Tag Archives: National Geographic

Why is Storm wearing a raincoat and holding an umbrella in “Dark Phoenix”? Plus other first look thoughts

I recently received the cover to the latest Entertainment Weekly issue, which features tons of first look images. The cover features Dark Phoenix, a film I’m not looking forward to at all.

I have a big gripe with the all of the X-Men films, especially the new crop of X-Men films, which go through the trouble of painstakingly replicating certain time periods, but neglect the background that influences the X-Men comic books–the Civil Rights Movement. Granted, X-Men has always shown racial and cultural animus in the country through the gaze of white characters, but the X-Men comics have seemed to have a much more political, and sometimes radical, bent that doesn’t ever come through in the movies. It’s frustrating. Dark Phoenix seems to sum up all of my aggravations with the X-Men franchise by deciding that it’s Jean Grey‘s story we need to hear about. Jean Grey (Sophie Turner) has never been that compelling as a character, and to base an entire film around her (especially with bad special effects, as shown in the first look images) is mind-boggling to me.

Also mind-boggling is that young Storm (Alexandra Shipp)–the goddess of weather– is not acting like Storm at all in this film.

As Kid Fury wrote so poignantly on Twitter:

Why? Why has Storm been disrespected so hardcore in this franchise? Why have all of the black characters been so disrespected in these reboots? The main reason I’ve never seen it for the X-Men: First Class reboot series is because in First Class, Darwin–a character who can adapt to anything–uncharacteristically dies. He dies as the first and only black man in the entire film. I immediately checked out and never sought to seek out the series again (except when I went to a party and saw X-Men: Apocalypse, but not on my own dime).

The only image I like from this set of Dark Phoenix images is Jessica Chastain in an icy blonde look. I don’t know who she is, but I think she looks really cool. I just wished she looked really cool like this in another movie.

In short, boo to you, Dark Phoenix. I am not watching you.

There are some films and TV series I would love to see though. Entertainment Weekly has first looks of lavish costume drama Mary, Queen of Scots, starring Margot Robbie and Saoirse Ronan, and of Antonio Banderas as Pablo Picasso in the second season of National Geographic’s Genius. 

Let’s not forget that Aquaman is coming; this first look of Jason Momoa gives us a very good look at a serious Arthur Curry.

Also, The Incredibles 2 was featured in this issue. This might be an unpopular opinion, but I’ve grown tired of Pixar sequels, so much so that I can’t muster the hype to get excited about this, and I was one of the people who yelled at Pixar for years to make a sequel. At this point, I’d rather Pixar just stick to making original films like Coco, which have the potential to make a much bigger impact culturally and socio-politically. But at the same time, I do want to know what Pixar’s First Family are going to do this go-round.

Also, I have to address the elephant in the room–Altered Carbon. I’ve talked about so many projects that feature white people as Asian people in the past two years, that I’m frankly surprised Altered Carbon didn’t decide to go against the grain and, I don’t know, be respectful. Takeshi Kovacs is a biracial Japanese-Eastern European character; it could have been cool to actually hire a biracial actor for this role instead of Joel Kinnaman. Also, how many times are we going to see neon and big cities in a glossy sci-fi film? ENOUGH.

There’s a ton more first look images at Entertainment Weeklycheck them out!

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Exclusive interview: Five takeaways from my conversation with Kenny Leu

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.

Kenny Leu as Munkey. (Screencap)

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.

Kenny Leu as Sgt. Eddie Chen in “The Long Road Home.” (National Geographic)

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 FacebookTwitter,and Instagram. The Long Road Home premieres on National Geographic November 7 at 9/8c. 

This article has been edited and condensed.

A Tale of Two Messiahs: Jesus Is Back on Television (and isn't White)

There’s going to be a lot of Jesus going around this Easter. Jesus, his death, and the aftermath will be discussed and dramatized at length in the National Geographic miniseries Killing Jesus and NBC’s A.D.—The Bible Continues.

I actually don’t prescribe to watching any interpretations of Jesus’ life, because I think everyone gets it wrong —we don’t know a lot about the historical Jesus and folks use the idea of Jesus to promote racial and cultural heresies. For instance, the idea that Jesus is somehow an Anglo-Saxon. But in the aformentioned Jesus offerings, neither actor portraying the Son of God is white. One of them wasn’t even raised Christian.