung-hun Lee. There’s also Brian Tee in Jurassic World and Takamasa Ishihara (Miyavi) in Unbroken. We’ve also have heard troubling stuff from the Sony hack, such as Aaron Sorkin saying that there weren’t any viable Asian male stars.