Crazy Rich Asians, based on Kevin Kwan’s book, appears to be a summer blockbuster hit.
The story focuses on Rachel Chu, an Asian-American professor who attends a wedding in Singapore with her boyfriend. There, Rachel discovers that her boyfriend has been hiding a secret from her. Her boyfriend, Nick Young, as she discovers comes from one of the richest families in Asia. Soon Rachel is thrust into the social games of Singapore’s ridiculously wealthy elite.
The film achieved major attention since it is the first to be produced by a major Hollywood studio featuring an Asian majority cast in over twenty years.
When it comes to Asian representation in the West, the amount of roles available to actors are often limited, often falling into offensive stereotypes.
For instance, there continues to be a lack of prominent Asian male sex symbol on the silver screen. Asian men are rarely seen in romantic leading roles like Nick Young (played by Henry Golding) in Crazy Rich Asians.
Though lack of Asian representation is a problem in general, the issue is also very gendered.
Within many movies, Asian male characters are often depicted as unappealing compared to white, male counterparts. One example being the cringe-worthy comic relief, i.e. Sixteen Candles’ infamous character, Long Duk Dong.
Unlike Asian women, who are often fetishized, represented as “sexually docile”, Asian men seem to face the problem of “desexualization.”
As opposed to Asian women, Asian men seem to be rarely considered viable sexual and/or romantic partners.In one episode of the popular web series, Yappie (a word coined as a conjoined term for “Asian yuppie”) produced by Wong Fu productions, the characters discuss intricacies of interracial dating, quoting,
“Look at movies, you always see Asian girls with like a bunch of different types of guys. But you never see Asian guys with anyone.”
Jake Choi, a Korean-American actor, has discussed the challenges faced by Asian male actors in finding roles onscreen. In an interview with Salon, Choi expressed how “Asian men in media are so desexualized and emasculated.”
He also pointed out how in Hollywood Asian men are barely given leading roles, much less love interests in major films.
His statement is compounded by the fact that John Cho, a prominent Korean-American actor, is the first Asian leading actor to headline a mainstream American thriller film.
When asked how difficult it would be to land a leading role as an Asian male actor, Jake Choi responded,
“There’s probably a bigger chance of me winning the lottery than getting a lead male role in a big budget feature.”
Crazy Rich Asians is now opening major conversations surrounding racial casting in Hollywood. As of now America faces a severe situation when it comes to representation of racial minorities on the big screen. This becomes a problem we need to analyze and address within the public sphere.
Asian men deserve the chance to be represented on film in more roles, including romantic leads, without the burden of racism.
Meet Scott Hughes: The Entrepreneur Who Built One of the Largest Online Book Communities
Are you a book junkie? Find out how Scott Hughes built OnlineBookClub, a free online community for book lovers with over 2 million members.
Are you a book lover?
If you are, then you need to check out OnlineBookClub.org, a free online site for book lovers around the world.
The online site features book reviews, book & reading forums, and useful tools that enable you to store, track and list books you have read or want to read.
Scott was only 19 when he launched OnlineBookClub.
The idea of creating OnlineBookClub originated after Scott, a book fanatic, realized that there were too many restrictions for in-person book clubs such as tight deadlines on book reading, a limited selection of books, and little freedom to pick books to read.
Scott wanted to leverage the power of online discussions and create a flexible space where people all over the world could easily find people to chat about any book at any time. That is how OnlineBookClub came to life.
Building the online platform was a rewarding experience for Scott, but it was far from easy.
For 7 years, Scott ran the business and paid himself nothing from it. During those years, he worked odd jobs to pay his living expenses and put food on the table for his two kids.
“I remember one month I had to go to the coinstar machine at the bank with my spare change on the 10th of month just so I could cover the rent, but I did it.”
The hardest part of creating the platform for Scott was finding time to run the business while juggling his day job and raising two kids. It was difficult for him to find a work-life balance but he made it work despite the hardships.
At the end of 2014, Scott finally took a leap of faith, gave up his side jobs, and went full-time at OnlineBookClub. He knew that to make it work, he had to devote himself completely to the online site.
And his efforts paid off.
The platform is thriving with over 2.7 million registered users as of November of 2021.
The revenue of the platform primarily comes from paid online advertising and professional services to authors and publishers, such as editorial reviews and manuscript editing.
Scott is proud of the work he has accomplished so far, especially of the community he has built.
“OnlineBookClub has always been filled with kind people who have a strong sense of togetherness and community. It’s like a second family for us.”
Scott’s journey has been full of ups and downs, but through it all, he is grateful for all the experiences-good ones and bad ones.
