Tag Archives: film

Evan and Gordon Talk: Nerd Culture

EVAN: To start this off by ignoring our readership and addressing you, this week’s topic is a weird sort of continuation of the various posts on culture you’ve written, such as “manly culture,” “science culture,” etc. And similar to these other groups of people, “nerd culture” is a pretty nebulous sort of thing to define.

GORDON: No argument there. After all, even the “nerds” insist on calling out “fake nerds”- especially in regards to women/girls. But what is a nerd anyways?

EVAN: See, now I’m torn, because we do need to define it, but you’ve also directly referenced an issue I wanted to discuss in depth this week.

GORDON: How about we abandon our previous track record, and just plunge recklessly ahead and hope the issue resolves itself?

EVAN: Well, let me throw this image out there:

And then hope that suffices for now.

GORDON: Works for me. So what was it that you wanted to address specifically?

EVAN: Well, just last month there was this guy, a comic artist, named Tony Harris. And he wrote this post on his Facebook page that was essentially a tirade against “faux nerd” women, and how they are whores, and so on.

To break it down further, these are women who dress up as superheroes and what have you without knowing about the actual characters themselves. He is upset because, to quote him:

BECAUSE YOU DONT KNOW SH-T ABOUT COMICS, BEYOND WHATEVER GOOGLE IMAGE SEARCH YOU DID TO GET REF ON THE MOST MAINSTREAM CHARACTER WITH THE MOST REVEALING COSTUME EVER.

Also that they attend to essentially just tease the regular con-goers and are actually not even hot, just “con-hot.” So yeah, he said a lot.

GORDON: Ah yes, I recall reading about this. And while I think we can all agree Harris went too far, is a bit hypocritical (seeing how most comic women ain’t exactly average looking), and probably getting too emotional, I can’t help but wonder if he has, somewhere in there, a point.

I mean, imagine if all of a sudden, something that you had been stigmatized for became popular, and people started trying to co-opt your identity knowing nearly nothing about it. I’d be ticked off too.

EVAN: That’s definitely something I’ve read people write about, that this used to be an exclusive club and that it took years to build up this knowledge and become, well, a nerd, and here are these noobs and they want in and it’s not that easy.

And I can see where they’re coming from as well.

But if you really love something, shouldn’t you want others to as well? The Avengers has an enormous following on tumblr these days [because of the movie], and these are people who are actually going out and starting to buy comics. They are helping sales, aiding the industry, etc.

GORDON: That’s true, and something I’ve considered, but there’s probably also an argument to be made for the other side. That something precious to you is being watered down and diluted for profit. I don’t believe that nerds (comic book nerds, anyways) can necessarily make this argument, but the line of logic is there.

Let’s try to come up with an example of this happening somewhere else, especially in regards to persecution.

EVAN: Mmk, go ahead-

GORDON: “Black culture” (or what was passed off as black culture) might be an example. Can you state that you’re not driven nuts by wealthy, comfortable suburban kids fronting like they’re from the streets of Oakland?

EVAN: Yeah, people are upset about it, sure, but there’s not this immense outcry over it. There are comic-con enthusiasts that are genuinely incensed that all of this is happening-

I doubt that an actual thug or gangbanger or whatever these rich White kids are playing at imitating is going to start freaking out that he’s getting ripped off. He’s going to laugh or shrug it off, because it hardly matters.

GORDON: I’d argue that the reason for this has more to do with the change in venue. It’s easy for the major players of the comic book industry to voice their opinions than, say, a Wu-Tang Clan fan in the late 90s. But maybe I’m wrong.

EVAN: For the most part, I see this as a mindset that is the foundation or core of hipsterism, and that we all feel to some extent, however minor. That we found something and we love it and there is a pride in joy in being one of the original fans.

And this outpouring of others somehow cheapens things. And all of a sudden we’re trying to assert how we’re better than them in some way.

