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    [ID] => 6581
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An interview with the writer-director of "Astonishing Little Feet," a short film about the first documented Chinese woman to come to America.

The first documented Chinese woman to come to the United States was told it would be temporary.

Just 19 years old (or 14, or 16—reports vary), Afong Moy was brought to America not as an immigrant, but as a curiosity, sold off by her father to a ship captain who promised he would return her on his next voyage back to Canton in two years. Moy's father wouldn't be the only one to capitalize off of her: Arriving in New York in 1834, Moy's main purpose would be to help two American merchants, the Carne brothers, sell "exotic" goods—essentially acting as a living mannequin, singing traditional songs, demonstrating how to use chopsticks, and, on occasion, walking for short distances on her bound feet as a way to solicit interest in the brothers' imported Chinese wares.

She would never return home.

Moy would go on to become incredibly famous—so famous she eventually met then-President Andrew Jackson while touring around the country. She would also die in obscurity, no record of her existence after 1850. Very little is known about her today, and even less about how she might have felt about her new life and exploitation. But a new short film seeks to capture a glimpse at both: Astonishing Little Feet, written and directed by Maegan Houang, reimagines what Moy's first experience "performing" for potential investors might have looked like—and the result is harrowing, an uncomfortable exploration of complicity, curiosity, and the history of Asians in America.

Below, we spoke with the writer-director about her film—the title pulled from surviving advertisements that bill Moy as the "Chinese Lady" with "astonishing little feet"—and the importance of not looking away from an ugly past.

~

The Conversationalist: How did you first decide you wanted to do a film about Afong Moy?

Maegan Houang: I was reading The Making of Asian America by Erika Lee, and there’s one line in it that mentions her. I just couldn’t believe what I was reading. It really struck a chord with me—I felt so connected to the idea that the first Asian woman most people in the United States saw was there to help someone else sell goods, just because she seemed particularly exotic and strange. I immediately thought there was a movie there.

From what I’ve read, it seems like Afong Moy was treated as a “good” herself, as a commodity.  I only knew the bare minimum about her before watching your film, and then I went down my own wormhole. What struck me is how young she was. Some reports say she was as young as 14—so to even call her the first documented Chinese “woman” is a misnomer.

She was between 14 and 18—max.

What resonated most with you about her story?

It was what you just said, that she was a commodity. That she was commodified to help other people make money, because she was such an interesting, exotic object. To me, there’s no way there’s not an element of hypersexualization there, which was really resonate to how I felt growing up. For context, I’m half Asian, and I grew up in Michigan, where there were mostly white people at my school. I grew up being perceived as Asian; I also grew up understanding that I was being seen as different—but no one was explaining to me why. To me, that’s a deficit in our education as Asian Americans. I think it’s easy to blame the system, but I think it’s our own parents, who are immigrants, who really don’t—understandably—know the history of the country they moved to, and the history of how Asian Americans have been treated, and therefore have no reason to tell us. So we’re thrown into a system where we don’t really understand all this context and all this history.

In high school, when I was being really hypersexualized and sexually harassed, as many young women are, there always seemed to be a layer of cruelty, of dehumanization. I didn’t understand it, and I felt like it was my fault. As anyone who’s a woman of a minority, we all understand that there’s no one reason for everything. I can't sit here and say it's a hundred percent that I'm Asian. I don't know. But I think what I wanted in this film was—if other people know her story, maybe they'll better understand their own context as young women in our country. Because there’s no way that kind of introduction to Asian women—which continued throughout the 1800s with P.T. Barnum, with different circus acts [including Moy]—doesn’t impact our present day understanding of what and who an Asian American woman is.

Obviously, my life is not nearly as horrific as Moy's. I’m not trying to create a false parallel of trauma, because I actually really despise that. But at the same time, I think it's really important to know that there might be things about our existence and the way we're treated that really have nothing to do with us, so we don't internalize them. And that's why I wanted to make the movie, and why I wanted it to be hard to watch. Because the other thing is, I don't think there's anyone watching the film, including myself, who kind of doesn't want to look at her foot.

I was going to ask—you made the decision to show Moy's bound foot. Why give in to the curiosity of the viewer?

I think we're all ultimately quite complicit in the systems of exploitation and capitalism of even our own bodies and people. As a filmmaker, it was instinctual to some degree. But also, people feel bad at the end of the movie, because they did participate in it. I think that's fine. It's okay to feel bad. It's okay to have to question your own role in the way that we live our lives. I'm not trying to create a false equivalency. Objectively, things are better than they were then. You and I are not people who were trafficked from Asia to make people money.

It's not that our experiences are equivalent, but it is shining a light on the historical origins to certain narratives and how they're baked into Western and American culture on some level. Even though it's not nearly as bad, or as surface level.

Yeah, totally. I do believe in historical consciousness. It was only forty years ago, Stanley Kubrick's Full Metal Jacket. That's not very long ago.

Talk me through what was important to you in portraying the other characters in the film, especially Captain Obear and the Carne brothers.