When asked to advise young entrepreneurs just starting, he has the following to say:
“The journey never really ends. If you make a million dollars, then you might chase a billion. Even if you reach all your financial goals and lose interest in that side of things, your mind will create new different goals. So it’s never about reaching some destination. When you look back on it, in many ways the most challenging times are also seen most fondly.”
He also believes that entrepreneurs need to be driven by something other than money.
“I’ve found in my anecdotal experience and just from watching the world around me that those who desperately chase money are the least likely to find it. In contrast, when you work hard on yourself and your real dreams, money chases you. Money–and even health and physical fitness–are only really ever a means, not an end in themselves. Without some kind of vision or passion to be the real end, the real goal, the real dream, it’s like driving a car with no gas.”
Scott’s story is a great reminder that anything can be achieved with perseverance, passion, and hard work.
So, if you are just starting, make sure to stay tuned for his upcoming book, “In It Together: The Beautiful Struggle Uniting Us All,” which will be released soon.
‘Halloween Kills’ Cast & Crew Explain the Slasher
Article by Riley Farrell
The cast and crew of Halloween Kills told Blendtw why the latest slasher’s gore is anything but gratuitous in a year like 2021.
Jamie Lee Curtis, Andi Matichak, Anthony Michael Hall, Kyle Richards, Malek Akkad, David Gordon Green and Jason Blum tell horror fans to expect carnage. After all, Halloween Kills must live up to its title.
Chainsaws buzzing and bats swinging, Halloween Kills is a current-day cathartic catastrophe – and no character is safe – according to producer Jason Blum of Blumhouse Productions.
Halloween Kills is the 12th movie in Michael Myers’ macrocosm, with the 13th, and allegedly final, movie coming out in 2022. When seriously injured Laurie Strode thought she killed Michael Myers after 42 years of trailing him, his annual bloodbath recommences. Sick of living at the mercy of “pure evil,” the town’s vigilantes revolt against the boogieman.
“Subtlety is not this film,” said director David Gordon Green, on fitting in as much bloodshed as possible in 105 minutes.
The cast filmed Halloween Kills two years ago and shelved it due to the pandemic, until now.
Picking up where Halloween (2018) left off, the film explores the aftermath of collective trauma, said Green. Given everything that’s ensued in the last two years, viewers do not have to live in Haddonfield to understand suffering, and inversely, resilience.
“We’ve taken a slasher movie and it’s landed in a time of cultural relevance because of our public consciousness,” said Green. “Though [the movie is] grotesque, there are moments when we feel the humanity underneath the surface of this movie monster.”
Halloween Kills brought back two characters from the 1978 Halloween in Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards), the two children who Laurie babysat during Michael’s initial attack. Hall and Richards did not require much persuasion to hop on the franchise, said Green.
The callbacks of all-grown-up characters, of course, evokes nostalgia. But the twist on the trope is that, instead of running from Michael, the kids now face him head-on, said Richards. Hall, who described Halloween Kills as a “thrill ride” and “freight train,” said the slasher hinges on human resilience.
“We summoned something deep in themselves and decided to fight back, we’re not just survivors but fighters,” said Hall.
Resilience as a motif snugly fits within the cultural zeitgeist, even earning a title as Forbes’ 2021 word of the year. Though coincidental, the visceral and violent images in Halloween Kills harken to audiences’ nihilistic experiences of the past 18-months. Producer Malek Akkad said the slasher film can paradoxically be pertinent yet escapist for viewers who’ve experienced the horror genre by simply reading the news.
“It’s tough for everybody right now and this movie’s just a fun release,” said Akkad. “There’s nothing more cathartic for people watching than to see a final girl like Laurie.”
For reference, the final girl trope, pioneered by the character of Laurie Strode in John Carpenter’s 1978 Halloween, represents the heroine left standing at the end of a horror movie who is charged with defeating the antagonist. Film theorist Carol J. Clover coined the term in her 1992 book, ‘Men, Women, and Chainsaws: Gender in the Modern Horror Film.’ The final girl has been observed in many films, including The Texas Chain Saw Massacre, Alien, Friday the 13th, A Nightmare on Elm Street and Scream.
Scream queen Jamie Lee Curtis said she was unaware of the meaning and dialogue surrounding the final girl until recently. She argued, even though the trope has immense cultural significance, the original idea of the final girl is uncomplicated.
“The term is just about the tenacity of women to survive because, the truth is, women have survived through a lot,” said Curtis.
No characters know survival better than the Strode women. Andi Matichak, who plays Laurie’s granddaughter, and Curtis agreed that their favorite behind-the-scenes moment centered on feminine resilience in spite of harsh conditions.
It was a frigid 4 a.m. shoot, and the three generations of Strode ladies were alone in a truck, coated in fake blood, with only each other and a camera rig for warmth, Matichak described. This moment was the last time Laurie, Karen and Allyson were on screen together.