“You chose to dress up as Spider-Woman? Do you even know who her alter-ego is, or what her powers are? Etc.”

GORDON: Again, do we not sympathize? Do we not feel frustrated with people who have more or less jumped on the bandwagon now that it’s all safe and socially acceptable to do so? Heck, just imagine if someone tried listing themselves as a fan of fine cooking, having only eaten sushi once- would you be ticked?

EVAN: If I equated sushi with fine cooking I guess I would, yeah. But just because we can understand someone’s anger and frustration doesn’t make it logical.

GORDON: I wouldn’t say that there’s not a logic to it. I mean, a major part of being a nerd is, and always has been, the social pariah element. All of the sudden you have these people trying to claim to be on the fringes of society? It’s condescending and insulting.

EVAN: I think that’s the issue- They’re not trying to “claim to be on the fringes of society.”

GORDON: I disagree- I feel this is a coward’s way of feigning rebelliousness and all that.

EVAN: Sometimes people who haven’t been exposed to comics for much of their lives see a movie, or read a trade, and go to a con. Maybe they wear a costume. That doesn’t mean they’re going into this thinking, in any way, that they’re suddenly a part of this group of outcasts.

Comics are popular now. I mean, more than they’ve ever been. To say “I like comics” is no longer the sort of thing that’s going to get you shunned. People are going to raise their eyebrows and wonder why you think that’s a big deal.

GORDON: Comics yes, no one is gonna argue that. The title of “nerd” however, that’s different. And after all, “nerd” is a much larger term. It applies to gamers, to film, and so on.

EVAN: So how does one become a “fake nerd”?

GORDON: Therein lies the rub- there’s always gonna be more obsessive nerds out there. People higher up and lower down the hierarchy. But for the most part, I think we can agree that a “false” nerd is one who does not meet the criteria in that diagram you posted.

The “social ineptitude”, the “obsessiveness”- if it’s not actually there (no matter how much the person or persons might insist otherwise) then that person is a “fake” nerd.

EVAN: So am I a “fake nerd”?

GORDON: Do you call yourself a nerd?

EVAN: I don’t really call myself anything. But I’d also say that many of the girls who go to cons and find themselves attacked by Harris don’t refer to themselves as anything in particular either.

GORDON: Then no, I wouldn’t define you or them as fitting this category. Like I said- Harris went overboard.

EVAN: I just don’t think social ineptitude needs to be a requirement in this. I think you could be a nerd and still have friends, and achieve some level of popularity. The diagram above really shoehorns the definition. I mean, what if I did call myself a nerd?

I’m fairly smart, about 80% of the time I’m thinking about comics, or comics-related media. At the same time, I’m a fairly social guy. What does that mean?

GORDON: You think about comics 80% of the time?

EVAN: I think about comics a lot.

GORDON: 80% of your waking thoughts is a craaaaaazy lot, though I’d say your self-identification as a nerd is flawed. Serial-killer in the making would be more accurate. But we begin to split hairs at this point.

EVAN: I guess it’s like, does Hugh Laurie have the right to play the blues?

GORDON: Hugh Laurie can do whatever the **** he wants. As does anyone. With everything he does, can he identify himself first and foremost as a blues musician? Not really. At least, that ain’t how we’re all gonna think of him, or remember him.

EVAN: Does it matter that it’s what you identify as first and foremost? I am positive that at some level, yes, he does identify as a blues musician.

GORDON: It does matter how you identify yourself first and foremost. I’ve eaten bugs on multiple occasions- I don’t declare myself “Gordon Brown: Bug Eater.” The rest of the stuff I do outweighs it by far.

EVAN: You’re missing my point. You’ve eaten bugs, so on some level you can identify as a bug-eater.

If he identifies as a blues artist less than he does as an actor, that doesn’t negate the fact that he identifies as a blues artist, and what we’re talking about is people being able to say that they can and do relate to a culture, and that doesn’t make them fake adherents of that.

