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If a film features a sizable cast of Asian actors, what I’m describing is a nonissue we are, after all, allowed to be as flawed and complicated onscreen as we are in life. From the Everett Collection, Amazon Prime Video. Top to bottom: Priyanka Chopra as Isabella and Rebel Wilson as Natalie in Isn't It Romantic (2019) Stephanie Hsu as Mei in Amazon's The Marvelous Mrs. Who gets in the way? A Thai sex worker Daniel has hired for the night. And in the second offense committed by Bridget Jones, the 2004 sequel, The Edge of Reason, has Bridget on the cusp of getting back together with Daniel in Thailand. In Where’d You Go, Bernadette (2019), manipulative assistant Soo-Lin wedges herself between Bernadette and her husband, Elgie. While Jess is away in season five of New Girl (2016), her will-they-won’t-they love interest, Nick, sleeps with tourist Kumiko, who spends much of the episode in a bath towel dripping with sexual innuendos. In season two of Sex and the City (1999), Samantha grows suspicious of her new beau Harvey’s sexual-seeming setup with his jealous domestic housekeeper, Sum (an awful “dim sum” joke is made at her expense). But elsewhere, the “other woman” trope rears its head without any outright cheating. In the first episode of Weeds (2005), suburban mom Celia sees her husband joyfully betraying her with a tennis coach, Helen Chin, on a nanny-cam recording. Under their gaze, Asian women are either invisible or slotted into one of five categories: I noticed it again in Netflix’s Senior Year, released this past May, and in media across the time span of the two films-media created not, as you might expect, by white men but white women.
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In other beloved films and TV shows written, directed, and/or produced by white women, the figure of the Asian woman might be hypervisible or erased, but she is always a whore. But like a stubborn rash, this phenomenon refuses to die out. I wish Bridget Jones’s Diary were an outlier indicative of a former era. Simultaneously erased and hypervisible, she exists solely to be a two-timing whore. Yet she is both nameless and faceless: The only shot we glimpse of her is of her naked back arched over Daniel on the floor. Though I’d seen the film years before, I noticed this time that the plot turns on an Asian woman: Mark’s Japanese ex-wife, the thorny source of his and Daniel’s decades-long conflict. Belanger and another man have found a private safe-space in the unlikeliest of places - an ordinary photo booth - where they felt so at ease, and so themselves, they could kiss each other far from the prying eyes of a disapproving public.In a fit of nostalgia, I recently watched Bridget Jones’s Diary (2001). Here, in the midst of the 2014 pride season, what remains so remarkable and moving about this particular image is how quietly radical it feels all these years later. It is thanks to his passion and foresight that the image survives today. Born in Edmonton, Canada, in 1925, he served in the Royal Canadian Air Force and was a member of the Mattachine Society - an early instance of what today would be called an LGBT organization - in the early 1950s. Belanger, for most of his life, was a devoted collector of LGBT history. The picture was once owned by the young man on the right-hand side of the image above, Joseph John Bertrund Belanger. The image is part of the ONE National Gay & Lesbian Archives at the University of Southern California Libraries - the largest repository of lesbian, gay, bisexual, transgender and queer materials in the world. This photo could have gotten these men arrested. It was taken in 1953, a time when purposefully vague statutes on morals, lewd conduct, or disorderly conduct in many states allowed the police to target and arrest gay and lesbian people for such transgressions as wearing items of clothing of the opposite sex, propositioning someone of the same sex, or even holding hands with a member of the same sex. But this picture, in fact, reveals far more than that. Today, it might seem like any other informal, casual photograph of a young gay couple enjoying each other’s company.