i cant get over these pictures omg thats some rl disney bullshit right there
Looks for Intimate Apparel LookBook, in collaboration with Marie Heffernan
theres a special place in heaven for those who draw damian and dick with darker skin tones
According to yourfaveisproblematic:
- That tiny little thing where her entire damn TV show has no POC in it
- POC cast in Girls play only “the help”, random people:
- Sidné Anderson as “Jamaican Nanny”
- Jermel Howard as “Young Black Guy”
- Moe Hindi as “Roosevelt Hotel Bellhop”
- Jo Yang as “Tibetan Nanny”
- The time she added a black actor (Donald Glover, who is very problematic in his own right and will be getting a post soon) for a couple episodes, during which she accused his character of fetishizing her as a white woman, and declaring that she “doesn’t see race” and “doesn’t see him as black”. Pro tip: erasing people’s identities and experiences is still racist.
- About the lack of POC on Girls: “We really tried to be aware and bring in characters whose job it was to go “Hashtag white people problems, guys.” You know, because it’s the job of POC to go “hashtag white people problems” all the damn time.
- This Islamophobic tweet:
- The super Orientalist essay she wrote about a visit to Japan. Choice quotes include:
- “She weighs about seventy-three pounds and has hands like paper cranes”
- “I can’t imagine a passionate affair with a native man”
“Yellowish Fever: I know I said I could never imagine a Japanese affair, but I’ve changed my mind. Kazu, the art handler hanging my mom’s show, is gorgeous like the strong, sexy, dreadlocked Mongol in Crouching Tiger, Hidden Dragon (causing my sister to email the instruction: “Yeah, girl. crouch that tiger, hide that dragon. P.S. That’s a Chinese movie”)”
- “Japanese people look so young — fourteen year olds in ill-fitting suits. What kind of business could they all be doing? When they cross the street it looks like a music video, or the cover of Abbey Road. They are so orderly and leave a foot of space between themselves and the next office escapee.”
- “The White Man Cometh: Being the only Caucasian in a room, you almost feel invisible because you are so visible. When you’re in Mexico or someplace, at least they want your paper dollars. But here, we are uncouth, smelly, hairy. We have swine-flu. Our currency is inferior and our history is short. Yet the Japanese also love Sid Vicious, cowboys, birthday cakes, bagels.”
- “Her former colleague (a word she pronounces cawl-eee-gew) had an affair with Kazu, art handler crush, and it was a great dishonor, not only for that woman’s husband but for everyone who knew either cheater”
- “Sometimes, when you’ve been in Japan for ten days, you start to get a little funny… You will start bowing to people who hold open a door or sell you a honeydew yogurt or inform you that there are fish flakes on some crackers you’re not sure you want. You will flash a peace sign and assume a pigeon toed stance whenever someone aims a camera at you.”
- “Remember that L’s sound like R’s and vice versa”
- “Tada asks my age. I say “23, last week.” He’s excited. “HOPPY BIRSDAY!””
- "A random guy in a French maid’s apron says, “You so sexy, RENA.””
- “I had this dumb, Western idea. Like, I’m going to go to India and it’s gonna be so transcendent that I’m not gonna be afraid of death anymore, and I’m going to lay down so many of my Western anxieties and embrace a new kind of knowingness and bring it back to the U.S.”
- “We do a really good job in this country of basically sealing off sick people and sealing off toilets and sealing off everything that lets us know we’re animals. And in India not only do they not do that, there’s no interest in doing that.”
- During her trip to India, she said she sympathized more with “the stray dogs she saw than the poverty-stricken people.”
- “I hated India. I know you are not allowed to hate India. But I did. I wasn’t happy. And I felt crazy. I am a hypochondriac. I saw too many puppies that I thought needed me. So many moms and I got in a big fight and I left India. Early.”
- On the cost of her apartment: “It was this cheesy thing where they listed the prices people bought homes for. And its said something like Nicole Richie, 5.3 million dollars, Lena Dunham 430,000 dollars. It was my proudest New York Real Estate moment.” Are we supposed to be impressed that she spent ~only~ half a million dollars?
- How Girls constantly includes scenes of rape or sexual assault, and then depicts them as totally fine and no big deal
- “The world’s getting more and more full. Our generation is not just white girls. It’s guys. Women of color. Gay people.” Well that about sums it up. Those are all the existing types of people. There are NO others. And none of those categories overlap, either.
- The huge amount of nepotism on that show, which makes her assertion that the all-white casting was “a complete accident” seem very unlikely.
- “I’m not super thin, but I’m thin, for like, Detroit” which is almost definitely racist, and classist as a bare minimum.
- “The vet was a young, sweet man. Definitely Jewish, which is something I care about only in times of crisis”
- “I want to date a male flight attendant. Everyone I’ve slept with is gay anyway”
- “She was always doing cleanses, yet she still had an inner tube of flesh around her middle—something that I wouldn’t begrudge if her son hadn’t once told me that he thought Nancy and I had ‘the same genre of body’.”
- “Jonah didn’t have a very specific style beyond dressing vaguely like a middle-aged lesbian”
- About a girl she knew and bullied as a child: “Cassie was a very fat girl we knew who we had nicknamed fat Cassie because she also wasn’t that nice.”
