But in the last year, I’ve grown disenchanted with mainstream media. I’ve grown to hate the hype. Above all, I’ve developed a frustration with mainstream studios, and our preoccupation as communities of colour with major studio blockbuster films as a backdrop for enacting social justice and racial equality.
We’ve finally entered December of 2015, and I have one end-of-the-year prediction to make: expect a deluge of year-in-review think pieces calling 2015 a Renaissance Year for the Asian American actor. Hell, a lot of these articles have already been written. There’s this one. And, this one. Oh, and this one. Hell, I’ll probably even write one before this year is out.
It’s safe to say that if you’re an Asian American who cares about seeing Asian American actors get work, 2015 was the year for you. Fresh Off The Boat is midway through their critically acclaimed second season and celebrating news of a full season order. In contrast to the multi-cam format of FOTB, Ken Jeong debuted a refreshingly conventional family sitcom in Dr. Ken, bringing ABC’s Asian American-led primetime sitcom offerings to two. On Sundays, ABC also airs Quantico, which stars the impeccably-coifed Priyanka Chopra as an FBI recruit- turned-agent- turned-fugitive (check out recurring guest contributor Lakshmi Gandhi’s weekly recaps of Quantico every Monday morning right here on Reappropriate). And, over at Netflix, Aziz Ansari stars in Master of None, a show he co-created with producer Alan Yang.
But what if you’re an Asian American actor whose name isn’t Ken Jeong or Aziz Ansari? For these folks, Hollywood is still a tough place to find work, where few decision makers can imagine an Asian face being worn by anyone who isn’t the nerd, the ninja, the prostitute, the gangster, or the foreigner.
Now, a really fantastic independent short film — East of Hollywood — uses comedy to explore what it’s really like being a struggling Asian American actor in Hollywood.