GORDON: Let me offer another example: I’ve been camping, and I occasionally read survivalist pamphlets. For me to call myself a “survivalist” would nevertheless be inaccurate and misleading. That’s the crux of the matter, I believe.

A nerd is someone who is in this for the long haul- a person who enjoys The Avengers or Nolan’s Batman trilogy isn’t. At least, not necessarily.

EVAN: I’m not saying that a person who enjoyed The Avengers equates being a nerd. That’s like, half the Earth’s population, if the box office is any indicator.

I’m saying that a person who saw The Avengers, and then heads over to their local comics store to check some out, and gets really into it, has the potential to become a “comics nerd” of sorts. And people who see them and scorn them for not being there from the beginning should be ashamed of themselves.

If we’re sticking with the example of film and comics and so-on.

GORDON: And I agree- those people should not be viewed with derision. But that’s not who we’re talking about here.

We’re talking about ****ing hipsters, about people who have just enough knowledge of a culture to give themselves the veneer or adopting it. People who wear glasses as a ****ing fashion statement. You know the kind.

It’s about motives. The noob who is just now getting into the culture isn’t a “false” nerd- just a young one. The person who call himself or herself a nerd to co-opt the social stigma (now that it’s all but gone) deserves contempt.

EVAN: I honestly don’t think that what these people are trying to co-opt is the social stigma.

GORDON: My poor choice of words. I mean the false sense of rebellion. Like people who post pro-gay Facebook statements simply to draw attention and applause to themselves. Fake-rebels. Fair-weather activists.

EVAN: That’s fine, and I agree that these people are not to be applauded.

I just think that for the most part, people are realizing that there is a lot in the “nerd culture” that they find interesting and accessible, and are gravitating towards it. Not out of some misguided attempt to be on the edge of society, but because they legitimately enjoy whatever it is they’re trying to engage with.

GORDON: I agree- I simply don’t think it’s these people most old-guard nerds are angry at.

EVAN: But how can they differentiate? That’s a huge issue. It’s this reaction of the community against anyone that’s not legit, but without any way of truly being able to tell how people feel-

A person can go to comic-con in an elaborate costume simply because they enjoy the aesthetics and design of the character. They’re not required to know everything about them, and shouldn’t be hissed and booed at when they don’t.

GORDON: That in and of itself is another issue. If I showed up to the social justice convention dressed as Che Guevara  you’d best believe I’d better know a thing or two about the guy who I’m completely dressed up as- but we’re moving off track.

EVAN: But the point of social justice conventions isn’t to dress up as your favourite revolutionary- that’s entirely besides the point. I bring it up because it’s completely cogent to our topic, because it’s exactly what Tony Harris was railing against.

GORDON: Tony Harris ran his mouth and made a fool of himself, I ain’t trying to defend a word of what he said or wrote, only the general perspective he seems to be coming from.

EVAN: What I’m saying, without negating your points is this, and I’m going to try to wrap up since we’re 15 minutes past our cut-off, is this:

I’m someone says “LOL im such a nerd” and they wear glasses with big frames and have a Green Lantern patch on their backpack, yeah, I’d say that’s not okay. But a large issue is being able to, as a community, acknowledge when “outsiders” try to access what it is that we love so dearly.

We like comic books and Star Trek and Dungeons and Dragons, and if other people might as well, that’s fine. Just because others weren’t always welcoming of us in the past doesn’t mean we should do the same to others. Especially when there’s some likelihood, even a little, that they could one day be as big a fan as you [as hard as that may be to believe].

GORDON: Well put. Be sure to stop by next time for our discussion of . . .

EVAN: Of . . . uh . . . I threw out this topic last week, what’ve you got?

GORDON: Let’s address the portrayal of drugs- weed in particular- in media and popular culture.

EVAN: That’s a pretty contemporary topic too, because of the legalization in Washington and all that. Sounds good to me.