Sometimes, I think we over-intellectualize, or—it's not a real word, but—evil-ize people, trying to prescribe more evil intention to certain things that I fundamentally don't think is there. All of them just want to rise in class. And it has an abhorrent result. But none of them think they're a bad person. None of them think they're doing something wrong. They're just operating within the rules of our society and our system. I was happy when I would screen it and people would laugh at certain things because that shows a discomfort with the absurdity of the past; we can't imagine being that way. But I think people were. So I wanted them to be realistic, but hopefully inspire people to think about the parallels that we might still have—which is also why I wanted to show the foot from their point of view, because sometimes, when you finally get what you wanted, it's really horrible, but it doesn't change the fact that you wanted it. And that's an uncomfortable space.

So much of what you're talking about is complicity and capitalism; that if you're conditioned to believe that this is the only way to succeed in life, then you become blinded by what you're sacrificing morally or otherwise in the process to achieve it.

Yes.

Which, going back to the choice to show the foot—I do want to discuss the very intense and visceral scene of the unwrapping in a second, but first, I was really struck by your choice to switch back and forth between perspectives in the film, almost as if we're both being perceived and also the perceiver.

In early screenings, I actually got notes from people that it should be more in her perspective. And I was so bummed out by that note—because that's the easy way out. Because if you're aligned with her, you are like, "I'm aligned with the victim, I'm aligned with the person being oppressed." And I think that's trauma porn, a little bit. If it's fully from her perspective, we get to feel okay, and I think that's dishonest.

It was interesting the extent to which this note would mostly come from men. I'm like, why do you need me to spell this out for you? Why is that something you need?

That's interesting, given the scene where her foot is being unwrapped—there are very obviously a lot of parallels to assault, to rape. It feels like a rape, I think, to the viewer. And that felt very intentional. I wanted to just talk a little bit more with you about your decision to approach it that way, and her translator Atung's place in all of it as the one who actually unwraps her foot while the other men watch.

All he does is unwrap her foot, and it feels like assault. I would imagine that's what it feels like to her.

Yes.

It's horrible, but it's also obviously what the men want to see, and then they're also a little bit stunned by it. With the translator, he is trapped. He just has to do what they say—this is how he eats, this is how he lives. Now, it's not enslavement, but it's imprisonment through capitalism, it's imprisonment through just needing to survive. So he doesn't want to do it, but it's what he has to do. Those are just the terms that you accept sometimes when you immigrate to a new country where you're a minority, and they're unpleasant, but they're also just reality. Unfortunately, people don't really stand up to power—but he tries. She tries. Meanwhile, [the merchants] aren't doing their own dirty work. They're observing it.

The voyeurism of it was really striking to me.

Not to be lame, but I'm a student of Hitchcock. And his whole thing was that everyone has a dirty little mind. I was trying to play with that idea, which, again, doesn't work if you're only in her perspective. You have to feel like, oh, I am sort of drawn in to this act, but I know I shouldn't be.

I really loved that the film was in Cantonese, and how that added another layer to her isolation within it.

My family is from Hong Kong, they speak Cantonese.

Mine, too.

It's really painful because Cantonese is the oldest spoken Chinese language, and when going back thousands of years to characters that we don't know how to read anymore, it's Cantonese that helps guide you, not Mandarin. It's also accurate—they would've spoken Cantonese.

It's also another way of feeling othered, being disconnected from the language around you. She couldn't speak English, which means she couldn't understand what was being said if it wasn't translated for her.

A lot of people say, well, women didn't have agency [back then], and that's something I just don't agree with. Women had agency within the confines of their circumstance, and they did employ their agency however they could. It's a myth that we have about women in the past, that they're just sitting there while things happened around them. Moy is deploying whatever agency she has. It just may not work, but that doesn't mean that she doesn't have it and that she doesn't try to use it and that she doesn't feel proud of where she's from in her culture. I imagine her dad was like, you're going to go show people what China's really like; that she was told she was going to help educate Americans. That he told her some kind of fable, because that's what people do to survive. And ultimately, she met Andrew Jackson—which, there's no way when that was happening, she wasn't like, "I'm a badass." That's just the reality of power. It's better to be an oppressed person with status than to be an oppressed person without it.

What do you think Afong Moy dreamed of?

I think she dreamed about home. There are moments even I dream about this, and I am obviously born in America, but I still dream of going back home. It's not to live there, but it's to touch and feel the culture that I don't have as easy access to. It's why I would want to go get dim sum, or why I would want to get Hong Kong breakfast, or—my family's also Vietnamese—why I sometimes just really want a bowl of pho. And I imagine in that time period, all those kind of home comforts, particularly food, would be so out of reach and so inaccessible that I would probably, if I were her, really yearn for some of those things.

On the flip side, I also think if I were her, I would dream of other types of fame, of success within the system that she's trapped within. Or freedom, which in that situation, might have been someone marrying her. I don't know.

Of course, we can't know. I was just curious what you imagined when trying to get in her headspace.

No, no, I love that question. It's so interesting. I mean, you just try to think how it would feel to be so far from home, and so poor—and disabled, which is a whole other thing. Women with bound feet were trapped in their houses basically, because they couldn't really walk. It was a status thing, and people were proud of it, but it's still really fucked up. We've tolerated a lot from the way men have tried to disempower us, and she really embodies a lot of those longstanding trends.

