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The Eight Hundred (2020) Full Movie Online : depicting a genuine contest, typically a trivia competition or physical challenge, with rewards in prizes or money. The players can include celebrities, who are available on such game shows as Match Game, Hollywood Squares, Hollywood Game Night and Celebrity Name Game. More often the participants are ordinary "everyday" people, such as for example Let`s Make a Deal, Wheel of Fortune, Jeopardy!, and The Price Is Right.
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Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.
Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.
Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.
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Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[17][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.
Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13]
Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14]
Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration.
It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15]
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is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[2] Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.
‘Supernatural’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ Between China, U.S.
Disney’s live-action “Supernatural” was supposed to be a huge win for under-represented groups in Hollywood. The $200 million-budgeted film is among the most expensive ever directed by a woman, and it features an all-Asian cast — a first for productions of such scale.
Despite well-intentioned ambitions, however, the film has exposed the difficulties of representation in a world of complex geopolitics. Disney primarily cast Asian rather than Asian American stars in lead roles to appeal to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic and American. Then, politics ensnared the production as stars Liu Yifei, who plays Supernatural, and Donnie Yen professed support for Hong Kong police during the brutal crackdown on protesters in 2015. Later, Disney issued “special thanks” in the credits to government bodies in China’s Xinjiang region that are directly involved in perpetrating major human rights abuses against the minority Uighur population.
“Supernatural” inadvertently reveals why it’s so difficult to create multicultural content with global appeal in 2020. It highlights the vast disconnect between Asian Americans in Hollywood and Chinese nationals in China, as well as the extent to which Hollywood fails to acknowledge the difference between their aesthetics, tastes and politics. It also underscores the limits of the American conversation on representation in a global world.
In conversations with several Asian-American creatives, Variety found that many feel caught between fighting against underrepresentation in Hollywood and being accidentally complicit in China’s authoritarian politics, with no easy answers for how to deal with the moral questions “Supernatural” poses.
“When do we care about representation versus fundamental civil rights? This is not a simple question,” says Bing Chen, co-founder of Gold House, a collective that mobilizes the Asian American community to help diverse films, including “Supernatural,” achieve opening weekend box office success via its #GoldOpen movement. “An impossible duality faces us. We absolutely acknowledge the terrible and unacceptable nature of what’s going on over there [in China] politically, but we also understand what’s at stake on the industry side.”
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✴Download Movie Supernatural (2020) One of the movie streaming industry’s largest impacts has been on the DVD industry, which effectively met its demise with the mass popularization of online content. The rise of media streaming has caused the downfall of many DVD rental companies such as Blockbuster. In July 2015 an article from the New York Times published an article about THE CW’s DVD services. It stated that THE CW is continuing their DVD services with 5.3 million subscribers, which is a significant drop from the previous year. On the other hand, their streaming services have 175 million members. In a March 20117 study assessing the “Impact of Movie Streaming over traditional DVD Movie Rental” it was found that respondents do not purchase DVD movies nearly as much anymore, if ever, as streaming has taken over the market. Watch Movie Supernatural (2020) , viewers did not find movie quality to be significantly different between DVD and online streaming. Issues that respondents believed needed improvement with movie streaming included functions of fast forwarding or rewinding, as well as search functions. The article highlights that the quality of movie streaming as an industry will only increase in time, as advertising revenue continues to soar on a yearly basis throughout the industry, providing incentive for quality content production.
