The Great Wall Versus Ghost in the Shell: Why Constance Wu is Wrong About Hollywood Whitewashing, And How to Fix It

Blog post by actress Constance Wu. Click to enlarge.

Blog post by actress Constance Wu. Click to enlarge.

Actress Constance Wu wrote a blog entry about whitewashing that seems to have struck a chord on social media. It’s almost too popular to ignore, as the text keeps popping up here and there.

Constance Wu’s blog entry bears similarities to AltSciFi’s reasons for creating an independent live-action Ghost in the Shell film, starring an all-Japanese cast. The main difference is that Wu’s argument doesn’t make any sense beyond self-righteously pleading/shouting for change.

What common mistakes does Constance Wu make, despite her good intentions? How would an all-Japanese live-action Ghost in the Shell take a different approach? Find out below.

Constance Wu writes:

On the Great Wall: We have to stop perpetuating the racist myth that only a white man can save the world. It’s not based in actual fact.

Agreed. So far so good. We can fast-forward two sentences to the first problematic part.

Money is the lamest excuse in the history of being human.

Actually, money is the only reason why _anyone_ makes movies in Hollywood. If you’re going to finance a $135 million film “whose… budget makes it the most expensive film ever shot entirely in China“, yes, money really is the key factor.

By contrast, an independent film — one without a monstrous price tag — could more honestly make the claim that it was made for the fans rather than solely for the box office returns.

So is blaming the Chinese investors. (POC’s choices can be based on unconscious bias, too.)

It may be “lame” to blame Chinese investors, but yes, literally the only reason for investing in a business venture (such as a big-budget film) is to earn a return on the investment. Mind-reading investors’ motivations as “unconscious bias” is tantamount to calling them Asian Uncle Toms because you know them better than they know themselves. Constance Wu may have unconsciously used an underhanded rhetorical tactic (also known as “projection” in some forms of psychojargon), but we’ll give her the benefit of the doubt. Still wrong, though.

Remember it’s not about blaming individuals, which will only lead to soothing their lame “b-but I had good intentions! But… money!” microaggressive excuses.

Here Wu blames “individuals” for being “microaggressive” and making “lame excuses”, while admonishing the reader not to blame anyone for making lame microaggressive excuses. Note also that she completely misuses the word “microaggressive” here, but it sounds good, as unnecessary jargon often does.

Rather, it’s about pointing out the repeatedly implied racist notion that white people are superior to POC [People of Color] and that POC need salvation from our own color via white strength.

Well, yes, that is the end result, but the problem isn’t Matt Damon or inscrutably microaggressive Chinese investors. We’ll see more about what the problem actually is in a moment.

When you consistently make movies like this, you ARE saying that. YOU ARE. Yes, YOU ARE. YES YOU ARE. Yes dude, you fucking ARE.

Digression for unintentional humour? Flawlessly achieved. ;) Skipping a few sentences of repetition…

…we’re rrrreally starting to get sick of you telling us, explicitly or implicitly, that we do [need salvation via “white strength”].

Agreed. This is essentially the moral reason why whitewashing is a problem.

Think only a huge movie star can sell a movie? That has NEVER been a total guarantee.

It’s a question of probability, not guarantees. Anyone financing a $135 million dollar business venture is going to want the odds in their favor. So yes, it’s likely that only a huge movie star can reliably sell a film that needs to earn $135 million before even starting to turn a profit.

Why not TRY to be better?

Unless you can find anyone who wants to throw millions of dollars down the drain for a pop culture experiment, “better” doesn’t have anything to do with this issue at all.

If white actors are forgiven for having a box office failure once in a while, why can’t a POC sometimes have one?

Because the odds are astronomically higher that a white actor will succeed. If white actors were not seen as “heroes” — due to racism or any other reason — no one would cast them in hero roles.

In the case of Matt Damon’s casting for The Great Wall, the real question is, “why have Asian men been pushed aside for so long?” The answer is definitely not, “let’s give Asian actors more opportunities to fail in big box-office films, thereby confirming the fact that there’s widespread bias against Asian men in American cinema (and for some people, further confirming that Asian men are unfit to be major movie stars).”