GORDON: Let it be so then. Merry Wednesday to all, and to all a good night!

A Brief Argument Against Anti-Piracy

Over the past couple years, the issue of regulating the internet has repeatedly arisen, and while there have been many issues contributing to this, there is perhaps none more well known than the contention over copyright infringement and piracy.

Now for  a brief disclaimer.

I am a Marxist. I do not believe in “property” as the word would be recognized today. Every written work, every film, every piece of art belongs to every human being living. The Godfather series is just as much a part of our legacy and inheritance as the Mona Lisa, and as such, access to it should be enjoyed by all.

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This is all to say that I don’t view “copyright infringement” as constituting any true offense. On the contrary, it’s simply the people taking back what was rightfully meant for them to begin with- but I’m not here to talk about that.

No, I’m here to talk about how the music and film industries’ witchhunt for media pirates is doing them (and everyone else) far more harm than good. Let me break it down for you.

I. Some People Will Never Buy

It’s a strange statement, but a true one. There may be a slim minority of people who pirates actually are keeping from the major industries through their cheaper/free service, however it ought to be fairly safe to say that there are plenty of people out there who would not otherwise listen to certain artists or watch certain shows. We’re living in tough times, and with your average movie ticket running at about twenty bucks (to say nothing of the gas getting to the theater and back), for many of us piracy is the only way we’ll see new movies and shows. Assuming there’s a segment of the population who will never, ever pay to see The Godfather, stamping out free avenues- namely piracy- doesn’t save the industry any cash. On the contrary, it just means that those people who don’t get to see the movie because they won’t pay for it aren’t talking about it, and generating buzz that might well attract people who will pay to see the movie. And speaking of them…

II. Some People Will Always Buy

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Just as some people simply can not or will not pay (such outrageous prices) for entertainment, you will find people who will spare no expense when it comes to it. There are plenty of people who want to see movies on the big screen. There are plenty of people who want to see their band live in concert.The Mona Lisa is a perfect example of this.

No ownership claimed...

You can see pictures of Mona Lisa anywhere; it’s one the most widely recognized images in human history. Because it’s available for free most anywhere, no one will actually go see it, right? After all, it’s been “pirated” to death. Yet that room in the Louvre is packed wall to wall with people who want to see the thing for themselves. Why? Because it’s the original. Doesn’t matter that it’s roped off, or behind glass, or barely visible, or that the guards usher you along after thirty seconds- it’s still wildly popular. The same is true of all media. Some people- plenty of people- will part with their cash to see Avatar in 3D, rather than watching some grainy, laggy version taken on a hand-held video camera in Thailand.

III. Anti-Piracy Hurts the Audience

You may not have experienced this in the states, but there was once a time when DVDs were listed by region codes, and could only be played on players that recognized that region. In other words, a DVD from America couldn’t be played on a DVD player from Europe and vice versa. You were granted a limited number of “switches,” but seeing as how you typically only got seven, it just put off the problem, rather than solving it. The goal (one of ’em, at least) was to prevent international piracy of DVDs through cracking down on how far away they came from, but all that just came down to it being a huge hassle for everyone, regardless whether or not their purchase was legitimate. Imagine all the time, money, and manpower that was invested in that venture that wound up solving nothing and quite possibly leading the industries involved to lose more money over that debacle than they would’ve lost to actual piracy. The same could be said for those hyperbolic ad campaigns comparing piracy to car theft

IV. Anti-Piracy Hurts the Industry

And while we’re talking about the industry shooting itself in the foot, let’s not forget the fact that preventing access to one film will very often lead to prevention of access to another. Quite simply, a person who doesn’t see The Godfather is not likely to go see the sequel, whereas someone who has seen The Godfather has a far better probability of winding up trying to see the sequel, either legitimately or through piracy. Is it a guarantee? No, but it’s still a better chance for the industry to make some cash than by preventing the person from seeing the first film at all.