It feels fair to say Moy wasn't just commodified for her ethnicity, she was also commodified for her disability. Although there's overlap between the two.

Yeah. Well, it's clearly stemmed from a fetish in Chinese culture that it was more attractive to have a really small, tiny foot, to the point where everyone was maiming themselves—or each other, with the help of older women—to achieve this strange fetish. You could argue foot binding in China was also a commodification of women, because you're making women into an object that's appealing to men. I think it's a pretty abhorrent custom, in that it limited women's ability and mobility to do so many things. Now the tricky thing is not exceptionalizing or exotifying that custom as morally better or worse than other customs that other people have done to women in other cultures all around the world. It's disgusting, but I also would argue that there's a lot of disgusting things we do to ourselves to make us interesting to men that we'll all look back on in different ways, to different degrees, that become more or less acceptable depending on what's in fashion. You could argue weight loss and disordered eating is a different version of self harm and mutilation for men. Or attempting to stay young. And some people hurt themselves to do that.

I was going to say, binding feet in an attempt to keep them as small as when you were a child—could also be a means of sexualizing youth, in an extreme way.

Yeah, totally. I just view it as another norm that was really brutal, but that still has parallels to norms that we live in at the moment.

What else do you hope people take away from the film?

I just hope people think about Asian Americans in history, and how that pertains today. And also their complicity within a capitalist system of exploitation, and not in a self-flagellating way. There's a bit too much of that in our current society, and I don't think acting out of shame for the past or the present is going to resolve how our system works. We have to shine a light on things that are horrible, but also have empathy for ourselves, and for people in the past—that they're doing the best they can because of systemic factors instead of trying to look at everything so individually. That's not going to be how any of our current crises get solved. Climate change, for example, won't be solved by one person. It's going to require and necessitate collective action to fight back against the system that we live in, and it's going to require sacrifice from a lot of people that don't want to sacrifice, and questioning why do we place some lives above other lives?

I don't know. Those are just the things I thought about while making it, but I'm also fine with people taking away whatever they want, because I do think as artists, we aren't able to really control how our work is interpreted, and we have to let that go. White men love the movie, actually—I get the most compliments from white men, weirdly.

But I mean, I made it for us. People are like, "Who did you make it for?" Other Asian American women.

You can stream "Astonishing Little Feet" on Vimeo here. This interview has been edited and condensed for clarity.

[post_title] => What Did Afong Moy Dream About? [post_excerpt] => An interview with the writer-director of "Astonishing Little Feet," a short film about the first documented Chinese woman to come to America. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => afong-moy-first-chinese-woman-america-astonishing-little-feet-short-film-maegan-houang-interview [to_ping] => [pinged] => [post_modified] => 2026-08-04 17:49:01 [post_modified_gmt] => 2026-08-04 17:49:01 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=6581 [menu_order] => 65 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
A film still from Astonishing Little Feet, a short film about Afong Moy by Maegan Hoaung. We see the back of the actress playing Moy's head, facing forward, a curtain in front of her drawn to reveal her blurred audience of four men.

What Did Afong Moy Dream About?

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In praise of a Valentine who never ghosts, and what our crushes tell us about ourselves.

I have a type and always have. 

It’s a broad one, but it’s terribly specific: my knees go weak for a charismatic creep. Romeos come and go, but I’ll crawl on broken glass through hell for a Mercutio. Leading men leave me cold. It’s not merely the wrong guy, it’s the one whose entire personality is built upon being the wrong guy. He’s often the life of the party, mostly a pain in the ass, and always, always, always the kind of trouble that takes my goddamn breath away. Which is why, if St. Valentine has set aside a day each year for us to pander to our sweethearts and confess our affections, I’ll do my turn: I have a crush on Death.

~

In Ingmar Bergman’s 1957 masterpiece, The Seventh Seal, Death is famously portrayed as a white-faced man who has a meet-cute moment with a crusading knight on a desolate beach during the Black Plague. To me, the movie is basically a rom com. There is chainmail, there is chess. And there is Death, played by (long-dead) Swedish actor Bengt Ekerot, smooth as hell—and come to sweep me away. 

Can you see it? A strong cleft chin beneath gallows’ black-brown eyes, liquid eyes all the better to drown you as you lunge at the receding spark therein. His style is arresting, heart-stopping, even: the tailored hood, the cape, the leather! Gloves that send shivers down your spine. Gloves that make your throat seize. Oh, and Google tells me Ekerot’s birthday was February 8, which means Death is also an Aquarius. To be sure, he’s no Matthew McConaughey. But guess what? I’m no Kate Hudson, either. 

Of course, I blame my parents. Warm-hearted snobs and Criterion Collection aficionados, Nancy and Lou made a fatal lapse in judgment when they forbade Beverly Hills 90210 in our home, but allowed me to watch Sex, Lies, & Videotape and Goodfellas when they were released. I was in the second grade. Instead of nursing a normal crush on Luke Perry or Jason Priestley, I fell hard for James Spader and Ray Liotta. I’ve been a lost cause ever since. By the time I watched The Seventh Seal in middle school, I knew I had arrived at the bad boy reductio ad absurdum: Death. 