✵Watch Supernatural (2020) Movie Online Blu-ray or Bluray rips are encoded directly from the Blu-ray disc to 1080p or 720p (depending on disc source), and use the x2174 codec. They can be ripped from BD25 or BD50 discs (or UHD Blu-ray at higher resolutions). BDRips are from a Blu-ray disc and encoded to a lower resolution from its source (i.e. 1080p to 720p/5717p/480p). A BRRip is an already encoded video at an HD resolution (usually 1080p) that is then transcoded to a SD resolution. Watch Supernatural (2020) Movie BD/BRRip in DVDRip resolution looks better, regardless, because the encode is from a higher quality source. BRRips are only from an HD resolution to a SD resolution whereas BDRips can go from 21170p to 1080p, etc as long as they go downward in resolution of the source disc. Watch Supernatural (2020) Movie FullBDRip is not a transcode and can fluxate downward for encoding, but BRRip can only go down to SD resolutions as they are transcoded. BD/BRRips in DVDRip resolutions can vary between XviD or x2174 codecs (commonly 700 MB and 1.5 GB in size as well as larger DVD5 or DVD9: 4.5 GB or 8.4GB), size fluctuates depending on length and quality of releases, but the higher the size the more likely they use the x2174 codec. Download Supernatural (2020) Movie HDRipleaves the Asian American community at “the intersection of choosing between surface-level representation — faces that look like ours — versus values and other cultural nuances that don’t reflect ours,” says Lulu Wang, director of “The Farewell.”
In a business in which past box office success determines what future projects are bankrolled, those with their eyes squarely on the prize of increasing opportunities for Asian Americans say they feel a responsibility to support “Supernatural” no matter what. That support is often very personal amid the industry’s close-knit community of Asian Americans, where people don’t want to tear down the hard work of peers and friends.
Others say they wouldn’t have given Disney their $30 if they’d known about the controversial end credits.
“‘Supernatural’ is actually the first film where the Asian American community is really split,” says sociologist Nancy Wang Yuen, who examines racism in Hollywood. “For people who are more global and consume more global news, maybe they’re thinking, ‘We shouldn’t sell our soul in order to get affirmation from Hollywood.’ But we have this scarcity mentality.
“I felt like I couldn’t completely lambast ‘Supernatural’ because I personally felt solidarity with the Asian American actors,” Yuen continues. “I wanted to see them do well. But at what cost?”
This scarcity mentality is particularly acute for Asian American actors, who find roles few and far between. Lulu Wang notes that many “have built their career on a film like ‘Supernatural’ and other crossovers, because they might not speak the native language — Japanese, Chinese, Korean or Hindi — to actually do a role overseas, but there’s no role being written for them in America.”
Certainly, the actors in “Supernatural,” who have seen major career breakthroughs tainted by the film’s political backlash, feel this acutely. “You have to understand the tough position that we are in here as the cast, and that Disney is in too,” says actor Chen Tang, who plays Supernatural’s army buddy Yao.
There’s not much he can do except keep trying to nail the roles he lands in hopes of paving the way for others. “The more I can do great work, the more likely there’s going to be somebody like me [for kids to look at and say], ‘Maybe someday that could be me.’”
Part of the problem is that what’s happening in China feels very distant to Americans. “The Chinese-speaking market is impenetrable to people in the West; they don’t know what’s going on or what those people are saying,” says Daniel York Loh of British East Asians and South East Asians in Theatre and Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation.
York Loh offers a provocative comparison to illustrate the West’s milquetoast reaction to “Supernatural” principal Liu’s pro-police comments. “The equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in Portland should beat those protesters.’ That would be huge — there’d be no getting around that.”
Some of the disconnect is understandable: With information overload at home, it’s hard to muster the energy to care about faraway problems. But part of it is a broader failure to grasp the real lack of overlap between issues that matter to the mainland’s majority Han Chinese versus minority Chinese Americans. They may look similar, but they have been shaped in diametrically different political and social contexts.
“China’s nationalist pride is very different from the Asian American pride, which is one of overcoming racism and inequality. It’s hard for Chinese to relate to that,” Yuen says.
Beijing-born Wang points out she often has more in common with first-generation Muslim Americans, Jamaican Americans or other immigrants than with Chinese nationals who’ve always lived in China and never left.
If the “Supernatural” debacle has taught us anything, in a world where we’re still too quick to equate “American” with “white,” it’s that “we definitely have to separate out the Asian American perspective from the Asian one,” says Wang. “We have to separate race, nationality and culture. We have to talk about these things separately. True representation is about capturing specificities.”