V. Anti-Piracy Hurts the Environment

Lastly, I have to point out that we have free access to most films, music, and TV shows anyways- down at the local library. Only problem with that is when I drive to the library, I’m spending gas money, creating traffic, and spitting out exhaust fumes. Now I can get most anything down there for absolutely free, and no one complains. But imagine instead that I save on gas money, I keep the streets clear, and I reduce my carbon footprint by staying inside and watching the same movie I would’ve gotten free at the library. Suddenly, I’m a soulless criminal. Does that make sense to you?

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What’s to be gained from all of this? Despite the doom-and-gloom prophecies of the industries, piracy continues on its merry path and yet we haven’t seen a decrease in the quality or production values of our movies.

Though "quality" is such a tricky word...We have more music artists now than we did a decade ago (at least, more access to them), in spite of piracy, and two of the most popular genres of our generation, techno and dub-step (I will never stop being ashamed of that) is heavily based on remixing and sampling other people’s work, i.e., piracy.

Look- I’m not asking the media giants to be happy about piracy, but at the same time, I have to question whether it’s really even worth it. All that cash being poured into anti-piracy gambits isn’t workingif it doesn’t already outweigh the revenue lost, wouldn’t all that time and effort be better spent elsewhere? Wouldn’t it be more profitable elsewhere?

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Just sayin’.

Re: Where I Try To Explain Red Dawn

I don’t normally get that angry about things. Disappointed, sure. Upset, often enough. But really, truly angry? That emotion is normally reserved for pure, undistilled racism.

Yesterday I wrote about the production history of Red Dawn, and mostly talked about how the plot was immensely improbable and how the film industry is all about money, et cetera. What I did not at all dwell on was the potential of the film to bring out racism in people, similar [but not at all comparable] to the abuse of Middle Eastern Americans after what happened on 9/11.

On Facebook Racebending.com directed me to Tumblr user manilaryce, who compiled a number or racist tweets by people who had just watched Red Dawn. I have embedded the image below and on the right.

The following are a few of the tweets that particularly stood out to me:

Kinda wanna kill some Asians right now and defend the homeland, thank you Red Dawn for sparking some patriotism in me

The only reason Im going to see red dawn is cause there’s sexy ass guys running around with guns killing Asians my type of movie;)!

I now hate all Chinese, Japanese, Asian, Korean people. Thanks. #reddawn #amazingmoviedoe

Red dawn was sickkk..just another reason why to hate asians.

This is like when racist Hunger Games fans tweeted about how the casting of a character as Black ruined the movie for them. The difference between that situation and this one is that I feel directly targeted.

One of the tweets, by @elysse223, reads “I usually love Asians, but in Red Dawn I found them terrifying.” After reading that I almost immediately felt worse, like both me and everyone else like me had been transformed into inhuman movie monsters.

The only consolation I can take in all this is that the film is being almost universally panned. Liam Lacey, reviewing the film for The Globe and Mail, says “Red Dawn panders to the worst kind of racist and jingoist impulses, though the movie is so preposterously insincere, it feels like those adjectives should be in air quotes.” Over at Indiewire Gabe Toro describes the film as “stitched together with scotch tape and falling apart at the seams, letting casual racism and misanthropy to spill out the sides.”

I honestly don’t have a lot to say except that I’m angry, hurt, and somewhat unsurprised that this is what audience members all over America are choosing to take away from this movie. I am Asian and I am not evil. I do not want to take over America. I do not want to ever feel like this:

Where I Try to Explain Red Dawn

I’ve begun seeing trailers on TV, and apparently it hit theatres two days ago, so I figure now’s as good a time to talk about Red Dawn as any.

For those of you who don’t know, Red Dawn is a remake of the 1984 film of the same name. In the original the United States is invaded by both the Soviet Union and its Cuban allies. A group of plucky high schoolers bands together to form a guerrilla fighting force, named the Wolverines after their high school mascot.