For Ghost in the Shell, there’s an ironic twist at work. Japanese people in Japan generally don’t care that a white actress (Scarlett Johansson) has been cast as a Japanese character (Kusanagi Motoko). But Ghost in the Shell has a global fanbase, many thousands of whom are outraged that Kusanagi isn’t being played by a Japanese actress like Kikuchi Rinko or Fukushima Rila. in contrast to The Great Wall, then, there is a well-defined audience for Japanese actors to be chosen as cast members in a live-action Ghost in the Shell.

And how COOL would it be if you were the movie that took the “risk” to make a POC as your hero, and you sold the shit out of it?!

Film studios “sell the shit out of” all of their major blockbuster films. Many of them flop even when headlined by popular, well-known (not always white) actors like Matt Damon. The amount of risk for a studio to push films starring comparatively unknown Asian actors would simply make no financial sense at all.

The whole community would be celebrating!!

Sadly, no one cares unless they can dance their way to the bank.

If nothing else, you’d get some mad respect (which is WAY more valuable than money)

No. Credibility that builds reputation is more important than money, mainly because a strong reputation makes it easier to make money in the future. “Respect” only matters to people who feel disrespected, and in that case, those who are giving the disrespect already don’t care. In the real world, respect is an afterthought for anyone who needs to build a long-lasting reputation.

So MAKE that choice. I know that overcoming your own bias and doing something differently takes balls… well don’t you WANT balls?

The mind-reading psychojargon about “bias” returns here, as well as some cringe-worthy gender-baiting about “wanting balls”. Constance Wu might be trying to say “courage”, but her own gender bias creeps into her choice of words. We can score that as more unintentional humour, perhaps…

Wu then tries to take on the other Uncle-Tom “POCs” who don’t care by positioning herself as a True Believer Who Really, Really Cares. It’s a false dichotomy, of course, because it’s entirely possible to be Asian, to care and to disagree with Constance Wu — all at the same time.

Why do you think it was so nice to see a nerdy white kid have a girl fall in love with him? Because you WERE that nerdy white kid who felt unloved.

This unintentionally describes how marketing demographics work. It’s not based on building mountains of “respect” or possessing a plethora of “balls”. It’s about appealing to a large enough audience to turn a profit.

Hollywood is supposed to be about making great stories. So make them.

The core failure of Constance Wu’s argument comes full circle here. Did you notice it?

Yes — she started out by declaring a false statement as true (“money is a lame excuse” when in fact money is the only reason to make blockbuster films like The Great Wall).

The rest of her argument was an appeal to emotion (“don’t think about whether this makes any sense! Just keep reading and feeling more strongly that I’m right, because it feels right and probably confirms what you already believe!”).

At the end, Constance Wu asserts a starry-eyed ideology about Hollywood that has never been true. Hollywood has never been about making great stories. The purpose of investing millions of dollars into a film is to earn millions more in return. That’s all that Hollywood has ever been about. To believe anything else is nothing more than a pleasant lie. That lie has now gone viral in the form of Constance Wu’s well-intentioned blog post.

How Could an Independent, Live-Action Ghost in the Shell Film Be Different?

The way that an independent Ghost in the Shell film would differ is that we step outside the Hollywood machine entirely. There is an audience for an authentic Ghost in the Shell film, starring Japanese actors. The only question is whether that audience would be willing to pay enough to make the production a success.

White-washing will almost certainly never be solved by blaming, or mind-reading, or sort-of-blaming investors and movie studios. The real problem is that the general population reliably goes to see films starring white actors. So more films starring white actors continue to be made. Why are Asian people, and Asian men specifically, considered by society to be unfit for the role of “hero”? That’s not a problem that Hollywood can, or has any reason to, try to solve. Hollywood is not a morality engine — it’s a cash machine.

The proving ground for Asians and other ethnicities is not in blockbusters at all. Independent films are the only place where relatively modest budgets allow for experimentation. And that is exactly the niche that an indie live-action Ghost in the Shell can fulfill, if the audience is there and the price is right.

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