Valentine’s Day offers a rich opportunity to think about how we are conditioned to crush and to whom these feelings are assigned. What do our crushes tell us about ourselves and what we yearn for? Whom do we chase and what qualities do we crave? How do we see ourselves as incomplete? What kind of attachment style do our romantic fantasies portend? As we suffer so much discourse around the making and breaking of patterns, it is important to dissect the evolution of what we want.

While I readily accept that I first fell for Death as an insufferable pre-teen aching to have a movie crush just a bit edgier than Leonardo DiCaprio in Titanic, as I have matured, I can now see my crush on Death is actually quite healthy. I recommend it. First of all, as an American, I hail from a notoriously death-avoidant culture. Secondly, as a woman, I have been raised around ideas of Hollywood romance and romantic expectations that are arguably more dangerous than Hollywood violence. My crush shields me from these pitfalls—and he excels in the ever after. 

How does he do it? What’s his trick? Well, I hope it doesn’t take Esther Perel to explain: He shows up. Let us return to the rom com’s most fertile stomping ground, the beach—here, of course, emptied by Bubonic Plague. The beach, as a liminal space, is an ideal metaphorical home for romance. Beneath the horizon, we have the waxing and waning of tides upon the shore, the ephemeral shapes in the sand. Death, the master of liminality himself, strides on in. And yes, he does play games—don’t they all?—but it’s a game, and it’s chess, which is, like, so sophisticated (and honestly fucking annoying but I’ll drop it because no one is perfect). 

Still, Death is not like the others, and I’ll tell you why: He’s reliable. There are countless ways to get a hold of him. And, when all the other men have let you down—all the other ones whose faults you have compromised yourself by entertaining—he will be there, waiting for you. There are few things more humiliating in life than being attracted to straight men, but waiting for Death will never make you play the fool. Death will never ghost you. And, though typically associated with the long game, he’s full of surprises: He might pop in anytime at all. He’s always got the time for you, his girl, or his guy, or, really, his anyone. (New love is such a jealous thing, but not with my crush! Death, be not toxic.)

Death is the crush who crushes all the competition. He makes your heart skip far more than a beat. What’s more, Death doesn’t care about diet culture and he isn’t on Instagram or any of the apps. He will take you as you are. He will swipe right with that scythe—in real life. After all, when we are bullied into believing our single shot at happiness hinges (pun intended) on how we’ve lit, sequenced, and captioned half a dozen selfies, what’s wrong with lusting after the eternal? What’s wrong with wanting something real? And what’s realer than Death?   

Our digital dating culture is predicated almost entirely on shallow snap judgments. The Seventh Seal, on the other hand, is about the silence of God in the moments before The Last Judgment. The movie opens with the following quote from the Book of Revelations: “And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour," referring to what is surely the greatest 30-minute cliffhanger in all of history—film, human, cosmic, spiritual. Ingmar Bergman portrays God as silent before human suffering, deaf to the torments of faith. The question then, regardless of belief or perhaps even in spite of it, is how do we fill that silence? The film is absolute in its suggestion: not fear, not awe, but love. Love is the only way to lend meaning to the void. And spoiler alert: The cute acrobat family are the ones who make it out alive. They elude Death because they believe in and trust one another.

This, to me, is a tall order. 

Besides, some of us are not trying to escape Death. Some of us are actively combing all the beaches, certain that meet-cute moment is out there somewhere. Knowing, without a doubt, it will happen someday. Someday, I can be certain, my Dark Prince will come, with a strong jawline and a black cape and all the time in the world for me. 

…Now, who says romance is dead?

[post_title] => I Have a Crush on Death [post_excerpt] => In praise of a Valentine who never ghosts, and what our crushes tell us about ourselves. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => crush-death-seventh-seal-bengt-ekerot-valentines-day [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:11 [post_modified_gmt] => 2024-08-28 21:15:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=5593 [menu_order] => 92 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

I Have a Crush on Death

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We need narratives that explore our shared problems and point the way toward collective liberation, but South Asian stories in U.S. popular culture haven’t kept pace with our new political realities. 

Until 9/11, I didn’t feel a strong need to see my ethnicity represented in American pop culture. Growing up in the U.S. as South Asian was an experience in cultural invisibility, but not one that was necessarily undesirable. GenXers and older Millennials came after the hippie era, which convinced mainstream American culture that Indian culture could be summarized with yoga, incense, and kirtans, and there was little in the 1980s and 1990s to dispel those lingering narratives, or to ground South Asians authentically in popular culture. What we did see, whether it was Amy Irving in brownface playing an Indian princess, or Apu in The Simpsons, was often problematic and unrepresentative. 

This situation changed over the last two decades. The first film I saw in theaters after 9/11 was Mira Nair’s Monsoon Wedding, which played at New York City’s storied Paris Theater, right outside the Plaza Hotel. Steeped in joyous chaos and vitality, the film, which is set in New Delhi, portrays an exuberant, extended upper middle class family gathered at the home of the bride’s family to celebrate her arranged marriage to a suitably handsome Indian doctor. Tinged with a hint of tragedy and immersed in love for both family and the kind of colorful Desi spectacle Pico Iyer calls a “marigold tapestry,” the film was an escape, a connection, and a salve in the recovering-but-still-desolate city. I hadn’t realized how much I needed it. 