In remaking the film the studio, Metro-Goldwyn-Mayer (MGM), realized that they needed to modernize the invaders in light of the current political climate, and chose China. Keep in mind that in the original film that country was apparently America’s only ally, with the following exchange taking place:

“…Well, who is on our side?”
“Six hundred million screaming Chinamen.”
“Last I heard, there were a billion screaming Chinamen.”
There were.”

Production was going smoothly until the summer of 2010 when the Global Times, a Chinese state-run newspaper, got a hold of leaked excerpts of the script. This prompted such headlines as “U.S. reshoots Cold War movie to demonize China” and “American movie plants hostile seeds against China.” In early 2011 the LA Times reported that the film’s villains were changed from Chinese to North Korean to “[maintain] access to the Asian superpower’s lucrative box office.Continue reading

Old James Bond Vs New James Bond

I have not seen Skyfall– I’m gonna kick things off by stating that right here and now. Nevertheless, I have been following the movie’s development for a while, and the apparent consensus from both the critics and the fans is that “at long last” Daniel Craig’s Bond actually gets back to the spirit of the rest of the series.

Let me break that down a bit.

See, the issue voiced by many Bond fans regarding Craig’s version is that the gritty realism often feels too much like something from the Jason Bourne universe. Many argue that Craig’s Bond lacks the feeling of the older movies, which were (comparatively) more lighthearted and glamorous than the darker and harsher installments we’ve seen over the past few years. This complaint, I’ve noticed, seems to come a lot more from older generations, usually from the 80s backwards, while my own generation seems much more comfortable with Craig’s version. It’s not that it’s about familiarity- after all, there were Bond films while we were growing up, however, I think the whole “New JB VS Old JB” contention really comes down to a shift in values.

I mean, let’s take a look at some of the old James Bonds.

They were off sipping Martinis, flirting with enemy spies, and driving classic cars that turned into planes or submarines or shot lasers and rockets. And all of that was a reflection of the time. The Space Age, where new and innovative technology was bringing us ever closer to a Jetson family standard of living. Those Bond movies were simply a reflection of that era. The same goes for the hedonistic Brosnan Bond of the 90s. The crazy (nearly to the level of cartoonish) villains and schemes, the deus-ex-machina technology (I’m looking at you remote-controlled muscle car) all reflected the materialistic culture that dominated the time.

In the same way, the new James Bond films are a reflection of our own age. The glamorization that marked earlier films would, if applied now, just look condescending. As the economic crisis drags on and as we become more and more acclimated to the issues of unemployment, poverty, and constant warfare, sympathizing with slick government agents in tuxedos driving luxury cars and infiltrating Mediterranean cruises gets pretty dang tough. The bloodied and battered, and ultimately more realistic, Bond that Craig gives us simply appeals more to us. He’s not so much a tour guide for us into the wild and fascinating world of espionage as he a full, tragic character struggling in a lousy situation. The whole divide is demonstrated beautiful in this clip from Casino Royale.

Even the Bond villains are demonstrative in a shift in values. Back in the 70s and 80s, the audience lived with the idea that all life on earth could be ended by a nuclear war. Madmen with doomsday devices simply made sense as the natural Bond enemy. Despite the hype over Iran and, a while back, North Korea, today the idea of a nuclear holocaust is relegated more to survivalist compounds. What are we worried about today? Shadowy cabals of wealthy warmongers manipulating our lives from inside our own governments. Even though Quantum of Solace was less popular as a Bond movie, it’s a perfect example of this similar shift in worldview. What were they bad guys after? A military coup in Bolivia in order to secure the rights to 90% of the country’s water. Even if it’s not too exciting, it’s still believable.

