Recent movies and TV shows have made it clear Asian Americans are no longer chasing the opportunity to merely be included. Instead, diaspora storytellers are increasingly defining mainstream culture while creating their own spaces on their own terms.
Netflix’s “Beef” dives deep into the psyches of two people who happen to be Asian American as they’re entangled in a universal experience — road rage. But what the show doesn’t do is spend time with heavy-handed explanations about the cultural nuances of identity.
She said “Beef” provides a deeply complex story about traumatic events that can lead people to spiral — a story not often told in this way for Asian American communities. “With art, the stakes are always high. When I learned that David Choe had bragged about being a ‘successful rapist,’ I felt violently betrayed,” Chu said. “I feel more solidarity with survivors who were harmed by his words than with the show’s fans and supporters.”
“Turning Red,” for example, captures such a common mother-daughter conflict — of a child’s feeling caged in after she develops interests that don’t align with what her parent believes is best, Lee said. The way Mei tries so hard to keep the peace with Ming, even if it means bottling up her emotions, is instantly relatable to Lee. It reminds him of the way many Asian Americans tend to internalize their feelings for the sake of keeping family happy.
Throughout the 1990s and the early 2000s, Shi said, Hollywood’s approach to race was often to adopt a colorblind attitude, so stories about people of color were usually not culturally specific. Now, however, she’s seeing more of an interest in exploring characters’ diverse backgrounds and incorporating rather than neglecting what makes them unique.
“I think it adds accuracy to how people of color and how immigrants lead multiple lives and use multiple linguistic registers,” she said. “It’s fun and interesting but also adds a richer repository of words and phrases and representations you can draw from.” “Unfortunately in Hollywood, it is a numbers game. To have a film like ‘Parasite’ win so many awards just shows that there is a market and proves that Asians can sell in terms of media,” Michell said. “So, from an industry perspective, it doesn’t feel as high-risk as it did before.
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