- This fuckin tweet:
I admit, I don’t know Cho that well, so I am glad there are other readings to be had!
And if he is just calling it out simply because he’s tired of it and he feels comfortable doing so even on his own films now, I think that’s fantastic. There’s certainly plenty for him to be calling out.
Heh. Well, I don’t know John Cho either. But he has talked about race & representation before* (and not in a ‘we’re all human, it doesn’t matter’ way), so it’s not completely ‘out of character’ for him to bring it up. I think it probably would be easier on him if he didn’t say anything, but I’m glad he does.
*Re Harold & Kumar (https://www.youtube.com/watch?v=NHEkLBZI1IM 4:07 mark): If you have a Korean and an Indian guy as your leads, you must address race at some point in the movie. You must, because the audience is noting it, really. The other thing is, I think, comedy at its best, treads in taboo waters a little bit. It has to have that transgressive quality to it, and race is the biggest taboo in America. I mean, people are very reluctant to talk about race and yet when you do jokes about race, uh, that work, people are very happy to release tension and laugh about it. But it has been interesting. I’ll make an observation. During the first tour for the first movie, we were talking about race all the time with journalists. It was almost like a process— looking back, the first movie was more concerned with race, but we talked about it so much, I felt that it was in a way…a way of justifying our presence in a motion picture.
And from an interview in 2009 http://www.asiaarts.ucla.edu/090703/article.asp?parentID=110145>:
JC: I recall from the Harold and Kumar movies is my struggle with the advertisers.
APA: What happened there?
JC: There was all this racial humor in the movie, and the advertising department wanted to say “Starring the Asian guy in American Pie, and the Indian guy from Van Wilder…” and they did go with that, and they submitted that to me for approval, and I said, “I don’t like it.” They asked me why, and I explain it to them, and that was tricky because it’s difficult explaining to my own representatives, why that didn’t jibe with me, because everyone kind of felt like it was keeping in tone with the movie. And I said, “I don’t like it. We’re poking fun at racism in the movie all the time, but it puts the audience on the wrong side of the racism joke.” So they were playing with the wording a little bit in the edits, and they kept coming up with versions to make me happy, but they were essentially the same thing, and I finally said, “you are not going to make me happy. You’re dancing around it, and you’re clearly attached to this idea, and I want you to know that no version of this idea will make me happy. And if you’re afraid that I won’t show up to do promotion because of this bitterness, you can rest assured that that’s not true. I consider promoting a movie part of my duties, and I will show up nevertheless. But you can either use this campaign and know that I’m unhappy, or you can change it and know that I’m happy. That’s it. Stop trying.” And eventually they went with it, and it’s one of those things where I look back and I’ve very proud of the movie, but that’s the thing I remember.
APA: Last question…for Harold and Kumar Escape From Guantanamo Bay, Viva La Union recorded a song for the soundtrack with the line, “I want my own Chinese baby” — what’s that about?
JC: When I was thinking about it, I thought of a literal baby. There’s a kind of lack that children fill, that’s just the dark side of being a parent, I think. And there’s an accessory quality to Chinese babies in America, and I just think it’s funny. I just liked it. And you know, I would know people who would fawn over Asian babies more, and it got me to thinking, there’s this belief that Asian babies are really cute, and it got me thinking that our whole race is infantilized to some degree, and it manifests itself in different ways. You infantilize a woman, and she becomes eroticized. You infantilize a man, and he becomes emasculated. You infantilize a baby [laughs] — and it’s possible, it appears that you can infantilize a baby even more. [laughs] The babies need to be cuter than white babies. And it’s just a weird thing that I felt like said something about mainstream America’s relationship to Asians in general. So that’s where it came from.
Also this interview: http://blog.angryasianman.com/2008/04/q-with-john-cho.html
“And yes, I do feel a responsibility, and always have, and it’s been an odd burden for me. Even when I started and no one gave a shit, I was trying to avoid doing roles—and it’s no accident that I’ve never done something with a chop suey accent. It’s no accident that I’ve never played those parts. I strongly believe there are a lot of Asian American actors who think that that’s the price to pay before you get to wherever you’re going. And I take real issue with that. Because you have to maintain integrity from the start, and on a personal level, you have to not do something that’s going to make you sick to your stomach.
But on a political level, how are things supposed to ever change if there’s someone willing to do it? I can tell you now, having worked in the business, that you can gather an army of people to hold picket signs and stand outside the studio, and say, “we destest this portrayal”… but it doesn’t matter if there’s a guy—who they know, a peer—who’s willing to do it, who stands in front of the crew and does the buck-tooth accent. If he or she is willing to do it, it makes the protestors look like extremists. It makes this guy look like the normal guy. Because we all work in the same industry. So the willingness of one actor negates a thousand protestors and a thousand angry letters.”
(So I can see why Butawhiteman Cantbekhan playing Khan would be deeply upsetting to him, even if Cho wasn’t in this movie.)
I love him 1000 times just for flawlessly articulating this racist absurdity in the most succinct and accurate way I’ve ever encountered.
john cho my hero
I rendered Milo Manara’s Spider-Woman pose in 3D.
This is hilarious.
This need to happen more often with comic art.
what a strange dog