Now none of this is to knock any of the movies (barring A View to Kill, which was freaking awful), it’s simply to explain why there’s been a bit of contention over Craig’s incarnation. The simple fact of the matter is, Bond is going to evolve with time. Surely that’s something to be admired, not complained about…

Evan and Gordon Talk: Racially Accurate Casting

EVAN: Today’s topic is something that I hold very near and dear to my heart. Years of research on the topic has made me witness to all of the arguments that can be used against needing to have racially accurate casting, and because of this I’m going to propose something a little different

GORDON: Namely?

EVAN: That I switch sides for this conversation, and speak out against it.

GORDON: Intriguing. Mind starting us off with the first salvo?

EVAN: Statement: Racially accurate casting is not important. The most talented actor should be the one who gets the role.

GORDON: Doesn’t appearance play a key role in what makes an actor good? Peter Dinklage is good, but you wouldn’t really find him believable playing Abraham Lincoln or Kareem Abdul Jabbar.

EVAN: In this case his stature, not his race, is what would keep him from playing either role in a convincing manner.

GORDON: But isn’t that essentially the same issue? Imagine the great Denzel Washington playing Lincoln- you’d be sitting there the entire time, no matter how much of a powerhouse Washington would be, taken out of the film because you have to deal with a black guy playing a white guy during the height of the civil war.

In any piece of film where you’re expecting realism, you’re going to expect the actors to conform to the styles and facts of the time. If you portray Georgia in the 1960s, you’re obviously not going to have a largely black cast portraying the upper class  or if you were to set the scene in early 1900s Ghana  you wouldn’t have a cast comprised of Caucasians. It wouldn’t make sense, no matter how good they are.

EVAN: If anything, Cloud Atlas at least proves that a talented actor can portray whoever they like, given an adequate amount of makeup. Halle Berry plays a Korean Man in the film, and does so in a convincing fashion that doesn’t at all take viewers out of the film in the least.

GORDON: I haven’t seen that film, so I can’t speak to the use of the actors for the parts they play. From my understanding that was a work of fantasy (or science fiction, I’m only going off what I can gather from the trailers). And in one or two movies, it’s probably not a big deal. After all, Cate Blanchett played Bob Dylan.

But imagine this applied to each and every movie, it simply wouldn’t work. Realism would deteriorate- and this would be especially detrimental in a film trying to deal directly with race relations.

EVAN: I personally feel that allowing any race to play any other speaks much more in terms of race relations. That’s a world where colour is a non-issue  because it shouldn’t be.

EVAN: I’m dying, Gordon. My life force is seeping out of me.

GORDON: Try to stick with it…

GORDON: And while it’s true that race ought to be a non-issue, that’s simply not how things are or have been in the past. Using black actors to play black characters and white actors to play white characters is fundamental to demonstrating past inequity and injustice with American racism and segregation. And that’s just one element.

Let’s talk about Indians playing Arabs. It happened in Lost and it happened in Community (with multiple actors), but Arabs look nothing like Indians. Indian actors are used simply because they fit the stereotype of what most people think an Arab looks like. It perpetuates an inaccuracy.

EVAN: Isn’t the fact that the role is an Arab important a large enough step? This is a minority with a major role on a TV show, and an opportunity for minority actors to step up, which they have in both cases.

GORDON: Barring Monk and Arrested Development, when’s the last time you saw an Arab actor? I’m not trying to argue against Indian actors, or actors of Indian heritage getting roles, but for the purpose of portraying the world as it is (or at least with some realism) we should have actors with some vague resemblance to the people they’re portraying on film.

After all, would you not be thrown off by guys with German accents playing French resistance fighters during WWII?

EVAN: If they had German accents then they simply wouldn’t be right for the role, which brings me back to my first point.

GORDON: Which, by proxy, brings us back to my first response. Ethnicity (depending on the situation) is just as valid an element of a guy’s candidacy for a role dealing directly with ethnicity as accents, or height, or any other factor (actual talent, of course, being the most important).

Vincent Cassel should probably not play Malcolm X. Adrien Brody should probably not play the Queen of England, though that would be pretty funny.

