Sen. Kamala Harris is First Black Woman and First Asian American Vice Presidential Nominee on A Major Party Ticket

Kamala Harris (middle) pictured at a campaign event. (Photo credit: Ebony)

Ending months of speculation, presumptive Democratic presidential nominee Senator Joe Biden announced today that he has selected California Senator Kamala Harris as his vice presidential running mate. With that choice, Harris becomes the first Black woman and the first Asian American to run for the vice presidency on a major party ticket.

To paraphrase Biden during the passage of the Affordable Care Act, that’s a “big fucking deal”.

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What I Want From Chester Tam’s Upcoming Rom-Com Film

Photo credit: Monique Jones

By Guest Contributor: Monique Jones (@moniqueblognet)

Note: A version of this article originally appeared last year in Just Add Color.

A few months ago, during one of my shifts for Shadow and Act, I reported on Gabrielle Union’s upcoming starring role in a new Screen Gems rom-com. The film is unique among Screen Gems’ repertoire: it’s about an interracial relationship between an Asian man and a Black woman, and is written by Chester Tam.

The film is based on Tam’s real-life relationship experiences. Currently, no actor has yet to be cast opposite Union as her romantic interest.

From my article:

According to The Hollywood Reporter, Chester Tam will direct a rom-com for Screen Gems starring Gabrielle Union. The film, based on Tam’s own script, will be semi-autobiographical and follow “a newly single African-American woman who begins dating a recently divorced Asian-American man,” per the article’s description.

The logline, the article states, hasn’t been fully revealed, but will focus on “how a drunken one-night stand leads to a secret relationship that eventually becomes public, surprising both friends and family of the couple given that neither is typically the other’s type.”

While the plot of this upcoming film sounds interesting, I’m hesitant. Given this backdrop, how will this film present heterosexual interracial relationships between Asian men and Black women — and might it do more damage than good?

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Focusing on Parasite’s Success Misses an Opportunity to Challenge Anti-Blackness

The cover image of the Parasite DVD/Blu-Ray

By Guest Contributor: Nicholas Wong

Last month, people around the world celebrated the underdog success of Korean film Parasite as it swept through the 92nd Academy Awards to win four Oscars. Each new award for the film ratcheted up a breathless excitement that culminated in a historic win for Best Picture, the first foreign-language film to ever take home that honour.

The victory was especially meaningful to Asian North Americans1Writing as I am from a Canadian context, I use the term “Asian North American” here to collectively refer to the broadly similar sociocultural categories of “Asian American” and “Asian Canadian”; however, I recognize that these categories warrant distinction under other analytical circumstances. , who took to social media in droves to express their pride in the film’s achievements. For decades, Asian North Americans have lamented the deplorable state of Asian representation in Western pop culture. In North American media, Asians have been either almost non-existent or, when portrayed, depicted through harmful racist stereotypes. In recent years, high-profile controversies surrounding films like Aloha and Ghost in the Shell – both of which featured the “whitewashing” of ostensibly Asian roles – have amplified the call for more Asian representation in Hollywood.

A positive shift in this cause has occurred over the past two years, with Asian-led films like Crazy Rich Asians, Always Be My Maybe, and The Farewell garnering box office success and critical acclaim. These films, all helmed by Asian directors and featuring Asian actors in starring roles, have been praised within the Asian North American community for proving the viability of Asians in pop culture, authentically portraying our experiences, and debunking stereotypes. Add on Parasite’s Best Picture win, and it would appear as though Asians have finally broken through Hollywood’s bamboo ceiling.

However, the reading of these films’ significance as primarily tied to their success in achieving Asian representation reveals a limited capacity for Asian North Americans to critically evaluate their own media. The perceived scarcity of – and consequent hunger for – Asian popular media representation has foreclosed the possibility of talking about our successes in anything but celebratory tones. “If we don’t support our own at all costs,” the thinking goes, “we may never get another chance.”

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