The only previous occasion on which I'd had an inkling of this need was while watching Nair's 1991 film Mississippi Masala. This bittersweet and boundary-breaking love story stars Denzel Washington as Demetrius, a Black American man from a working class background, and Sarita Choudhary as Mina,  an Indian woman born in Uganda. After Idi Amin expelled all the “foreigners” in 1972, Mina, who at one point in the film says she has never been to India, lives with her family in a small-town Mississippi motel owned by relatives who represent the great wave of migration from Gujarat to the U.S. during the 1980s and 1990s. The film pulsates with the same vibrancy that would be seen in Monsoon Wedding 10 years later. 

But while Monsoon Wedding tells a deeply Indian story, Mississippi Masala tells a deeply American one. As Durba Mitra writesin an essay celebrating the film’s 30th anniversary, Mississippi Masala is a “love story wrapped in histories of postcolonial displacement, settler colonialism, and the shadows of Jim Crow, offer[ing] an account of the cruel circuitous routes of displacement and migration to the American South.” The film is one of the first mainstream American artworks to show both the discrimination experienced by the Indian-American diaspora, and the anti-Black racism the community directs at the Black people amongst whom they now live. Even 30 years later, it stands out as a political inquiry that interrogates what it means to seek liberation through young, urgent love across race, class, and culture. 


A scene from 'Mississippi Masala,' Mira Nair's 1991 film starring Sarita Choudhury and Denzel Washington.

Mitra notes in her essay, “The Indian diaspora in the U.S. has always been imagined in the American political landscape as a people neither here nor there.” South Asians who were either born in the U.S. or came as children following the 1965 Immigration Act were so few in number—even today there are only 5.4 million—that, Mississippi Masala aside, the microculture of American-born GenX Desis made little more than a blip in popular culture. On the one hand, this environment provided a kind of freedom in which we could try to shape culture and community without a spotlight. We could try to form bonds of solidarity in the face of entrenched political, cultural, religious, national, and caste lines that separated our peers on the subcontinent and were embraced by diaspora members who clung to their xenophobic, racist, or communal ideologies. On the other hand, the community could be insular and, existing in what Shilpa Davé calls “ambiguous racialized space,” both the victim and the perpetrator of discrimination.

Events in post 9/11 America made clear the need for South Asian stories with political and cultural specificity in mainstream culture. The months immediately after that terrible day were a period of intense discrimination, surveillance, violence, and Islamophobic and anti-immigrant policies. As Representative Pramila Jayapal said, “9/11 changed what it meant to be Arab, Muslim, or South Asian in this country.” Jayapal delivered her remarks during the first ever Congressional hearing on Discrimination and Civil Liberties of Muslim, Arab, and South Asian communities, held over twenty years after 9/11. Finally.

Representation in this political context matters. Rashad Robinson, the prominent civil rights activist, rightly warns usnot to mistake presence for power: Being in a room doesn't necessarily establish a direct line to decision making. None of us relates to the experience of being South Asian in the same way, and none of us should have to represent any or all of the rest of us. But one of the adverse effects of underrepresentation is to convince members of a minority community that they lack power within the dominant culture—that access and opportunity are limited, and their own stories will be unheard or filtered through stereotypes. In an essay about Lisa Ling’s food docuseries on Asian food in the U.S., Marina Fang writes: “Asian Americans often start from the default position of being “the other.” We have to explain ourselves, usually to a white audience.” In this kind of cultural environment, the need to present perfect or one dimensional characters—a pillar of the toxic “model minority” myth—takes root, and division and misunderstanding flourish. 

Presence and visibility may not be the entire solution to these problems. They are nevertheless crucial levers toward power. And the years between 9/11 and the 2016 U.S. election—marked by cross-MENASA community organizing to fight discrimination and state violence —gave rise to a mini renaissance of South Asian content that explored and played with the place South Asians occupy in the U.S. cultural landscape. 

Rampant xenophobia in the post-2016 world makes the need for solidarity, representation, and narrative shift even stronger. But the South Asian diaspora community has splintered over the past few years. Rising authoritarianism—from Trump to Brexit to Modi—emboldened Hindu nationalists in India and around the world, greatly exacerbating existing caste and religious discrimination. On the international stage, South Asians have been slow to rise in defense of our common humanity. It feels like a fraught time to embrace South Asian identity and a deeply precarious time around the world. We desperately need narratives that explore our shared problems and point the way toward collective liberation, but South Asian stories in U.S. popular culture haven’t kept pace with our new political realities.

I’ll admit to some satisfaction these days at seeing so much South Asian content made by people in front of and behind the camera. South Asian actors are playing a variety of dynamic, complicated, and sexy (but not exoticized) characters in content ranging from the color-blind casting of Bridgerton and The Green Knight, to the coming-of-age stories in Never Have I Ever and Spin, to superheros (that most American of genres) as seen in Eternals and Ms Marvel

In this landscape, the character that most closely represents me, at least demographically, is Seema in …And Just Like That. Played by Sarita Choudhary (who also played Mina in Mississippi Masala), Seema is a GenX New Yorker, unapologetically sexual, self-made, fabulous, and untethered to familial or cultural expectations. She is refreshing. I understand why the show disappointed many viewers with its portrayals of aging, race, class, consumerism, gender, and sexuality, but a small part of me enjoyed watching a glamorous brown woman of a certain age chewing up the scenery. 

