(Race-driven narratives are harmful but the (far) leftists keep promoting them. I wanted to get this piece published in March 2023 but could not find it a home in the leftwing media channels catered to the “woke” crowds)
Malaysia-born actress Michelle Yeoh became the very first Asian woman to win the Best Actress Award at the Oscars. Currently, her success is widely celebrated in Asian American communities, Malaysia, Hong Kong, and even China. Many deemed her win as one of those historical moments when East-Asian actors, or actors of Chinese descent, finally gained the recognition that they rightly deserve in the Hollywood.
My first impression of Yeoh was that of a martial artist who performed her own stunts in her early movies such as Royal Warriors (1986) and Wing Chun (1994). In Tomorrow Never Dies (1997), which heralded her entry into Hollywood, she fights alongside James Bond. In doing so, she not only defies the stereotypes of Asian women as helpless victims in need of rescue, but also enriches the Bond girl image by being both feisty and feminine, and in a manner that is not overly sexualized. Oh yes, she played the very first Bond girl who did not have sex with Bond (unless you want to argue that there is sex implied off-screen near the end.)
Among her numerous roles in local and Hollywood movies, my favorite has always been Shu Lien in Crouching Tiger, Hidden Dragon (2000), I was especially moved by the emotional depth in her portrayal of the woman who watches her beloved, Mu Bai, die in her arms, after their mutual expressions of love that come only too late. As Shu Lien places her sword on Jen’s neck, ready to punish her for the mishap, her angered face softens with regrets and forgiveness, before she sets the young woman free and urges her to go find her lover and be true to herself. This has to be one of the most moving Michelle Yeoh moments in my memory.
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Although white privilege is a reality in Hollywood, and it is difficult for minority actors and actresses to gain widespread recognition, one should not overplay Yeoh’s win as the breakthrough of an Asian actress. Focusing on her race or ethnic background cheapens her hard work and achievements and may do more harm than good to East Asians and people of Chinese ethnicity long term.
Indeed, Yeoh’s early struggles in Hollywood are very relatable to Asian people in the western world. For example, her stories about prejudices against her, such as doubts about her ability to speak English, likely hit close to home for many. It is completely reasonable to see Yeoh’s triumph, to some extent, as their very own. Moreover, that Yeoh’s recognition as well as the tremendous success of Everything, Everywhere, All at Once (2022) will urge producers and audiences to pay more attention to Asian actors is undeniably a positive development.
Yet, playing up Yeoh’s racial or ethnic identity pigeonholes her as an actress, considering that her background and movies traverse different cultures. Worse still, it unfairly implies that she won because the judges prioritized racial diversity over merit, or that her race was a determining factor in her victory. Imagine that you’ve worked hard—possibly harder than your peers—to get into your dream university or obtain your dream job, only to be put down by your peers who attribute your well-deserved success to the university’s or employer’s diversity initiatives: how insulting would that be?
In Anglophone societies currently driven by identity politics and extreme political correctness, people are unfortunately perceived to belong to restrictive categories such as race, ethnicity, and gender. Implementing “woke” policies driven by identity politics to achieve equal outcomes, even when driven by the best intentions, is anti-humanistic: while such attributes as race and ethnicity undoubtedly influence one’s experiences and impact one’s choices, people are ultimately individuals defined by their character and action and should be respected as such.
In recent years, Hollywood has been criticized for its political correctness and attempts to cater to the “woke” audiences. Indeed, the judges might have considered Yeoh’s race and background while casting their votes for her. After all, judgments about acting, like other artistic performances, can be quite subjective. Assuming Yeoh’s performance in this film showcasing multiple universes—which is the culmination of her years of hard work and versatile performances—can reasonably be considered to outshine all her contenders’, her race or ethnicity are not relevant. To see them as determining factors or to play up her race/ethnicity might reinforce existing racial biases and potentially lead to more racism and discrimination. Fighting racism (and sexism) is hard enough: to be scoffed at and insulted, sometimes by people of you one’s race when one succeeds, is a double blow.
A Eurasian acquaintance from Hong Kong kept venting her discontent on Facebook after Yeoh’s win, saying that she won only because of her face and that her contender delivered a far better performance. She had not watched either film while passing these judgments, however. This is very saddening. I stopped considering this person a friend, or potential friend, after seeing her comments. I can imagine that talented and diligent Asians will continue to be belittled and underestimated even as they continue to achieve breakthroughs and triumphs.
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Given the viewership for the Oscars has been on the decline in recent years, Hollywood should seek to eliminate biases rather than reinforce them. Yeoh is, first and foremost, an individual—a highly accomplished individual and a fine actress deserving true respect.