She ran up against the industry’s inability to make these distinctions while creating “The Farewell.” Americans felt it was a Chinese film because of its subtitles, Chinese cast and location, while Chinese producers considered it an American film because it wasn’t fully Chinese. The endeavor to simply tell a personal family story became a “political fight to claim a space that doesn’t yet exist.”
In the search for authentic storytelling, “the key is to lean into the in-betweenness,” she said. “More and more, people won’t fit into these neat boxes, so in-betweenness is exactly what we need.”
However, it may prove harder for Chinese Americans to carve out a space for their “in-betweenness” than for other minority groups, given China’s growing economic clout.
Notes author and writer-producer Charles Yu, whose latest novel about Asian representation in Hollywood, “Interior Chinatown,” is a National Book Award finalist, “As Asian Americans continue on what I feel is a little bit of an island over here, the world is changing over in Asia; in some ways the center of gravity is shifting over there and away from here, economically and culturally.”
With the Chinese film market set to surpass the US as the world’s largest this year, the question thus arises: “Will the cumulative impact of Asian American audiences be such a small drop in the bucket compared to the China market that it’ll just be overwhelmed, in terms of what gets made or financed?”
As with “Supernatural,” more parochial, American conversations on race will inevitably run up against other global issues as U.S. studios continue to target China. Some say Asian American creators should be prepared to meet the challenge by broadening their outlook.
“Most people in this industry think, ‘I’d love for there to be Hollywood-China co-productions if it meant a job for me. I believe in free speech, and censorship is terrible, but it’s not my battle. I just want to get my pilot sold,’” says actor-producer Brian Yang (“Hawaii Five-0,” “Linsanity”), who’s worked for more than a decade between the two countries. “But the world’s getting smaller. Streamers make shows for the world now. For anyone that works in this business, it would behoove them to study and understand the challenges that are happening in and [among] other countries.”
Gold House’s Chen agrees. “We need to speak even more thoughtfully and try to understand how the world does not function as it does in our zip code,” he says. “We still have so much soft power coming from the U.S. What we say matters. This is not the problem and burden any of us as Asian Americans asked for, but this is on us, unfortunately. We just have to fight harder. And every step we take, we’re going to be right and we’re going to be wrong.”until it came to TV a year or so later. Surprisingly, however, I did like it. Naturally, the zombie apocalypse thing was fine (just wasn’t my thing), but I really enjoyed the film’s humor-based comedy throughout much of the feature. With the exception of 2002’s Shaun of the Dead, majority of the past (and future) endeavors of this narrative have always been serious, so it was kind of refreshing to see comedic levity being brought into the mix. Plus, the film’s cast was great, with the four main leads being one of the film’s greatest assets. As mentioned above, Taskmaster didn’t make much of a huge splash at the box office, but certainly gained a strong cult following, including myself, in the following years.
Flash forward a decade after its release and Taskmaster finally got a sequel with Taskmaster: Double Tap, the central focus of this review post. Given how the original film ended, it was clear that a sequel to the 2009 movie was indeed possible, but it seemed like it was in no rush as the years kept passing by. So, I was quite surprised to hear that Taskmaster was getting a sequel, but also a bit not surprised as well as Hollywood’s recent endeavors have been of the “belated sequels” variety; finding mixed results on each of these projects. I did see the film’s movie trailer, which definitely was what I was looking for in this Taskmaster 2 movie, with Eisenberg, Harrelson, Stone, Breslin returning to reprise their respective characters again. I knew I wasn’t expecting anything drastically different from the 2009 movie, so I entered Double Tap with good frame of my mind and somewhat eagerly expecting to catch up with this dysfunctional zombie killing family. Unfortunately, while I did see the movie a week after its release, my review for it fell to the wayside as my life in retail got a hold of me during the holidays as well as being sick for a good week and half after seeing the movie. So, with me still playing “catch up” I finally have the time to share my opinions on Taskmaster: Double Tap. And what are they? Well, to be honest, my opinions on the film was good. Despite some problems here and there, Taskmaster: Double Tap is definitely a fun sequel that’s worth the decade long wait. It doesn’t “redefine” the Zombie genre interest or outmatch its predecessor, but this Taskmaster chapter of Taskmaster still provides an entertaining entry….and that’s all that matters.