But reality these days always creeps in. It's hard to get past what is happening politically in the South Asian community and watch even escapist content with unadulterated joy. As I watched her, I couldn’t help but wonder: Is Seema enough? 

Her character comes from what appears to be an upper caste Hindu background and lives the life of a one percenter in Manhattan, with a private driver and a luxurious wardrobe of exceedingly expensive designer clothes, shoes, and handbags. She sits in privilege and has origins in what is now the oppressor class in India. As do I. Not all South Asians are privileged—far from it, especially in terms of race, class, or caste. But for a community that is small in numbers, we have a relatively high level of power and privilege. This is what Seema, as fabulous as she is in some ways, also represents. 

In the current state of our world, confronting society from our perspective as South Asians should require us to interrogate where we sit along the spectrum of power. What is our collective responsibility? Where do we have social power, and where do we use it for good? We need rich, complex stories that explore these questions. We need more than a few of these stories every decade. 

I want to know what Demetrius and Mina would do in our world. That’s the story I’m looking for now. We are living in monstrous, devastating times. We need lightness, escape, and joy—and a more inclusive roster of characters that will shape the way people perceive one another.  Even more so, we need to tell stories of solidarity. 

[post_title] => Representation matters: South Asians in American pop culture since 9/11 [post_excerpt] => During the 30 years since Mira Nair's groundbreaking film 'Mississippi Masala,' the representation of South Asians in American pop culture has evolved significantly. But is it enough? [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => representation-matters-south-asians-in-american-pop-culture-since-9-11 [to_ping] => [pinged] => [post_modified] => 2026-08-04 20:48:04 [post_modified_gmt] => 2026-08-04 20:48:04 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=3963 [menu_order] => 129 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

Representation matters: South Asians in American pop culture since 9/11

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    [post_content] => Nevertheless, she persisted.*

The first five minutes of “I Am Belmaya,” a feature documentary set in Nepal, could be a stand-alone short film. A young woman goes about her morning chores, sweeping the courtyard outside her one-room home and washing dishes at the outdoor water tap as chickens peck nearby and a rooster crows. Her face is closed; her posture speaks of drudgery and poverty. The camera then switches to street scenes in Pokhara, which lies under the stunning Annapurna Mountain. Diesel buses roar; a sidewalk barber gives a shave to a man reclining in an old-fashioned chair; and everywhere, women are engaged in backbreaking physical labor—stirring the contents of a pot at a roadside café while holding a baby with one arm, squatting on the ground to spin wool by hand, staggering as they carry impossibly heavy loads of bricks on their backs. From high above, a drone camera pans over the sprawling city and then zooms in on the tiny shack, the little courtyard, the chickens, the outdoor water faucet, and the young woman. This is Belmaya.

In a scant two minutes the young woman narrates her life story: born low caste in a poor village; orphaned by age nine; deprived of an education by brothers who thought girls were more useful working in the fields; and then, finally, some joy and hope at a boarding school for disadvantaged girls. A British woman named Sue Carpenter gave a photography workshop at the school, distributing little automatic cameras to all the girls and arranging an exhibition at the British Council in Kathmandu for the most talented ones—of whom Belmaya was one. Seven years later, Carpenter returns to Nepal and reconnects with her former protégé.

Belmaya is now 21 years old, unhappily married and the mother of a two-year-old daughter. She has not realized her ambition to become a photographer or finish high school. The school confiscated the cameras after Sue left, implementing corporal punishment that made the young girl resentful and angry. In 2006 she was full of hope for the future; but in 2014 she is mired in deep regret at not having obtained the education that would have allowed her to be independent and financially secure. Smiling sadly, she tells Carpenter that she’s never found happiness and does not expect to find peace.

The contrast between the subdued, pensive 21-year-old Belmaya of 2014 and her younger iteration, as seen in clips Carpenter filmed at the school in 2006, is stark and telling. At 14 she was a charismatic presence, laughing loudly and voicing strong opinions about the unjust position of women in her deeply patriarchal society. She loved photography, explaining that she felt free when she took pictures and that everything looked different through the camera lens. But at 21 life seems to have beaten her down.

One of the points the film makes is that Belmaya’s life could indeed have stayed stuck at the five-minute mark, in that bleak place of grinding poverty and hopelessness—but it did not. "I Am Belmaya" documents the eponymous heroine's journey to becoming a documentary filmmaker in her own right. She achieves this with remarkable resourcefulness, resilience, and hard work, despite obstacles that include a drunken husband who beats her and the 2015 earthquake that devastated Nepal.

