"I get a lot of offers to play a wacky Asian character with a ‘funny’ accent, and I’m not going to do that. I once auditioned for a part that was originally for a gay man, but the producers said they were open to other things. Before I went in to audition, they told me I should do an accent, I said, ‘Like a British accent, or maybe a New York accent?’ And I got all excited. But they wanted an Asian accent, so I asked them why? Was it important to the character or just part of the joke? They said it was part of the joke. I just left. There’s no problem doing an accent if it’s a part of the character, but I just feel uncomfortable when people expect me to be a stereotype."
Tony Daniel, writer of such classics [insert sarcasm font] Battle for the Cowl is currently writing Action Comics. I will not comment on the quality of that book because it’s inconsequential, but lets just say…
I wholeheartedly agree that the live-action “Akira” remake should just be re-named “Randy.”
I’ve said it many times before, and I’ll say it again: Hollywood can make a movie set anywhere in the world, in any era of history… and still somehow find a way for the movie to star a white guy. Always.
At first, the moderator — a sweet-voiced writer from the LA Times — asked them typical, if interesting, questions. “What’s your favorite stunts?” “Your most challenging costumes?” “Do you have trouble leaving your character behind?” That kind of thing.
Then, she half-turned to look at them. “What’s the most egregious example of sexism you’ve seen on set?”
"Some actor dude once said chicks couldn’t drive cars," Michelle scoffed. “I was like, ‘Move over.’"
The audience laughed a little. Sexism! Girls can drive cars. Silly sexist actor boys. No one in the audience was like them.
"One time when a crew member started hitting on me when I was tied to a bed for a scene," Tatiana Maslany offered. “I was young. I was just starting out. I couldn’t get away."
Less laughter now from the audience.
"Once a guy on set kinda beat the shit out of me during a fight scene," Katee Sackhoff said. “He said he thought I could ‘handle it.’"
No laughter now. Lots of squirming. The guy beside me was checking Twitter.
"He’s lucky I wasn’t there," Michelle said. “That kind of thing makes my blood boil.”
Onstage, though, it was like a fucking dam had broken. Michelle lectured us all, at length, on how 80% of the content written for women is by guys, and how they don’t know shit. “Dudes, I love dudes,” I remember her saying, “But they don’t know how to write for women.” Maggie Q talked about how, as an Asian-American actress, everyone expects her to be quiet and demure and also know how to do kung-fu in heels. Danai Gurira actually used the phrase “white male privilege.” In a room full of 6,000 Marvel fanboys! Male privilege.
I kept screaming, entirely spontaneously, like the sound was being ripped out of me. I couldn’t help it. I think I cried a little. I felt like I was in church.
It was the late ’90s and I was at an interesting phase of my career. For the first time in my life I possessed relevant qualifications, experience and could also show a successful track record in my chosen career path. I had the job seeker’s trifecta. It was also summer and my current employer…
Is your satire effective if it triggers feelings of insecurity and inadequacy in a certain subgroup within your viewership? Is your satire effective if it makes misogynists and fat-shamers feel like their hatred and aggression has been validated? Is your satire effective if you have to explain to everyone that it’s satire?
No, no, no.
Of course, there is plenty of room for edgier satire that makes people feel uncomfortable. But the point is to make people feel uncomfortable about society’s inherent power structure, or the misdeeds of government, or the follies of humanity in general — with the intent that you’ll spark intelligent discussion that might lead to positive changes in the world. If your satire only serves to make women feel uncomfortable about their bodies, then you need to reexamine your approach.
There has been a lot of debate circulating Tumblr lately about Disney’s upcoming film Frozen. A lot of this debate was sparked by the fact that the character design of the film’s heroine, Anna, is strikingly similar (read: identical) to that of Rapunzel in Tangled….
“My theater had a bunch of kids in it. I kept thinking about what images they were leaving the theater with–and that left me upset and worried. Now an entire new generation is going to play the Lone Ranger and Tonto at recess, thinking Indians talk in incomplete and inconsistent pidgin English, think all Indians are dead, and that it’s ok to dress as an “Indian” for Halloween. While this might be a flash-in-the-pan film, it solidifies the continuing views of Native peoples as lesser, as relics of the past, as disappearing, as roadblocks to “progress.” Tonto might have been less of a sidekick and running the show, but in the end, the Lone Ranger gets the girl and the glory, and Tonto ends up in a museum. Hows that for a re-imagining.”—Adrienne K at Native Appropriations reviews The Lone Ranger (her advice? don’t go see it)