What Asian American Oscar Victories Mean for All of Us

By Emil Guillermo

able to follow in the years since (Columbia University keeps a database of attorneys general’s environmental actions now).

It’s a concern that runs deep. Like I did, Harris grew up in environmentally conscious northern California in a household deeply involved in the civil rights movement. She learned early that conservation was a good thing, so much so that she has joked she couldn’t understand as a youngster why people she knew said conservatives were bad.

The Biden-Harris administration has provided leadership. With Congress, they’ve given us the tools to clean up pollution, to boost communities’ resilience to climate related natural disasters like wildfires, and to create good jobs in clean manufacturing across the country in unprecedented ways. Through the infrastructure and inflation reduction packages, the United States can spend more than double protecting Earth than we spent putting astronauts on the moon.

“I think we all understand we have to be solutions driven. And the solutions are at hand,” Harris said at a climate summit earlier this month. “We need to make up for some lost time, no doubt. This is going to have an exponential impact on where we need to go.”

It’s time for the rest of us to pick up those tools and build. There are powerful interests that would be more than happy to let the inertia that allows people and places to be treated as disposable continue indefinitely. Our planet can’t afford that, and we have to marshal a movement to prevent it.

Ben Jealous is executive director of the Sierra Club. This article originally appeared in Post News Group.

After the Oscars, when Asian Americans were everywhere on the winners list, from actors, writers, directors, but also makeup artists, and not just in “Everything Everywhere All at Once,” but also in movies like “The Whale,” I turn to the Oakland playwright Ishmael Reed who must be wondering, will Asian Americans now go for the Whiteness Prize?

(I consider Asian American to be a generic term, indicating people of Asian descent either living or working, not necessarily indicative of their citizenship status.)

I’m in New York as an actor in “The Conductor,” the latest Reed production now off-Broadway. I play a brown-skinned Tucker Carlsontype on a faux Fox, and very conservative, news network. As an Asian American sometime-actor, I’m gratified to see Asian American creatives take their historic star turn at the Oscars. Asians have won the Academy Award for best supporting actor before, but never has there been a best actor/actress winner until the Malaysia-born, Hollywoodbased Michelle Yeoh a few weekends ago.

There’s something about being a “first.” A “never before.” But what’s next?

And that’s where Reed’s play got me thinking. In Reed’s “The Conductor,” Blacks start a new underground railroad to help Indian Americans — not American Indians, but those from the continent of India — escape a wave of xenophobia that is forcing them to flee to Canada.

The main character, columnist Warren Chipp, is Reed’s alter ego. When a conservative Indian seeks refuge and asks Chipp why the liberal Chipp is being so nice to him, Chipp reveals his grasp of irony.

“Minorities make alliances with us (Blacks) until their admission to the white club is accepted. This happened to the Jews, the Japanese, the Irish, the Italians and now you guys (Asian Indians).”

It’s just one of the provocative asides in the play, but the historical examples are there.

Says Chipp/Reed: “These groups come running to us when the white man decides to sic mobs on them because of some geopolitical conflict or culture war. Begging us to hide them and save them. And then, when they get an ‘all-clear’ sign, they return to auditioning for whiteness again. Lining up and trampling over each other, asking white people to ‘choose me!’. Some of them even change their names to go Anglo.”

Reed says it’s the root of “Afro-Pessimism.”

What’s that?

It’s a term by Frank Wilderson, as Reed explains, that means Blacks can’t depend upon Blacks’ “junior allies.” Wilderson calls B.S. on intersectionality and says that Blacks “must go it alone.”

After rehearsals and the first four performances, the passages from the play haunt me. Especially [on that] Sunday. When the Asian Americans were preparing for their Oscar turn, I was off-Broadway living Reed’s play.

Is the Model Minority now back to auditioning for whiteness again? I hope not. I get what Reed’s saying in his play. But I see the Oscar victory as a win for not just Asian Americans but all BIPOC communities in all their unique narratives.

AAPI stories have a kind of heat now. An independent film about a family with a laundromat dealing with the IRS and the multiverse where people have hotdogs as fingers puts us in a whole new ballgame. We aren’t so weird after all. We’re of immigrant descent, sure. We’re different, yes. But we’re of the modern world and our stories deal in universal truths.

People flocked to “Everything Everywhere All at Once,” which gave it some cache as an indie project that was making money. Not like “Top Gun” money, but enough to satisfy Hollywood accountants. Once it caught the attention of the Academy looking for diversity, the film was simply recognized for its off-beat ingenuity and its creative weirdness.

See OSCARS page 14

Ebenezer