The Model Minority Myth in Hollywood
By: Travis Haas
Netflix’s cover image for Bling Empire. [1]
Bling Empire Trailer
Netflix’s official trailer of Bling Empire. [2]
Introduction and Thesis
Introduction and Thesis
Christine Chiu at her baby’s 100th day party. [3]
The Introduction
The Thesis
The term Asian American represents a rapidly growing racial demographic, which makes it difficult to describe Asian Americans in one way. The term was used to create resistance of the orientalists and to create anti-racist political power. “Political forces have drastically shifted racial stereotypes of Asian Americans from a threat to whiteness to a model minority, often presented as a counterpoint to civil rights movements and advocacy led by African Americans. Commonly mistaken as a ‘positive’ stereotype, the model minority myth upholds systemic white supremacy by dismissing historical and contemporary realties of both anti-Asian racism and racism against other POC.” [1] As the USC Pacific Asia Museum describes, the model minority myth says “Asian Americans are often stereotyped as studious, successful, smart – a model minority who excel in education and accomplish the ‘American Dream.’ Despite its positive overtones this stereotype is damaging for Asian Americans and other students of color. The model minority myth pits students of color against each other and ignores the reality of systemic racism that Asian Americans continue to encounter.” [2]
Hollywood unveils itself as a mechanism to advance the model minority by limiting Asian American representation to fit into the myth and appeal to White supremacy. This essay aims to explore how Bling Empire discretely promotes the model minority and how Netflix uses Bling Empire to restrict Asian American representation.
The Background Information
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In order to understand the model minority myth, it is important to recognize its emergence and why it was created. World War II, the Cold War, and the social movements for liberation during these times have allowed political opportunities in which the assimilation of Asian Americans could surface. This assimilation created a way for Asian Americans to show loyalty to the United States while maintaining distinct differences to White Americans. Asian Americans were used for political power by associating them with success and linking them as an extension of Asian nations and potential links or ambassadors between the United States and Asian countries during the time of these wars. [3] Thus, the model minority myth was created.
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The link between Asian countries and the United States that Asian Americans provide has interplayed with the view of being considered a middle ground of White people and Black people. This creates the idea of racial triangulation. Racial triangulation means Asian Americans are viewed as inferior to White people while superior to Black people. Black people and White people are considered insiders while Asian Americans were considered foreigners. Racial triangulation has constantly evolved. Before the civil rights era, the depiction of racial triangulation occurred more openly. After the era, it developed to be coded and concealed. This model has acted as a blueprint to decipher what treatment minority groups should receive, which reproduces White supremacy and privilege. [4] The myth could serve the purpose to show that the United States is devoid of racism and provide the framework to make comparisons between minorities. This creates a space where minorities are forced to compete against each other. [5] The model minority has been used to create a “racial wedge – to minimize the role racism plays in the struggles of other minority groups, such as Black Americans.” When this happens the myth creates a singular narrative of Asian Americans that Asian Americans are smart, wealthy, and above other minority groups, which fabricates statistics that are not accurate. Some of these stereotypes include: Asian Americans as being educated and having high incomes; Asian Americans do not experience the same systemic racism; and Asian Americans are thought to be represented in leadership roles. [6]
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In order to understand the model minority and its origins, it is also important to recognize the reasons why Hollywood continues to portray Asian Americans in a way that appeals to White supremacy. “‘Whiteness’—which is not, necessarily, synonymous with ‘white’ people—is associated with an unjust social system and a resistance to change, with the denial of accountability, with closure, with violence, with hypocrisy, and with ignorance of other cultures. This is not to demonize whiteness but rather to catalogue negative associations resulting from historical, social, and legal occasions for the construction of whiteness over and against blackness and other ‘other’ categories in American society for the purposes of protecting ‘white’ interests and power.” [7] White privilege allows itself to render its relationship with power while maintaining and producing the power mechanisms in America at the same time. [8] White power strives to stay masked allowing this power to discretely use the media’s characterization of the model minority as a tool for its continuing existence. The racial profiling that is intertwined with white power is prompt to present itself in the media and is used to divert attention from the truth behind racial profiling because this maintains such power that American society is afraid to abolish. [9] The media is creating a way to control Asian Americans in the interest to keep White supremacy, which displays the intersectionality between the two concepts and why it is desired to keep the model minority intact.