“It was a powerful moment to lean on each other and feel the weight of the project,” Matichak said.
Cutting through the sweet moments is the slasher at the heart of the story, said Curtis on the “high octave, frenzied” plot of Halloween Kills. For audiences who’ve lived through the chaos of the past two years, Halloween Kills should match their fast pace of existence.
“The past is irrelevant, you’re so in the present moment,” said Curtis.
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Waving Through A Big Screen: ‘Dear Evan Hansen’ Cast Talks Film Adaptation
With Ben Platt reprising his Tony-winning role as the show’s titular character, a whole new Hollywood cast takes on Broadway.
Content warning: mentions of anxiety, depression and suicide.
Article by Riley Farrell
All that it takes is a bit of reinvention for Dear Evan Hansen to move from the theatre to theaters, hitting eardrums on Sept. 24 this year.
With Ben Platt reprising his Tony-winning role as the show’s titular character, a whole new Hollywood cast takes on Broadway. Platt, Julianne Moore, Amandla Stenberg, Amy Adams, Danny Pino, Kaitlyn Dever, Stephen Chbosky and Steven Levenson explained the movie’s newfound reach and relevance in an interview with BLENDtw, among other publications.
The Plot Thickens
Begrudgingly in therapy for anxiety, high schooler Evan Hansen is tasked with writing daily letters to himself, hence the movie title. After Evan’s peer Connor Murphy kills himself with Evan’s letter in his backpack, Evan’s page is mistakenly thought to be a suicide note from Connor.
Evan tells a well-meaning white lie that soon darkens with self-interest to get closer to the Murphy family, which includes Connor’s sister Zoe (Kaitlyn Dever), and Connor’s mom and dad (Amy Adams and Danny Pino, respectively). Via fake emails and a fundraiser, what once began as a misunderstanding spirals into an operatic betrayal about teens and their screens.
Oh, How Times Have Changed (Or Not)
To address the obvious, it has been a long time since DEH initially premiered in 2015 – but the cast said the musical remains relevant. Things have changed: a pandemic rocked our worldviews and Ben Platt, shockingly, aged.
Platt, 27, played Evan in the original musical version. After the movie trailer dropped in 2021, Platt faced online backlash over playing a character a decade younger, even though he lost 15 pounds and changed his styling routine to appear youthful.
“As a parent, I saw a teenager in Ben’s demeanor,” Julianne Moore, who plays Evan’s mom, said in Platt’s defense.
Speaking of something that’s aged us all, COVID-19, the ideas explored about mental health in DEH six years ago seem timely today, said Dever.
“This film is about feeling isolated, after the pandemic, we’re looking to feel heard,” said the Booksmart actress.
A 2021 study from the National Institute of Health found that anxiety symptoms increased during the COVID shutdowns, making ordering delivery and asking peers to sign your cast daunting. This film was a refreshing counter-narrative on what anxiety looks like, demographically and behaviorally, said Stenberg, who shared an on-set story about the stakes of DEH.
Chbosky, the author of Perks of Being Wallflower, showed a letter to Stenberg that a teenager had written to him after reading the novel. The reader expressed how his suicidal ideation disappeared after reading Chbosky’s book. That book saved him, said Stenberg. After that experience, Stenberg said she felt the movie served as an opportunity for mental health representation, not tokenism.
“I was excited to be playing a Black girl who is on medication,” Stenberg said of her high-achieving teen character, Alana Beck.
There’s no one face or behavior associated with anxiety, Stenberg said. Stenberg said she’s been prescribed medication as a teenager but has only recently come to terms with the shame she felt about mental health.
The year isn’t the only context that’s changed. The medium by which this sensitive story is delivered has transformed from the live stage to the screen. Freedoms of editing and re-filming takes helped storytelling, said Chbosky, who felt ‘obsessed’ with the spotlighting of each character.
Via camerawork, Chbosky and Levenson said they more innovatively explored symbolism and imagery. The film’s juxtaposition between social media and nature – contrasting screens with sunlight as motifs – is about duplicity in the dark and authenticity in the light, said Chbosky.
“You can’t have truth without the lie,” said Chbosky.
The filmmaking medium aided in communicating the perils of presenting a fake self online, said Levenson.
“We wanted to play with the idea of how fast lies can spread online,” said Levenson. “How untrue things make you feel great and the complicated nature of that.”
Expanded audiences can enjoy the story now that it has transcended the Broadway medium. Though fans of the original musical will encounter changes to the original stage material, Platt said he thinks Evan’s move from the stage to the screen is a step towards accessibility. The message of DEH is magnified when more audience members are added to the conversation, said the Pitch Perfect actor.
“No matter what, it’s important for me to communicate that there’s nothing that makes you unlovable,” said Platt.
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