Over the next five years, Belmaya learns filmmaking through rigorous mentoring programs that start with learning how to use a tripod. “Practice every day for at least 30 minutes,” says the director who is teaching her the craft of filmmaking. And she does, with an expression of deep focus as she repeatedly collapses and re-opens the tripod. The film shows her learning how to do closeups and storyboards; we see her smile with pleased surprise when she is told that she has a bright mind. She shows a natural talent for conducting interviews. Gradually, as she acquires skills and knowledge, a confident, ambitious woman emerges.

The film within the film is Belmaya’s making of her first documentary, a short called “Educating Our Daughters.” In one of the most poignant scenes, while interviewing two girls at their school, she asks: “Being a woman, do you believe I will be able to make a film?" Smiling warmly at her, the two girls answer: “Of course you will! What does a girl lack?” Belmaya’s expression shows wonder at their self-confidence; one can almost hear her listing all the things she lacks.

“Educate Our Daughters” was rapturously received at the Kathmandu Film Festival. It went on to win critical acclaim and awards on the international festival circuit, and Belmaya with it. The scene of her striding confidently along a street in London, where she will present her film at the UK Asian Film Festival, can only be called triumphant. But the most brilliant success of this absorbing, touching documentary is in its telling of Belmaya’s story from her own perspective, with no hint of a white savior tale. She shares director’s credit with Sue Carpenter, in an explicit assertion that she controls her own narrative.

*On December 15 The Conversationalist will screen this film live online, with a follow-up Q&A with the directors. Click here to register
    [post_title] => 'I Am Belmaya': Film review
    [post_excerpt] => The film follows the life of Belmaya Nepali over a period of 14 years, as she takes up a camera to tell her story. Silenced for years by poverty and the patriarchy, the young woman transcends her circumstances and reclaims her voice through filmmaking.


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‘I Am Belmaya’: Film review

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    [post_content] => Robert McNamara was a product of the so-called greatest generation, who believed in his place in the world. The boomers challenged him for lying about Vietnam and for his contribution to the military-industrial complex. And then the boomers voted for Trump. So who's making America great, again?

Did the twentieth century offer any poetry finer than a standardized test? Surely all those bubbled-in letters spell out something, but multiple choice itself is a love language. Plaintively, with each whirl of a No. 2 pencil, we plead that those letters will trace a path to the perfect score, to the perfect job, and to one perfect nation under God, indivisible as helmed by the Best and the Brightest — by intrepid men who bubbled impeccably. In his critically-acclaimed 2003 documentary, The Fog of War: Eleven Lessons from the Life of Robert S. McNamara, director Errol Morris interviews one such man who climbed the rungs of standardized testing into power. In his capacity as Secretary of Defense to Presidents John F. Kennedy and Lyndon B. Johnson, McNamara was a severely gifted number-cruncher who escalated American military involvement in the Vietnam War even as he knew that it was unwinnable — a fact that he denied repeatedly, until the publication of the Pentagon Papers proved he had known all along. The film was released just as the coalition invasions of Iraq and Afghanistan were descending into a Vietnam-like quagmire, making McNamara a timely interview subject. 



It seems doubly prophetic that the film was released in 2003. This was the same year Facebook launched — and the internet began its stranglehold on our public, private, and political lives. While McNamara never digitally ranked the university’s hottest women during his own time at Harvard, as Zuckerberg notoriously did, he did help integrate IBM into global warfare during his time as an analyst in the Pacific theater during WWII and while Secretary of Defense to Kennedy and Johnson during the Vietnam War. Today, the automated war machine is something more subtle, as Facebook allows bad actors — whether state leaders or individuals — to promote propaganda and lies, and even help throw a presidential election. 

Morris, a baby boomer, engages McNamara in a deeply disturbing conversation about what the latter's generation left Morris's to sift through. As a millennial, when I first saw the movie in 2003, I felt I was watching the good guy from the generation that brought us Woodstock go after the bad man who brought us napalm. Today, I cannot say I look at the baby boomers as a merry band of Robin Hood types who sought to rescue the nation from the military-industrial complex. The 16 years since the documentary have seen the rise of one particular baby boomer who is, in many ways, antithetical to both McNamara and Morris. On the one hand, Donald Trump is nothing like my childhood idealization of my parents’ generation, protesting war and burning bras. On the other, Trump is nothing like McNamara: he is the wily byproduct of outer-borough nepotism who defies all statistical analysis. Watching The Fog Of War in 2019 almost made me nostalgic for what I now realize was a sense of progress that I had in 2003. It made me wonder what I have learned as the lofty aspirations of the Great Society have degenerated into the bitter pandemonium of Making America Great Again. 

I offer — it seems appropriate — eleven lessons: 

The fog of institutional faith rolls in before the fog of war

A little background: during World War One, the U.S. Army administered IQ tests, which begat the S.A.T., which begat the need for rudimentary computers to analyze the results, which begat IBM government contracts, which begat a bureaucracy primed for battle by December, 1941. This automated war machine had previously been marketed to America as a political platform to better manage America — the New Deal. The IBM punch card led the charge into the theater of war; attendant propaganda shorthanded a push for achievement. Science education would win the Cold War! The best and the brightest would protect us from falling dominoes in Southeast Asia! A moonshot could redeem humanity! Before he conveyed this militarized optimism, McNamara tested his way from UC Berkeley to Harvard Business School to celebrated Army analyst in the Pacific Theater of World War Two, a mascot for the meritocracy. Why listen to a damn thing he says? Well, look at those test scores!