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The model minority myth is harmful to Asian Americans in the workforce. All minorities are told “make sure any characteristics of a non-white American culture that you possess are left at the door when you come to work. Essentially, be the model minority so leadership won’t have to adjust their behaviors to create an inclusive environment.” One Asian American, Minh Vu, commented “I felt the need to balance the societal pressure of being a model minority alongside the pressure of living up to what it means to be a man, in order to feel safe in this world. If that meant I needed to be silent, obedient, and non-threatening, or be at the top of my class and engaged in math and science, then I tried my best to meet that expectation.” [10] The hostile corporate environment creates a fear of failing to fit the model minority.
The Model Minority’s Portrayal in Hollywood
One of the biggest influencers on the model minority myths portrayal is the TV shows and movies Hollywood produces, which subconsciously engrain the definition of the myth into the next generations minds and is hidden through its recognition of positive stereotypes. Even though these positive stereotypes, such as being involved in the workplace, are valued in society, it deindividuates the members who reside in that group to the extent of the conformists and rebels. When Asian Americans are perceived as generic, the perceivers evaluate each person on the grounds of incorrect beliefs which are cast upon an entire minority group. [11] After comprehending the model minority myths’ depiction in the media, the question comes up of why Asian American filmmakers make the choice to follow the myth. It is because Asian American filmmakers are forced to do so in hopes of achieving at least minimal representation. “The contradiction between originality and comprehensibility is foregrounded by the rhetorical backflips that mainstream media outlets perform when promoting programs that ostensibly present minority viewpoints … these shows are specific enough that racial minorities will find them authentic, but they are relatable enough that they are universal. These shows must be racialized (and thus situated firmly within identity politics) without being formally illegible. … Insofar as filmmakers are motivated to present Asian American content, it is necessary for them to present legible representations in the context of US racial discourse.” [12] The media spreads the model minority myth across the United States and into the descendants of this country, while strong-arming anyone who tries to debunk this myth with the fact that some representation is better than none and through deciding the fate of Asian American film success over the conditions that it abides to this myth.
Hollywood Relations to Bling Empire
— The Crazy Rich Asians cover photo. [4]
The official trailer for Crazy Rich Asians. [5]
To start the discussion about Asian Americans in the media, it is important to briefly discuss one of the most recent movies that Hollywood released, which was the only movie to showcase a majority Asian cast in decades, Crazy Rich Asians. The film showcases an Asian cast set in Singapore for a wedding. Crazy Rich Asians shows the extravagant activities the wealthy families participate in and how the Asian families value working. The movie includes a multinational cast, but creates homogeneity among the nationalities into one cultural group, cutting down representation. All of the Asian Americans in the film fit the model minority perfectly, they are affluent and educated. Sangeetha Thanapal discusses that the only Brown people they were able to see in the movie were those who were opening doors or in service. This is not representation, it is degrading. The movie is creating a space for one single narrative of Asian Americans to exist, which sets grounds for the model minority to be replicated. Another critique from Jerrine Tan discusses that the characters in the movie that are badly behaved are used in order to show an excuse for a complex character. Tan states that this parades itself as a subversion of the model minority. Tan also continues to say that Asian Americans are in desperate needs of the representation allowing this complexity to count as diversity, and not only is this accepted but rewarded. Pooja Nansi says “It is a chilling reminder of how willing we are to celebrate having a prominent narrative in Hollywood at the expense of gross misrepresentation. How easily we settle for the world to see a version of us that strips us of all our complexities, and becomes a playground, a set-piece for made-in-America Asian fantasies.” [13] Crazy Rich Asians success fosters new Hollywood productions to advance the model minority myth for profit. Netflix sees this and created Bling Empire.
Immediately Netflix tries to relate Bling Empire to these stereotypes from Crazy Rich Asians. The very first line in Season 1 Episode 1 is from Kevin Kreider, the framed poor outsider host, even though his net worth is estimated to be USD 10 million, “When I saw Crazy Rich Asians, I thought it was a nice fantasy. But then, the first person I met in LA was Kane. Then I meet Kane’s friends. They have the whole world at their disposal. And I’m just, like, oh my god, this is real.” This introductory scene continues to show an interview with Christine Chiu stating her wealth is happiness. The scene finishes by displaying many rich activities that the Asian American cast is doing.
