In the upcoming retelling of the 101 Dalmatians villainess Cruella de Vil, Disney’s Cruella tells the story of a young Cruella (Emma Stone) and her rise as a famous (or infamous) fashion designer and future dog-killer. The film follows Cruella’s upbringing and the friends (or minions) she makes along the way. One of those friends is queer vintage shop owner, Artie or Art “as in work of art,” played by British actor/singer John McCrea.Continue reading “John McCrea on Playing Cruella’s Ride or Die and ‘Everybody’s Talking About Jamie’”
Set in the vibrant punk era of ’70s London, Cruella is the origin story of the stylishly villainous Cruella de Vil. The all-new live-action film reveals the fascinating tale of how a gifted, nonconforming, and rebellious young girl evolved into one of cinema’s most notorious villains. The talented cast includes Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Mark Strong, Kirby Howell-Baptiste, and Tipper Seifert-Cleveland.Continue reading “The Talent Behind Disney’s ‘Cruella’ Talks Creating Her Origin Story”
With the ever-growing list of whitewashed and white savior films and television series — including the recent release of the live-action anime film Ghost in the Shell starring Scarlett Johansson as Major Motoko Kusanagi — it’s no wonder many people are upset. However, a comedy troupe from UCB Los Angeles called Asian AF has decided a smart way to shed light on the whitewashing problem.
They created a shirt using just four words.
Scarlett. Emma. Tilda. Matt.
Over the weekend, I was invited to join a CCTV America newscast — the Stateside arm of China Central Television — to discuss Hollywood’s continuing habit of erasing Asians and Asian Americans from the movies. It was my first time as an in-studio guest, but I was able to join anchorwoman Susan Roberts live from Washington, DC. Check out the video of the segment after the jump.
Over the past weekend, The Hollywood Reporter released an article about the heightened alert placed on ethnic casting. The article starts off with the controversial choice to cast Rooney Mara as Tiger Lily in the upcoming Warner Brothers picture Pan, which will be a re-imagined take on Peter Pan lore. Throughout the article, unnamed producers and studio execs justify their casting decisions with the “tried and true” reasoning that it’s always the best actor being cast for the job, regardless of race, even if that means casting white people to play non-white folks. Ideally, I would be in full support of this idea as I think it really should be about choosing the best actor for the job, regardless of race and nationality. Ideally, casting should be “colorblind” because as actors, we are trained to bring a character to life as far removed from us as possible.
And that’s as far as I can go. No really, that’s it. This is where that dreamy ideal world I’d like to be in is instantly crushed by the not-so-sugary reality that “choosing the best actor for the job” and all that hippy dippy freedom-of-the-arts talk is usually reserved only for the status quo. Or in blunt politically incorrect terms: white people.
Last week, we spent a lot of time on the blog discussing the erasure of people of color — particularly Asian Americans and Pacific Islanders — in movies like the upcoming Doctor Strange or the recently released Aloha. I was even asked to talk about whitewashed casting on outlets like HuffPost Live and The Rundown on msnbc. And frankly, getting outraged over Hollywood being racist is kind of exhausting. Fortunately, I was able to take solace knowing The Rock crushed Aloha at the box office and that James Wan would be directing Jason Momoa in Aquaman. There’s nothing like a good genre flick to cleanse the palate after a week of justified moral outrage. Take the new sci-fi thriller The Martian — which just had a pretty cool trailer drop yesterday. Surely, there won’t be anything controversial here? Oh wait, this is Hollywood. Crap.
Depending on where you stake your claim on the internet, there has been a lot of chatter about a movie that tanked at the box office1 and another one that isn’t due in theaters for at least another year. The thing that links these seemingly disparate films is that both thought casting white women as characters who are written as Asian American and Pacific Islander was a good idea.
Last night, the director of one of those films — Cameron Crowe — finally broke his silence and offered this explanation for why he cast Emma Stone (Amazing Spider-Man) as a character called Allison Ng:Continue reading “These Actresses are Not Asian or Pacific Islanders”
Originally posted at Reappropriate
A mere week after I wrote a post swearing off of sharing fan news, the fandom insidiously pulled me back in.
This week, rumours began circulating that Tilda Swinton was in casting negotiations for Marvel’s upcoming Doctor Strange film starring Benedict Cumberbatch in the titular role. Swinton is being considered for the role of the Ancient One, a nearly-immortal Tibetan sorcerer who becomes the young Doctor Strange’s mystic tutor and personal mentor.
That’s right. Tilda Swinton — a British actor whose Wikipedia article notes that she can trace her Anglo-Scot heritage back to the Middle Ages and who is about as far from “Tibetan” as one might get — may be cast to play a racebent and genderbent version of one of the few Asian characters of prominence in the Mystic Marvel world.
The superhero genre — as we know it — was first birthed over seven decades ago in the pulpy pages of the 10-cent comic books. Mint copies of which that are now worth thousands, if not millions, of dollars. Not only are the books themselves more valuable, many of those original heroes are even more popular today than they were at their inception. Even the heroes who weren’t popular then have been resurrected to much critical acclaim today. We call this period of superhero storytelling “the Golden Age” of comics, but we are currently living in a new golden age of superhero storytelling, except the heroes have migrated from the four-color page to the fourteen-screen multiplex.
The fact that we can count on a new comic book superhero movie (or three) every year until infinity and beyond is both a blessing and a curse for the nerd contingent. For every billion-dollar grossing blockbuster that stars men in tights saving the universe — and it is almost always men — there are critics from both within and without nerdom that bemoan the genre’s grasp on pop culture and predict its demise every year. “Superhero fatigue,” it’s called. Birdman or (The Unexpected Virtue of Ignorance) is the latest film from writer/director Alejandro González Iñárritu — best known for heavier, more melodramatic fare like Babel and 21 Grams — and it takes on the superhero genre, and the fatigue that may or may not come along with it, like no other film before it.
One thing Japan gets screwed out of are movie release dates. Half the time we won’t get a movie until a good four to six months from the original date from the States. There are a few exceptions though, with The Amazing Spider-Man series being one of them. Having watched it about a week ago, I’ve had some time to reflect on the sequel to the 2012 superhero reboot.
Entertaining? Yes. Amazing? Not quite.
Needless to say, minor spoilers will follow.