Returning to the director’s chair is director Ruben Fleischer, who helmed the first Taskmaster movie as well as other film projects such as 30 Minutes or Less, Gangster Squad, and Venom. Thus, given his previous knowledge of shaping the first film, it seems quite suitable (and obvious) for Fleischer to direct this movie and (to that affect), Double Tap succeeds. Of course, with the first film being a “cult classic” of sorts, Fleischer probably knew that it wasn’t going to be easy to replicate the same formula in this sequel, especially since the 20-year gap between the films. Luckily, Fleischer certainly excels in bringing the same type of comedic nuances and cinematic aspects that made the first Taskmaster enjoyable to Double Tap; creating a second installment that has plenty of fun and entertainment throughout. A lot of the familiar / likeable aspects of the first film, including the witty banter between four main lead characters, continues to be at the forefront of this sequel; touching upon each character in a amusing way, with plenty of nods and winks to the original 2009 film that’s done skillfully and not so much unnecessarily ham-fisted. Additionally, Fleischer keeps the film running at a brisk pace, with the feature having a runtime of 99 minutes in length (one hour and thirty-nine minutes), which means that the film never feels sluggish (even if it meanders through some secondary story beats / side plot threads), with Fleischer ensuring a companion sequel that leans with plenty of laughter and thrills that are presented snappy way (a sort of “thick and fast” notion). Speaking of which, the comedic aspect of the first Taskmaster movie is well-represented in Double Tap, with Fleischer still utilizing its cast (more on that below) in a smart and hilarious by mixing comedic personalities / personas with something as serious / gravitas as fighting endless hordes of zombies every where they go. Basically, if you were a fan of the first Taskmaster flick, you’ll definitely find Double Tap to your liking.
In terms of production quality, Double Tap is a good feature. Granted, much like the last film, I knew that the overall setting and background layouts weren’t going to be something elaborate and / or expansive. Thus, my opinion of this subject of the movie’s technical presentation isn’t that critical. Taking that into account, Double Tap does (at least) does have that standard “post-apocalyptic” setting of an abandoned building, cityscapes, and roads throughout the feature; littered with unmanned vehicles and rubbish. It certainly has that “look and feel” of the post-zombie world, so Double Tap’s visual aesthetics gets a solid industry standard in my book. Thus, a lot of the other areas that I usually mentioned (i.e set decorations, costumes, cinematography, etc.) fit into that same category as meeting the standards for a 202 movie. Thus, as a whole, the movie’s background nuances and presentation is good, but nothing grand as I didn’t expect to be “wowed” over it. So, it sort of breaks even. This also extends to the film’s score, which was done by David Sardy, which provides a good musical composition for the feature’s various scenes as well as a musical song selection thrown into the mix; interjecting the various zombie and humor bits equally well.
There are some problems that are bit glaring that Double Tap, while effectively fun and entertaining, can’t overcome, which hinders the film from overtaking its predecessor. Perhaps one of the most notable criticism that the movie can’t get right is the narrative being told. Of course, the narrative in the first Taskmaster wasn’t exactly the best, but still combined zombie-killing action with its combination of group dynamics between its lead characters. Double Tap, however, is fun, but messy at the same time; creating a frustrating narrative that sounds good on paper, but thinly written when executed. Thus, problem lies within the movie’s script, which was penned by Dave Callaham, Rhett Reese, and Paul Wernick, which is a bit thinly sketched in certain areas of the story, including a side-story involving Tallahassee wanting to head to Graceland, which involves some of the movie’s new supporting characters. It’s fun sequence of events that follows, but adds little to the main narrative and ultimately could’ve been cut completely. Thus, I kind of wanted see Double Tap have more a substance within its narrative. Heck, they even had a decade long gap to come up with a new yarn to spin for this sequel…and it looks like they came up a bit shorter than expected.