Netflix does a great job at hiding this myth because they have the main guide through the film as Kevin. Kevin is the biggest mask of the myth. They decide to have one character who is basically the opposite of the model minority myth. Netflix is drawing in the viewers to have at least one person the vast majority of viewers can relate to. By only having one character like this seen, they are able to balance the model minority by Kevin being seen as rare. This not only hides the myth but makes it feel more acceptable since there is an outcast.
Netflix is already sponsoring a ground for assimilation and misrepresentation. Netflix employs a strategy for Asian American films to be successful, they have to appeal just enough to Asian Americans to watch them while also portraying the stereotype to appeal to Whiteness and the model minority myth. They do this in many ways, but the hook starts with Kane Lim performing acts of Buddhism. This spiritual culture is an attempt to appeal to Asian Americans. Netflix quickly interrupts the scene to appeal to its White audience when Kevin states “you look ridiculous.” As this conversation continues, Kevin asks if Kane used to be fatter, and a fake attempt to represent Asian American culture is trying to subtly come back when Kane says it is called prosperous in Mandarin. Bling Empire continues to try and incorporate culture into their show. Every scene transition they use traditional Asian colors with Asian language characters for each change. Netflix shows the cast attending parties to showcase the Asian American cultures; however, this is catered to Whiteness distorting reality.
Netflix has evolved the model minority, and by doing so, these subtle changes make it more difficult to uncover and directly accuse them of doing so. They have changed the model minority into a space where Asian Americans are very wealthy and have more power than other minority groups. However, they have disguised this by taking away the part of the model minority myth that Asian Americans are great in school. Most of the characters do not go to college, like the model minority myth would predict. Taking one piece away from the model minority myth does not mean the rest of it isn’t valid.
Netflix continues to advance the model minority by making shows like Bling Empire the only representation available. Instead of making more diverse shows that showcase Asian American culture, they decided to make a remake of Bling Empire, Bling Empire New York, focusing on Asian Americans in New York. This is exasperating the idea that the model minority is common and is true in Asian countries and across America. It makes it seem like this is the Asian American normal. Why did Netflix not create other shows that have Asian casts? The reason is the only time they are successful at producing a movie with Asian American representation is when Netflix chooses to portray this trope. This means that the myth is a cycle because the viewers help to decide which productions are successful. Netflix has to produce an appeal to the audience, but by doing so the audience only knows to expect Asian Americans to fit the model minority.
Netflix supports a misrepresentation of Asian Americans. These stereotypes have led to animosity and Asian American hate crimes. Bling Empire’s release told America a lie that Asian Americans are not struggling, they are wealthy and build their empire on top of the rest. This provides an easy way out for political leaders to use. “‘We have seen time and again how dangerous it is when leaders scapegoat for political gain and use inflammatory rhetoric to stir up both interpersonal violence and racist policies’ … anti-Asian violence is a part of the violence of the United States itself, that is, U.S. imperialism, and that ending one requires the dismantling of the other.” [14]
Critique of Bling Empire
Christine Chiu and Kim Lee shopping together. [6]
Concluding Statement
Asian American representation is limited and deceiving due to the limited releases of Asian American films from Hollywood. Hollywood uses this as a mechanism to advance the model minority and appeal to white supremacy. Bling Empire is the perfect example of this. Netflix has shown that the only successful shows that they would release would be those that portray the model minority. Although this representation is disappointing, Asian Americans are forced to go along because some representation is better than none. The model minority will continuously cycle as the audience and Hollywood will work together to use this trope as a method of profit.
References
Sources:
[1] Bhangal, Naseeb. 2020. “Analysis | Are Asian Americans White? Or People of Color?” YES! Magazine. https://www.yesmagazine.org/social-justice/2020/01/15/asian-americans-people-of-color.
[2] “Debunking the Model Minority Myth – USC Pacific Asia Museum.” n.d. USC Pacific Asia Museum. Accessed December 15, 2023. https://pacificasiamuseum.usc.edu/exhibitions/online-exhibitions/debunking-the-model-minority-myth/.
[3] Judy Tzu-Chun Wu. Review of The Origins of the Model Minority, by Madeline Y. Hsu and Ellen D. Wu. Journal of American Ethnic History 36, no. 2 (2017): 99–101. https://doi.org/10.5406/jamerethnhist.36.2.0099.
[4] Kim, Claire J. 1999. “The Racial Triangulation of Asian Americans.” Politics and Society 27, no. 1 (March): 105-138. https://doi.org/10.1177/0032329299027001005.
