She praises the heroine of To All The Boys I’ve Loved Before for being defined by more than just her race, but who said the characters of Crazy Rich Asians were only defined by their Asianness? If anything, a cast of all-Asian characters makes it impossible to lean on race as a crutch because it’s no longer an otherizing marker.
This sentiment can be seen in this article with the curious claim that To All The Boys I’ve Loved Before was better for representation than Crazy Rich Asians.Īt initial glance, the article’s argument seems preposterous: how can a movie that only features one Asian character be better for representation than a movie that features an all-Asian cast? But reading between the lines, one can reasonably conclude that what the writer is really trying to say is that being accepted in a white setting is a greater accomplishment than being accepted in a non-white setting.
A full transposition of these white narratives into POC-dominated alternatives would ruin the chance to finally feel included. Specifically, inclusion among the white characters and settings they’ve idealized for so long. What they’re seeking is not quite equality, but rather, inclusion. But I suspect that for many, this isn’t what they’re looking for. If adherents of this view wanted POC-centered alternatives, like a Game of Thrones set in a fantastical Africa or a Pride and Prejudice set in historical Asia, then I’d be more sympathetic. What I find less supportable is when people approach this from a more moral and philosophical standpoint that argues it’s a matter of racial justice that non-white people be included in white narratives, regardless of the employment opportunity issue. Or stop rehashing the old and start doing something new and more inclusive. So if it’s doing a ton of Shakespeare and Dickens, then some adjustments will have to be made in order to live up to those egalitarian ideals. The entertainment industry often purports itself to be progressive and equal opportunity.
If shows and movies are constantly set in historical or pseudo-historical Europe, then it’s difficult for non-white actors to make a living unless there’s race-blind casting. When people say we should have a non-white James Bond or a non-white Jane Austen character, the same root issue is at hand: do traditionally white stories need to have more non-white characters?įor actors, this may be mostly a labor issue. Debate over.īut here’s another debate: why aren’t there more important non-white characters and kingdoms in Game of Thrones? It’s a question that goes beyond this show or even the fantasy genre. Plus, the show’s never been quite the same without Tywin.
The Mountain, the Battle of Castle Black, and Tyrion murdering Tywin - is incomparable. The triple punch of the final three episodes - Oberyn vs.
Just to settle any arguments, season 4 was the best. The whole country became like Daniel Desario at the end of Freaks and Geeks: completely and unexpectedly enthralled by dungeons and dragons. Baldur’s Gate and The Lord of the Rings proved fantasy wasn’t just for weird basement dwellers, but Game of Thrones took it to another level. The show’s had a remarkable run and impact on popular culture. The final season of Game of Thrones is here.