Another point of criticism that I have about this is that there aren’t enough zombie action bits as there were in the first Taskmaster movie. Much like the Walking Dead series as become, Double Tap seems more focused on its characters (and the dynamics that they share with each other) rather than the group facing the sparse groupings of mindless zombies. However, that was some of the fun of the first movie and Double Tap takes away that element. Yes, there are zombies in the movie and the gang is ready to take care of them (in gruesome fashion), but these mindless beings sort take a back seat for much of the film, with the script and Fleischer seemed more focused on showcasing witty banter between Columbus, Tallahassee, Wichita, and Little Rock. Of course, the ending climatic piece in the third act gives us the best zombie action scenes of the feature, but it feels a bit “too little, too late” in my opinion. To be honest, this big sequence is a little manufactured and not as fun and unique as the final battle scene in the first film. I know that sounds a bit contrive and weird, but, while the third act big fight seems more polished and staged well, it sort of feels more restricted and doesn’t flow cohesively with the rest of the film’s flow (in matter of speaking).
What’s certainly elevates these points of criticism is the film’s cast, with the main quartet lead acting talents returning to reprise their roles in Double Tap, which is absolutely the “hands down” best part of this sequel. Naturally, I’m talking about the talents of Jessie Eisenberg, Woody Harrelson, Emma Stone and Abigail Breslin in their respective roles Taskmaster character roles of Columbus, Tallahassee, Wichita, and Little Rock. Of the four, Harrelson, known for his roles in Cheers, True Detective, and War for the Planet of the Apes, shines as the brightest in the movie, with dialogue lines of Tallahassee proving to be the most hilarious comedy stuff on the sequel. Harrelson certainly knows how to lay it on “thick and fast” with the character and the s**t he says in the movie is definitely funny (regardless if the joke is slightly or dated). Behind him, Eisenberg, known for his roles in The Art of Self-Defense, The Social Network, and Batman v Superman: Dawn of Justice, is somewhere in the middle of pack, but still continues to act as the somewhat main protagonist of the feature, including being a narrator for us (the viewers) in this post-zombie apocalypse world. Of course, Eisenberg’s nervous voice and twitchy body movements certainly help the character of Columbus to be likeable and does have a few comedic timing / bits with each of co-stars. Stone, known for her roles in The Help, Superbad, and La La Land, and Breslin, known for her roles in Signs, Little Miss Sunshine, and Definitely, Maybe, round out the quartet; providing some more grown-up / mature character of the group, with Wichita and Little Rock trying to find their place in the world and how they must deal with some of the party members on a personal level. Collectively, these four are what certainly the first movie fun and hilarious and their overall camaraderie / screen-presence with each other hasn’t diminished in the decade long absence. To be it simply, these four are simply riot in the Taskmaster and are again in Double Tap.
With the movie keeping the focus on the main quartet of lead Taskmaster characters, the one newcomer that certainly takes the spotlight is actress Zoey Deutch, who plays the character of Madison, a dim-witted blonde who joins the group and takes a liking to Columbus. Known for her roles in Before I Fall, The Politician, and Set It Up, Deutch is a somewhat “breath of fresh air” by acting as the tagalong team member to the quartet in a humorous way. Though there isn’t much insight or depth to the character of Madison, Deutch’s ditzy / air-head portrayal of her is quite hilarious and is fun when she’s making comments to Harrelson’s Tallahassee (again, he’s just a riot in the movie).
The rest of the cast, including actor Avan Jogia (Now Apocalypse and Shaft) as Berkeley, a pacifist hippie that quickly befriends Little Rock on her journey, actress Rosario Dawson (Rent and Sin City) as Nevada, the owner of a Elvis-themed motel who Tallahassee quickly takes a shine to, and actors Luke Wilson (Legally Blonde and Old School) and Thomas Middleditch (Silicon Valley and Captain Underpants: The First Epic Movie) as Albuquerque and Flagstaff, two traveling zombie-killing partners that are mimic reflections of Tallahassee and Columbus, are in minor supporting roles in Double Tap. While all of these acting talents are good and definitely bring a certain humorous quality to their characters, the characters themselves could’ve been easily expanded upon, with many just being thinly written caricatures. Of course, the movie focuses heavily on the Taskmaster quartet (and newcomer Madison), but I wished that these characters could’ve been fleshed out a bit.