EVAN: If we’re going to stick with believability, than why is it so important that Indians not play Arabs? No one has ever made a big deal out of this, so clearly people believe that they are what their role calls them to be-

Likewise a Korean can to play a Chinese person can play a Japanese person. Audiences can’t tell the difference and believe that they are whatever the role is, and that’s okay.

GORDON: But Koreans do not look Chinese, Chinese people don’t look Japanese, and Arabs and Indians certainly don’t look like each other. The only reason this happens is because most people either don’t know (partly due to this inaccurate casting) or don’t care (in other words, all non-whites are basically one homogenous mass.

If all your life, you had seen black men and been told “these are Uzbekistanis,” then you’d go your whole life simply assuming that Uzbekistanis are, in fact, indiscernible from guys from Benin.

Your ignorance should not dictate which actors get which parts. Further, no Uzbekistan could really ever get a chance to play and Uzbekistani because of the years of misinformation.

EVAN: But there is a huge difference between a black person and an Uzbekistani. The examples I made have similarities that the example you used clearly does not.

To be such a stickler for accuracy is the other extreme, and just as wrong. You wouldn’t get someone with mental problems to accurately portray a character with mental problems, that just doesn’t make sense. Race should matter if it is noticeable, and like I said in the case of shows like Lost it is not.

EVAN: The logic above was used against me by someone in a thread on Reddit  You can check out our exchange here.

GORDON: Granted, my example was extreme, but that doesn’t change the point. Even though a Thai guy and a Japanese guy share more similarities than a Beninese guy and an Uzbekistani guy, there are still distinct differences between people from Thailand and people from Japan.

With regards to being a stickler- I admit, as I have previously, that you don’t have to have an exact replica of the character you’re trying to portray. Jet Li, I imagine, is doing pretty well for himself, and I still wouldn’t doubt his ability to portray a poor man very well. However, while you don’t need to be point for point, you do need to have some general similarity. That’s why we don’t have Emma Stone portraying Fidel Castro.

EVAN: I feel like the extremeness of your examples is damaging your point. If we’re sticking with race we should do that, and not bring in gender.

GORDON: It’s to demonstrate the underlying point in all of this: Verisimilitude. Realism. Accuracy.

EVAN: And since you said “you don’t have to have an exact replica of the character you’re trying to portray” why isn’t it okay to have Naveen Andrews play Sayid Jarrah on Lost?

GORDON: But the distinction is great enough. The accent is Indian, not Iraqi. Naveen does not look Iraqi. When an actor neither looks nor sounds like the character he is meant to portray, we have a problem.

EVAN: So if Jarrah had managed to sound Iraqi, would that have helped?

GORDON: It would’ve added to the realism and accuracy, yes. But that doesn’t change the fact that he’s very clearly Indian, not Arab.

EVAN: Clear to a very select few. As mentioned, people didn’t seem to notice for the most part.

GORDON: Clear to a very select few. As mentioned, people didn’t seem to notice for the most part.

Most people don’t know what an Arab looks like. Do they know that Monk is Lebanese? That Cousin Maeby is Iraqi? Most do not. Ignorance is not an excuse for inaccurate casting.

EVAN: And that brings our exhausting exchange to an end. Trying to argue for something I so strongly disagree was one of the more difficult things I’ve ever done. I hope that in reading this you were able to see the holes in my argument and the truth in Gordon’s.

GORDON: Booyah.

The past few paragraphs alone have had the same effect on Evan as that life-sucking device in the Princess Bride. Commend him for biting the bullet.

And as for our discussion next time, your options are: What do we make of the upcoming Star Wars sequel?

EVAN: And. . . how about . . . How much artistic merit is there in a show like Adventure Time?

GORDON: I like it.

And to our beloved and devoted followers (who would organize into a vicious and unholy army of darkness if we ever were to ask it of ’em), feel free to suggest your own topic down in the comments section.

EVAN: And, as usual, thanks for reading.