I haven’t explicitly blogged about the Asian-American experience in three years, last touching on the topic back in 2019 when I interviewed Bachelor contestant Revian Chang about her experience on the reality dating show. With May being Asian Heritage Month up here in Canada and Asian American and Pacific Islander Heritage Month south of the border, I thought it would be appropriate to return to a subject I’ve explored so often since this blog’s inception. What I didn’t expect was the immense weight that would accompany my decision.
Thinking over the interim in which this site lay dormant I’m reminded of the 2021 Atlanta spa shootings, a horrific incident that struck me so deeply that it wasn’t until an old coworker asked me how I was feeling that I realized I was angry. I think back on a time where it felt like with every passing day was a new story about yet another hate crime being enacted against Asian people, violence born out of xenophobia that studies have shown flourished with the former POTUS’s tweets about the global pandemic.
Even now, during the month when we as Asian people living in North America should be keeping our heads high, acknowledging our past hardships and present triumphs, we’re reminded only four days in that distrust of Asian Americans has been steadily growing over the past year. 33% of Americans believe that Asian Americans are “more loyal to their country of origin than to the United States.” Countries that many have never even stepped foot in.
The increased difficulty surrounding my existence is directly tied into the dehumanization of my race. The man who shot and killed eight people (six of them being Asian women) was able to do so because he viewed them as temptations before he was able to consider them people. Opposite that mindset, the model minority stereotype that surrounds Asian Americans might seem positive, but it still reduces individuals down to qualities they might not even embody. It’s why a range of representation is so crucial, and the reason the Asian himbo is so important. Continue reading
Posted in America, Asia, crime, film, gender, internet, media, race, relationships, sex, television
Tagged asian, Asian himbo, attractive, character, desirable, dumb, himbo, hot, incel, intelligence, kind, masculinity, media, Men, model minority, PBS, race, racism, representation, Sessue Hayakawa, sex, stereotype
No one needs a billion dollars, no one person needs that much money, starts the viral TikTok song by Chaz Cardigan. It’s a fairly straightforward thesis, and even though the original video has since been taken down, the sound persists and has been used by countless other users, with videos like the one I linked to collectively garnering millions of views. Backing up that initial point, the lyrics continue:
A billion is a thousand million,
That’s twenty-one thousand years of work
At minimum wage to make that money
To hoard like you deserve it.
No one makes a billion dollars
Without exploiting workers.
Although this earworm acts as evidence that a platform predominantly skewed toward Gen Z is cool with vilifying the ultrawealthy, the sobering truth remains that as a culture we worship billionaires. It’s not just people who go far out of their way to simp for Elon Musk, either-
-it’s the constant media attention paid to those who make more in a single day than most of us are able to in an entire year. To be absurdly rich, at least in North America, is to achieve celebrity status, and the news cycle reacts accordingly. While the lavish praise heaped at the feet of such icons as Warren Buffett can often feel like it borders on infatuation, things truly cross that line when we consider the literary genre of billionaire romance. The name really says it all: the category exists to portray fictional billionaires as the desirable objects of our affections. Continue reading
Posted in business, internet, literature, media, money, morality, writing, Youth
Tagged billionaire, billionaire romance, books, capitalism, charity, Elon Musk, Fifty Shades of Grey, Gen Z, genre, hero, Jeff Bezos, money, no one needs a billion dollars, rags-to-riches, romance, romance novel, wealth, Zoomers
I’ve never been ashamed to openly admit that I’m a Christian (or that I was a virgin, for that matter, way back in 2011 when I still updated this blog on the reg). That being said, the truth is that I spend precious little time in faith-related spaces on the internet. I might pause mid-scroll when I spot an interesting thread from /r/christianity, but the majority of my engagement with religious writing online comes from Facebook, where a friend will share a link to a Relevant article or a rebuttal from a Professor of Theology at Wheaton College to a write-up on how his school has become too “woke.” But that wasn’t always the case. There was a point in time, almost exactly six years ago, when the faith-related internet content I read and enjoyed was of a decidedly different bent.
The Babylon Bee, March 17, 2016
The Babylon Bee was launched on March 1st, 2016, and by all accounts was something believers never even knew we wanted: a Christian version of The Onion. In its early days we were treated, and I write this with complete seriousness, to such satiric bangers as “Worship Leader Caught In Infinite Loop Between Bridge And Chorus” and “Witty Church Sign Sparks Revival.” These were articles clearly written with the kind of inside baseball that is so integral to comedy, deftly lampooning the life experiences of countless Christians. And, just like The Onion, The Babylon Bee was an immediate hit on platforms like Facebook, where the headline alone is enough to sell the joke.
As the years went by, however, I noticed that not only were fewer members of my various circles linking to the site, but those that were yielded stories that were less and less focused on (sorry about the alliteration) critiquing contemporary Christian culture and more and more focused on…politics.