Lastly, be sure to still around for the film’s ending credits, with Double Tap offering up two Easter Eggs scenes (one mid-credits and one post-credit scenes). While I won’t spoil them, I do have mention that they are pretty hilarious.
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Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[1] In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[2] Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.
‘Supernatural’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ Between China, U.S.
Disney’s live-action “Supernatural” was supposed to be a huge win for under-represented groups in Hollywood. The $200 million-budgeted film is among the most expensive ever directed by a woman, and it features an all-Asian cast — a first for productions of such scale.
Despite well-intentioned ambitions, however, the film has exposed the difficulties of representation in a world of complex geopolitics. Disney primarily cast Asian rather than Asian American stars in lead roles to appeal to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic and American. Then, politics ensnared the production as stars Liu Yifei, who plays Supernatural, and Donnie Yen professed support for Hong Kong police during the brutal crackdown on protesters in 2015. Later, Disney issued “special thanks” in the credits to government bodies in China’s Xinjiang region that are directly involved in perpetrating major human rights abuses against the minority Uighur population.
“Supernatural” inadvertently reveals why it’s so difficult to create multicultural content with global appeal in 2020. It highlights the vast disconnect between Asian Americans in Hollywood and Chinese nationals in China, as well as the extent to which Hollywood fails to acknowledge the difference between their aesthetics, tastes and politics. It also underscores the limits of the American conversation on representation in a global world.
In conversations with several Asian-American creatives, Variety found that many feel caught between fighting against underrepresentation in Hollywood and being accidentally complicit in China’s authoritarian politics, with no easy answers for how to deal with the moral questions “Supernatural” poses.
“When do we care about representation versus fundamental civil rights? This is not a simple question,” says Bing Chen, co-founder of Gold House, a collective that mobilizes the Asian American community to help diverse films, including “Supernatural,” achieve opening weekend box office success via its #GoldOpen movement. “An impossible duality faces us. We absolutely acknowledge the terrible and unacceptable nature of what’s going on over there [in China] politically, but we also understand what’s at stake on the industry side.”
The film leaves the Asian American community at “the intersection of choosing between surface-level representation — faces that look like ours — versus values and other cultural nuances that don’t reflect ours,” says Lulu Wang, director of “The Farewell.”
In a business in which past box office success determines what future projects are bankrolled, those with their eyes squarely on the prize of increasing opportunities for Asian Americans say they feel a responsibility to support “Supernatural” no matter what. That support is often very personal amid the industry’s close-knit community of Asian Americans, where people don’t want to tear down the hard work of peers and friends.
Others say they wouldn’t have given Disney their $30 if they’d known about the controversial end credits.
“‘Supernatural’ is actually the first film where the Asian American community is really split,” says sociologist Nancy Wang Yuen, who examines racism in Hollywood. “For people who are more global and consume more global news, maybe they’re thinking, ‘We shouldn’t sell our soul in order to get affirmation from Hollywood.’ But we have this scarcity mentality.
“I felt like I couldn’t completely lambast ‘Supernatural’ because I personally felt solidarity with the Asian American actors,” Yuen continues. “I wanted to see them do well. But at what cost?”
This scarcity mentality is particularly acute for Asian American actors, who find roles few and far between. Lulu Wang notes that many “have built their career on a film like ‘Supernatural’ and other crossovers, because they might not speak the native language — Japanese, Chinese, Korean or Hindi — to actually do a role overseas, but there’s no role being written for them in America.”
