Ed Skrein Withdraws from “Hellboy” Following Whitewashing Outcry

Ed Skrein at an event for Transporter: Refueled in Tokyo Japan on Sept 28, 2015 (Photo credit: Masatoshi Okauchi / REX / Shutterstock (5185277l)).

Actor Ed Skrein — who had faced internet backlash last week or being cast to play a Japanese American character in the upcoming “Hellboy” rebootannounced earlier today that he had approached “Hellboy” producers with strong concerns, and that the actor had ultimately decided to withdraw from the project to make room for a Japanese American actor to fill the role.

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Yet More Hollywood Whitewashing: ‘Deadpool”s Ed Skrein Cast to Play Japanese American Character in Upcoming ‘Hellboy’ Reboot

‘Hellboy”s Major Ben Daimio (left) and actor Ed Skrein (right). (Photo credit: Dark Horse Comics / IMDB)

In the latest round of Hollywood whitewashing of Asian or Asian American characters, British actor Ed Skrein (The Transporter RefueledDeadpool) has been cast in an upcoming reboot of Dark Horse Comics’ Hellboy series. Skrein will play Major Ben Daimio, a Japanese American member of the Bureau for Paranormal Research and Defense with the power to shapeshift into a were-jaguar when under physical or psychological duress.

Skrein is not Japanese.

Daimio’s Japanese American heritage has influenced the character’s history and storylines. According to Wikipedia, Daimio is the grandson of the Crimson Lotus (also known as, Yumiko Daimio),  a Japanese spy active in New York City before and during World War II. When Ben Daimio’s relationship to the Crimson Lotus is revealed, his patriotism is questioned despite having been born in the United States, having been raised in a military family by his father, a war hero, and having served tours as a highly-decorated US Marine. Daimio’s body is possessed by a jaguar spirit when he is killed while on a mission in Bolivia, and he is brought back to life by it although his face still bears the scars of that mission.

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REVIEW: I Watched ‘Ghost in the Shell’ So You Don’t Have To

This weekend, Hollywood’s live-action remake of the classic Ghost in the Shell anime opened in theatres nationwide. The film has been the subject of intense scrutiny including charges of White-washing related to the filmmakers’ highly-questionable decision to cast Scarlett Johansson in the leading role of Major Motoko Kusanagi. (In the Hollywood remake, the character is renamed Major Mira Killian to suit Johansson’s clearly non-Japanese appearance.)

Ghost in the Shell (2017) deserves all the harsh criticism it has received from movie critics and the Asian American community. Supporters of the film object, saying that the White-washing debate is a distraction. In fact, the White-washing controversy is totally relevant; moreover, it is symptomatic of the film’s essential problem: Ghost in the Shell (2017) fundamentally misunderstands its source material.

Whether due to ignorance or apathy, Ghost in the Shell (2017) fails to recognize the key thematic elements of the 1995 anime — Ghost in the Shell (1995) — from which it derives its inspiration. While Ghost in the Shell (2017) faithfully recreates many of Ghost in the Shell (1995)‘s most iconic scenes in breathtaking live-action CGI, Ghost in the Shell (2017) lacks any of Ghost in the Shell (1995)’s philosophical or theological essence. What results is an awful, wooden, lacklustre, and overtly racist live-action remake: a stilted, soulless artifice wrapped in the visually stunning iconography of the Ghost in the Shell  anime franchise.

In other words, Ghost in the Shell (2017) is a shell without a ghost.  All the good things about Ghost in the Shell (2017) come from the original anime, and all the terrible things are both uninspired and racist.

This review contains spoilers of both Ghost in the Shell (2017) and Ghost in the Shell (1995), as well as a brief spoiler of Ex Machina (2014). Please read on with care.

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Unpacking Get Out’s “Asian” character

Several characters gather in a party scene from Jordan Peele’s “Get Out”. (Photo credit: ‘Get Out’ / Universal Pictures via NextShark)

By Guest Contributor:  Melissa Phruksachart (@mphruksachart)

Though Jordan Peele’s Get Out has been primarily read (and marketed) as an excoriation of white liberalism, Peele actually asserts the multi-racial nature of white supremacy through the character of Hiroki Tanaka (Yasuhiko Oyama), a Japanese man.

This post contains spoilers of the movie “Get Out”. Please read on with caution.

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Watching “The ‘Other’ Love Story” Was The Perfect Way To Kick Off 2017

By Guest Contributors: Lakshmi Gandhi (@lakshmigandhi) and Asha Sundararaman (@mixedtck)

As soon as we saw this Autostraddle’s article about Roopa Rao’s web series “The ‘Other’ Love Story” we knew we had to binge watch it and devote a newsletter to it immediately. The twelve short episodes follow the lives of two teenage college students who meet and fall in love in late 1990s Bangalore.

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