[5] Choi, Yoonsun, and Benjamin B. Lahey. “Testing the Model Minority Stereotype: Youth Behaviors across Racial and Ethnic Groups.” Social Service Review 80, no. 3 (2006): 419–52. https://doi.org/10.1086/505288.
[6] Jin, Connie Hanzhang. 2021. 6 Charts That Dismantle the Trope of Asian Americans as a Model Minority. May 25. Accessed 12 10, 2023. www.npr.org/2021/05/25/999874296/6-charts-that-dismantle-the-trope-of-asian-americans-as-a-model-minority.
[7] West, Thomas R. “White Power, White Fear.” Rhetoric Review 24, no. 4 (2005): 385–88. http://www.jstor.org/stable/20176679.
[8] Dei, George J. Sefa, Leeno Luke Karumanchery, and Nisha Karumanchery-Luik. “CHAPTER FOUR: White Power, White Privilege.” Counterpoints 244 (2004): 81–99. http://www.jstor.org/stable/42979560.
[9] Robert Staples. “WHITE POWER, BLACK CRIME, AND RACIAL POLITICS.” The Black Scholar 41, no. 4 (2011): 31–41. https://doi.org/10.5816/blackscholar.41.4.0031.
[10] Omadeke, Janice. 2021. “Why the Model Minority Myth is so Harmful.” Harvard Business Review. hbr.org/2021/06/why-the-model-minority-myth-is-so-harmful.
[11] Taylor, Charles R., and Barbara B. Stern. “Asian-Americans: Television Advertising and the ‘Model Minority’ Stereotype.” Journal of Advertising 26, no. 2 (1997): 47–61. http://www.jstor.org/stable/4189033.
[12] Feng, Peter X. “Asian American Media Studies and the Problem of Legibility.” Cinema Journal 56, no. 3 (2017): 125–30. http://www.jstor.org/stable/44867825.
[13] Tan, Inez. 2018. “‘Crazy Rich Asians’ isn’t Pride and Prejudice – it’s the Kardashians.” Medium http://medium.com/@inezxtan/crazy-rich-asians-isnt-pride-and-prejudice-it-s-the-kardashians-f743c94d64c1.
[14] Belew, Kathleen, and Ramón A. Gutiérrez. A Field Guide to White Supremacy / Kathleen Belew and Ramón A. Gutiérrez. Oakland, California: University of California Press, 2021.
Images and Videos:
[1] Jenkins, Jeff, Brandon Panaligan, Ross Weintraub, Elise Chung, Ben Eisele, Kelly M. Li, and Christine Chiu, executive producers. 2021. Bling Empire. Netflix.
[2] 2023. - YouTube. https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.imdb.com%2Ftitle%2Ftt13660962%2F&psig=AOvVaw0l5yeJLz8Zq_Fl5opsqnp&ust=1702759330121000&source=images&cd=vfe&opi=89978449&ved=0CBIQjRxqFwoTCODUj5KnkoMDFQAAAAAdAAAAABA-.
[3] 2023. , - YouTube. https://youtu.be/ilDYquHLJ_k?feature=shared.
[4] 2020.- YouTube. https://www.google.com/url?sa=i&url=https%3A%2F%2Fdeadline.com%2F2023%2F04%2Fbling-empire-new-york-spinoff-not-returning-at-netflix 1235331053%2F&psig=AOvVaw2Q0wVw8ycj_x1UjLM80vGU&ust=1702765587951000&source=images&cd=vfe&opi=89978449&ved=0CBIQjRxqFwoTCOi7.
[5] 2020. - YouTube. https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.netflix.com%2Ftudum%2Farticles%2Fa-guide-to-every-la-store-and-restaurant-in-bling-empire-season-2&psig=AOvVaw0v0nCltEHw0uQL3eO5CJQp&ust=1702765276811000&source=images&cd=vfe&opi=89978449&ved=0CBIQjRxqF
[6] 2020. - YouTube. https://youtu.be/ZQ-YX-5bAs0?feature=shared.
[7] 2023.- YouTube. https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.netflix.com%2Ftudum%2Farticles%2Fa-guide-to-every-la-store-and-restaurant-in-bling-empire-season-2&psig=AOvVaw0nZsL656xXh1Q2RIiJqxap&ust=1702767692571000&source=images&cd=vfe&opi=89978449&ved=0CBIQjRxqF.