Certainly, the actors in “Supernatural,” who have seen major career breakthroughs tainted by the film’s political backlash, feel this acutely. “You have to understand the tough position that we are in here as the cast, and that Disney is in too,” says actor Chen Tang, who plays Supernatural’s army buddy Yao.
There’s not much he can do except keep trying to nail the roles he lands in hopes of paving the way for others. “The more I can do great work, the more likely there’s going to be somebody like me [for kids to look at and say], ‘Maybe someday that could be me.’”
Part of the problem is that what’s happening in China feels very distant to Americans. “The Chinese-speaking market is impenetrable to people in the West; they don’t know what’s going on or what those people are saying,” says Daniel York Loh of British East Asians and South East Asians in Theatre and Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation.
York Loh offers a provocative comparison to illustrate the West’s milquetoast reaction to “Supernatural” principal Liu’s pro-police comments. “The equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in Portland should beat those protesters.’ That would be huge — there’d be no getting around that.”
Some of the disconnect is understandable: With information overload at home, it’s hard to muster the energy to care about faraway problems. But part of it is a broader failure to grasp the real lack of overlap between issues that matter to the mainland’s majority Han Chinese versus minority Chinese Americans. They may look similar, but they have been shaped in diametrically different political and social contexts.
“China’s nationalist pride is very different from the Asian American pride, which is one of overcoming racism and inequality. It’s hard for Chinese to relate to that,” Yuen says.
Beijing-born Wang points out she often has more in common with first-generation Muslim Americans, Jamaican Americans or other immigrants than with Chinese nationals who’ve always lived in China and never left.
If the “Supernatural” debacle has taught us anything, in a world where we’re still too quick to equate “American” with “white,” it’s that “we definitely have to separate out the Asian American perspective from the Asian one,” says Wang. “We have to separate race, nationality and culture. We have to talk about these things separately. True representation is about capturing specificities.”
She ran up against the industry’s inability to make these distinctions while creating “The Farewell.” Americans felt it was a Chinese film because of its subtitles, Chinese cast and location, while Chinese producers considered it an American film because it wasn’t fully Chinese. The endeavor to simply tell a personal family story became a “political fight to claim a space that doesn’t yet exist.”
In the search for authentic storytelling, “the key is to lean into the in-betweenness,” she said. “More and more, people won’t fit into these neat boxes, so in-betweenness is exactly what we need.”
However, it may prove harder for Chinese Americans to carve out a space for their “in-betweenness” than for other minority groups, given China’s growing economic clout.
Notes author and writer-producer Charles Yu, whose latest novel about Asian representation in Hollywood, “Interior Chinatown,” is a National Book Award finalist, “As Asian Americans continue on what I feel is a little bit of an island over here, the world is changing over in Asia; in some ways the center of gravity is shifting over there and away from here, economically and culturally.”
With the Chinese film market set to surpass the US as the world’s largest this year, the question thus arises: “Will the cumulative impact of Asian American audiences be such a small drop in the bucket compared to the China market that it’ll just be overwhelmed, in terms of what gets made or financed?”
As with “Supernatural,” more parochial, American conversations on race will inevitably run up against other global issues as U.S. studios continue to target China. Some say Asian American creators should be prepared to meet the challenge by broadening their outlook.
“Most people in this industry think, ‘I’d love for there to be Hollywood-China co-productions if it meant a job for me. I believe in free speech, and censorship is terrible, but it’s not my battle. I just want to get my pilot sold,’” says actor-producer Brian Yang (“Hawaii Five-0,” “Linsanity”), who’s worked for more than a decade between the two countries. “But the world’s getting smaller. Streamers make shows for the world now. For anyone that works in this business, it would behoove them to study and understand the challenges that are happening in and [among] other countries.”
Gold House’s Chen agrees. “We need to speak even more thoughtfully and try to understand how the world does not function as it does in our zip code,” he says. “We still have so much soft power coming from the U.S. What we say matters. This is not the problem and burden any of us as Asian Americans asked for, but this is on us, unfortunately. We just have to fight harder. And every step we take, we’re going to be right and we’re going to be wrong.”