the couple that pancakes together stays together
This atomic sonnet that turns my kneecaps into jellyfish.
IKR people are allowed to be sad about anything dying.
I mean, I cried like a baby when Wilson disappeared in Castaway, and I am not ashamed to admit it. That volleyball was a good friend to Tom Hanks.
On the Portland set, Reggie is engaged in his most Filipino project to date. The March 7, 2014 episode revolves around Sergeant Wu and an Aswang, a shape-shifting cannibal straight out of the Philippines’ canon of nightmares.
Asked whether the Aswang is a psycho-cultural invention of a people who know death intimately from past invasions and natural disasters, Reggie replied, “I believe, specifically with the island regions, that these tales exist to protect the people on the island from being taken over by much larger countries. I certainly remember periods of time as a kid in the Philippines being afraid of monsters and death. So when the creators of ‘GRIMM’ asked if there were any Filipinos tales, I said, ‘Are there!’ They centered the Aswang tale around my character, and boy, did I relate! All those memories of sleeping in my bed with the kulambo (Tagalog for mosquito net) over me, afraid of monsters, came flooding back.”
Mr. Greenwalt and Mr. Kouf added, “It was important for us to do a story that touched on his Filipino culture and Reggie was a major part of choosing the right story. Having him as a collaborator helped us tell a story that we hope the Filipino community feels is authentic and exciting.”
The Aswang story is both a tribute to Filipino folklore and a professional breakthrough for Reggie. The episode adds backstory to the Sergeant Wu character for the kind of sophistication that challenges Reggie’s acting chops.
“You will see a lot of development in the Aswang episode and beyond,” he said. “It’s a gift really to have the pleasure of experiencing it for a third year now. The character is feeling incredibly real because of time.”"
YAY I LOVE HIM
"My mother used to say to me, ‘You can’t eat beauty, it doesn’t feed you.’ And these words played and bothered me, I didn’t really understand them until finally I realised that beauty was not a thing that I could acquire or consume. It was something that I just had to be. And what my mother meant by saying that you can’t eat beauty is that you can’t rely on beauty to sustain you."
Lupita Nyong’o, Essence 7th Annual Black Women in Hollywood
That said, stereotypes aren’t so much about people totally projecting things that completely aren’t there but about people having a framework with which they interpret things that actually are there. It’s not that racism causes people to see (for example) belligerent teenage boys where there are none, but that a white belligerent teenage boy is just seen as himself while a black belligerent teenage boy is part of a pattern, a script, and when people blindly follow the scripts in their head that leads to discrimination and prejudice.
So yeah, it is a fact, I think, that I was a bit off-putting in my Jeopardy! appearance—hyper-focused on the game, had an intense stare, clicked madly on the buzzer, spat out answers super-fast, wasn’t too charming in the interviews, etc.
But this may have taken root in people’s heads because I’m an Asian and the “Asian mastermind” is a meme in people’s heads that it wouldn’t have otherwise.
Look, we all know that there’s a trope in the movies where someone of a minority race is flattened out into just being “good at X” and that the white protagonist is the one we root for because unlike the guy who’s just “good at X” the protagonist has human depth, human relationships, a human point of view—and this somehow makes him more worthy of success than the antagonist who seems to exist just to be good at X.
So we root for Rocky against black guys who, by all appearances, really are better boxers than he is, because unlike them Rocky isn’t JUST a boxer, he has a girlfriend, he has hopes, he has dreams, etc. This comes up over and over again in movies where the athletic black competitor is set up as the “heel”—look at the black chick in Million Dollar Baby and how much we’re pushed to hate her. Look at all this “Great White Hope” stuff, historically, with Joe Louis.
So is it any surprise that this trope comes into play with Asians? That the Asian character in the movie is the robotic, heartless, genius mastermind who is only pure intellect and whom we’re crying out to be defeated by some white guy who may not be as brainy but has more pluck, more heart, more humanity? It’s not just Flash Gordon vs. Ming the Merciless, it’s stuff like how in the pilot episode of Girls Hannah gets fired in favor of an overachieving Asian girl who’s genuinely better at her job than she is (the Asian girl knows Photoshop and she doesn’t) and we’re supposed to sympathize with Hannah.
Okay, here’s one more comment from the Internet that kind of encapsulates it. The kind of un-self-awareness of what someone is saying when they say they’d prefer I not win because I try too hard at the game, work too hard at it, care too much about it, and that they’d prefer that a “likable average Joe” win.
This is disturbing because it amounts to basically an attack on competence, a desire to bust people who work very hard and have very strong natural gifts down in favor of “likable average Joes”—and it’s disturbing because the subtext is frequently that to be “likable” and “average” you have to have other traits that are comforting and appealing to an “average Joe” audience, like white skin and an American accent."
Hey, what’s Winnie the pooh’s favorite color?
No it’s red because of his shirt
No, it’s yellow because he loves honey
You have no idea what you’re talking about
DID I FUCKING STUTTER?
Things heating up at the Winnie the Pooh fandom