Posted in Christianity, Comedy, gender, internet, politics, writing
Tagged Adam Ford, Babylon Bee, Christian, Christianity, comedy, conservative, humour, internet, jokes, Kyle Mann, one joke, politics, religion, satire, Seth Dillon, Some More News, The Babylon Bee, Transgender, Twitter, writing
Bettenridge’s law of headlines dictates that “Any headline that ends in a question mark can be answered by the word no.” In the case of whether or not J.R. R. Tolkien’s Middle-earth is a fantasy land that has space for people of colour, it’s unfortunately not that simple.
The full title for the television series taking place in the same universe as the critically acclaimed The Lord of the Rings was announced just this past month, with The Lord of the Rings: The Rings of Power acting as a prequel set thousands of years before the original trilogy of films. Soon after followed 23 individual posters featuring the hands of different characters, a startling development for those who hadn’t been closely following casting news for the show.
As briefly discussed in my first post this year, there’s nothing more emblematic of our present-day culture than division and polarization. With every announcement decisions must be made and opinions cemented, dictating what side of any particular issue you find yourself on. To say that the same is true for the existence of BIPOC (Black, Indigenous, [and] People of Colour) in a historically lily-white franchise is putting it lightly. The following tweet made by the amusingly named (at the time of this writing) “guy online” highlights the conflict accordingly:
Knowing this is the case and having these camps laid out in such stark contrast makes it awkward for me to admit that I’ve found myself in a place where I’m also side-eyeing production for casting actors of colour in various roles, a sentiment that on the surface places me in some admittedly unpleasant company. Let me explain- Continue reading
Posted in film, internet, literature, race, television, writing
Tagged actor, Amazon, BIPOC, black, casting, diversity, Dwarf, Easterlings, elf, film, Haradrim, Harfoot, hobbit, Hollywood, Peter Jackson, race, representation, The Lord of the Rings, The Rings of Power, TV
When last I updated this blog Donald Trump was still the President of the United States, and it would still be a little over half a year before COVID-19 significantly made its presence known in North America. Since then life has undergone drastic, almost unimaginable changes, and as I make my entirely unexpected return to Culture War Reporters I thought it would be fitting to provide updates on the half dozen posts I wrote back in 2019 to underscore the ways in which time has moved inexorably onwards.
It’s laughable to look back on a post that explores J. K. Rowling’s take on representing the LGBTQ+ community given that the author has positioned herself as a bastion against what she views as the dangers of transgender men. How could I have known that at the tail end of the year she would tweet support for Maya Forstater, a British woman who was fired for her comments about that particular group of people? Since then Rowling has doubled, tripled, quadrupled, and so on, down on her stance, in many ways becoming a figurehead for the TERF (trans-exclusionary radical feminist) movement. This has caused a rift in the Harry Potter fandom between those who would demonize the author and paint her entire body of work as being “bad” or “problematic” and others who would defend her writing to the point of adopting beliefs and stances that they might not otherwise.
Michael Chu, on the other hand, is no longer the head writer on Overwatch, and in fact no longer works for Blizzard Entertainment at all. He now acts as Narrative Director at 31st Union, a “San Fransisco Bay Area studio formed with a common purpose of crafting highly engaging entertainment and a commitment to putting fans first.” As far as his former employer, we’ll be digging into that oversized can of worms a little further down.
Posted in art, celebrity, film, internet, lgbt, media, race, television, video games
Tagged 2019, 2022, Black female character, Blizzard, Chris Harrison, F9, Hobbs and Shaw, J. K. Rowling, LGBTQ+, Overwatch, representation, Sojourn, The Bachelor
While it doesn’t quite promise to sweep the box office like the franchise it spun off from, Hobbs and Shaw is garnering a fair amount of excitement among demographics that want to see Dwayne “The Rock” Johnson do to a helicopter what Chris Evans already did in Captain America: Civil War back in 2016. Well, that and audiences that want to watch two of the biggest, burliest men in Hollywood punch a third big, burly man. That’s not to say that these are the reasons to give this action movie a pass (and in fact seem like strong arguments to actually go check it out).
As the marketing on some posters seeks to remind audiences, “This time there is no team.” In spite of the fact that Hobbs and Shaw is “presented” by Fast & Furious, Dominic Toretto and co. are nowhere to be seen. Not only is la familia absent, but this movie stars two of their former antagonists. Johnson plays the titular Luke Palagi Hobbs, a federal agent hellbent on taking them down in Fast Five, and Jason Statham is Deckard Shaw, an assassin-turned-mercenary who sought revenge on the team for putting his brother in a coma. That said, the general quality of villain-centric films isn’t the reason to skip this one, either (though Suicide Squad should have been enough of a deterrent on its own).
The reason not to watch Hobbs and Shaw takes place at the very end of Fast & Furious 6.
The answer to the question the title of this clip poses is answered by the very screenshot of the man walking with a phone held to his ear (written SPOILERS for the Fast & Furious franchise and others moving forward)–
Posted in family, film, morality, race, television
Tagged #justiceforhan, Chris Morgan, Deckard Shaw, family, Fast & Furious, Fast Five, Glenn, Han, Han Seoul-Oh, Hobbs and Shaw, Jegan, Justice For Han, Shaw, Shaw killed Han, Sung Kang, The Fast and the Furious, The Walking Dead, villain