Tag Archives: #AsianCowboy

Letting Different People Be Different

One of the many (many, many) things I love about Crazy Ex-Girlfriend is that the hunky guy Rebecca is pining for is an Asian guy (named Josh, but that parts not important right now). It’s incredibly refreshing — when was the last time you saw an Asian male as a romantic lead, let alone an object of sexual desire by a white woman in fiction? But that leads me to another one of the things I love about the show: it’s not a big deal. No one cares that Josh’s Asian. Even when Rebecca has Thanksgiving with him and his Filipino family, there’s none of that usual other-ing that happens when you see character entering into a space that’s foreign to them. That’s also great.

But part-and-parcel of Josh’s Asian-ness being a non-issue is that he gets to take on a character archetype Asians never get to have — he’s a bro! He’s an idiot. A lovable idiot, yes, but an idiot still. Why’s this matter? ‘cuz when you have an Asian guy in fiction, chances on he’s going to be the smart guy or the dork or, y’know, both. There’s a very specific space in fiction that Asian characters are allowed to inhabit, and Crazy Ex-Girlfriend throws that to the wind. It goes on: a middle-aged man is bisexual, the professional psychiatrist is a black woman, the underachieving stoner next door is a brown girl.

I saw The Magnificent Seven this week (#AsianCowboy) and though it’s a flawed movie, it’s still terrifically entertaining and, on another level, absolutely wonderful. The latter of which I’m blaming on how it handles its diverse cast. Race is hardly touched on in the film, which, y’know it doesn’t have to. But instead every member of the titular seven gets to be a rough-and-tumble jackass of a cowboy. Billy Rocks the #AsianCowboy goes toe-to-toe with the Mexican and Chris Pratt, while Red Harvest the Native American makes fun of their food. Every character gets to give as good as they get. There’s no token minority put on a pedestal, everyone has an edge.

Which applies to the action bits too; everyone gets to have their cool bits, with Billy Rocks winning a shootout and throwing knives while saving Ethan Hawke. He’s not the Asian journeyman on a mission, he’s a cowboy (with a knife speciality). Again, this is an Asian character in a role usually off-limits to people that look like him (or, well, me) getting to do things associated with the role that usually doesn’t happen. This doesn’t mean that there’s anything wrong with, say, Shanghai Noon, where Jackie Chan plays an Imperial Guard on a mission in the old west who’s more martial artist than cowboy. The problem comes when every single narrative about an Asian in that time period is that narrative. So getting to see an Asian character be the quintessential American cowboy — dude, that’s dope.

When Alan Yang won an Emmy for an episode of Master of None, he gave a great speech pointing out how despite there being the same number of Italian- and Asia-Americans in the US. the former group has some of the most celebrated stories in fiction, while Asians have, well, Long Duk Dong of Sixteen Candles. The narrative of Asian-ness is shockingly limited, despite how long they/we’ve been a part of Western culture. In other words: the roles Asians are allowed in fiction is usually one of a handful of archetypes. Diversity and inclusion means changing that, means letting Asians be the dumb bro or the badass cowboy, means letting the lead of a tv show about being in your 30’s be an Indian guy, it means letting you ragtag band of space rebels have Asian actors, it means making your superhero a first-generation Pakistani immigrant or a half-Asian kid. Let different people be a part of different narratives.

Of course, this is a selfish want — I wanna see more people who look like me in fiction doing everything. But then, don’t you wanna see more people who look like yourself in fiction?

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#AsianCowboy

I was vaguely aware of the casting for the new Magnificent Seven when it was first announced, but more so for the fact that it reminded me that I really needed to watch The Seven Samurai (which I still haven’t…)

Anyway, since then trailers for the new Magnificent Seven have been released and there’s been a little bit of buzz around it and reviews have been coming out. What’s most caught my attention — and what makes me really wanna see it — is actor Byung-hun Lee as one of the seven. Now, this is a Western. Set in the mythical Wild West. Y’know, Americana incarnate. But there’s an Asian cowboy.

Now, of course, this excites me. Like basically everyone I grew up aware of the mythos of the Wild West, with cowboys and train robberies and all that stuff. So it’s exciting to see someone who looks kinda like me (he’s Korean, I’m half-Chinese, I’ll take it) being apart of it is really cool.

And I’m a sucker for multinational teams so seeing the seven cowboys include Denzel Washington, a Mexican, and a Native American is really cool. That and it makes total sense.

Let’s set aside for a moment the fact that in ‘reality’ cowboys and cattle hands weren’t as white as we’d expect. It’s easy to take the Western as being historical (it’s like a period piece, but with guns and horses!), and historical pieces tend to be very white because not being white in places when/where most historical dramas take place isn’t always a good thing.

But this is fiction.

I think it’s easy to enter into the idea of something being ‘unrealistic’ and it ruining the story. If we’re willing to believe that Tom Cruise is the last samurai, why can’t we believe there was a ragtag multinational team of cowboys? The same rule of “why not?” that applies to science fiction or contemporary stories can also apply to stories that take place before. Sure it was surprising in Season One of Agent Carter to see a black man the owner of a club in 1940s America, but we bought it and the story didn’t suffer for it. Having Zoe Saldana as Anamaria in the first Pirates of The Caribbean worked. Sure, she didn’t get to do too much but she still was a fun character who should’ve shown up in the sequels. These are worlds of cowboys, spies, and pirates; why not throw in some diversity?

Granted, it gets trickier with more serious, more properly historical stories. It’s hard to tell a factual story about the American Revolution with a diverse cast. But, then again, that’s what Hamilton did, so, y’know, there’s that.

Really, it all comes down to telling different stories, and telling more. By including people usually underrepresented in these narratives, The Magnificent Seven is offering a space at the table to more people. Like how The Force Awakens and Rogue One change the criteria for who gets to be a hero in Star Wars, so does this, in however a small way, for westerns.

So, yeah, at the end of the day I’m gonna go see The Magnificent Seven. Because there’s an Asian cowboy.

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