Nothing lends political credibility quite like the private sector 

Robert McNamara was the C.E.O. of Ford Motor Company when John F. Kennedy tapped him for the position of Secretary of Defense. In the United States, shaped by the Protestant work ethic, a rich person is by definition considered to be a smart person. In Fog of War, Morris shows archival footage of journalists ingratiating themselves to McNamara by complimenting him on his intelligence; during the 2016 presidential election campaign, the media reported on Donald Trump’s private plane, his luxurious residential properties, his hotels, and his private golf courses. In The Fog of War, as McNamara accepts the cabinet position, Kennedy says that McNamara has chosen to serve his country at “great personal sacrifice” — which is code for giving up the extremely generous salary of a C.E.O. in the private sector in exchange for a civil servant’s salary. 

The Greatest Generation™ and the baby boomers double-teamed successive generations

The Vietnam War inspired a libertarian insurgency on the right and a counterculture from the left, with adherents to both questioning the enormous role big government (as the right calls it) and the military-industrial complex (as the left refers to it) played in policy implementation that affects our lives. This wide loss of faith in the government saw its first expression in anti-war demonstrators chanting “hey, hey, L.B.J., how many kids have you killed today?” — but Watergate dealt the death blow. The revelations that came out during the impeachment hearings into the Nixon presidency alienated Americans across the political spectrum, and on both sides of the generation gap. In 2016, the same generation that drove Nixon out of office voted Trump in. In a New York Times op-ed about baby boomers who voted for Trump, the writer and activist Astra Taylor suggests we “call it the coming gerontocracy.” The hippies told us never to trust anyone over 30; frankly, I wouldn’t trust anyone already receiving Medicare or Social Security — they’ll kick the ladder right out from under you.    

America remains a sucker for postcolonial civil conflict in countries it scarcely understands 

Near the end of The Fog of War, McNamara talks of dining with his North Vietnamese counterpart in 1995, who told him, “Mr. McNamara, you must never have read a history book. If you had, you’d know that we weren’t pawns...Don’t you understand that we have been fighting the Chinese for 1,000 years? We were fighting for our independence and were determined to do so to the last man.” As McNamara recollects this tense conversation, it’s almost like he’s saying, Right but you said that wouldn’t be on the test. While McNamara openly — astonishingly — concedes his ignorance, he refuses to concede his mode of thinking had been wrong, or that “each of us could have achieved our objectives without the terrible loss of life.” On October 6, Trump abruptly announced that he was pulling U.S. military support out of the Kurdish-held territory northeast Syria, leaving the Kurds — who had sacrificed more than 11,000 combatants in the fight against ISIS — extremely vulnerable to a massacre at the hands of Turkish forces, who were poised to cross the border. Supposedly to preempt this from happening, Trump wrote a widely-circulated (and widely-ridiculed) letter to Turkey’s President Erdogan. “Let’s make a deal! You don’t want to be responsible for slaughtering thousands of people, and I don’t want to be responsible for destroying the Turkish economy...Don’t be a tough guy. Don’t be a fool!” Erdogan, according to several reports, promptly threw Trump's letter into the garbage

Statistics are amoral

The most visually eloquent moment of Morris’ documentary comes as McNamara explains the impact of the U.S. firebombing 67 Japanese cities during the Second World War, while, in the accompanying footage, numbers are shown raining down from bombardiers. Stomach-churning statistics follow, unmistakable as atrocities — in some Japanese cities, up to 90 percent of the population was killed by U.S. aerial bombardments. McNamara concedes as much, but he also justifies the bombings. The war between the U.S. and Japan, he explains, was “one of the most brutal in history.” The Americans could not afford to lose, and that was why he “didn’t fault” Truman for using the atomic bomb. McNamara asserts that General Curtis LeMay would have been prosecuted as a war criminal if he had lost the war in the Pacific, just as he (McNamara) would have been prosecuted had the U.S. lost the war in Vietnam. After World War Two, discharged from the U.S. military, McNamara went to work for Ford Motors. There he crunched the numbers again and mandated that all the company’s cars must have seat belts. He applied the same logic that justified the deaths of 2 million Japanese civilians to the saving of 15,000 American lives annually — according to the National Transportation Board.  Trump is cagier with numbers; we haven’t even seen his tax returns. But we do know this: he has 65.9 million Twitter followers. 

We’ve gone from fireside chats to a dumpster fire — but at least there’s no draft!

For good reason, Roosevelt’s New Deal of the 1930s is the subject of much discussion these days: polarized political ideologies, hysteria, and a U.S. president who won’t shut up on that newfangled media outlet called Twitter. The Great Depression required large-scale political and economic solutions. After the Second World War, the G.I. Bill allowed (white) men to receive a free college education. In today’s privatized, post-Raegan, gig economy hell, apparently 70 percent of us want universal healthcare and 58 percent want debt-free education, but far fewer Americans—I’m hazarding a guess here—pine for a government capable of sending us to certain death in Guam. The Greatest Generation may have basked in the glow of a welfare state, but it also tolerated the draft and a powerful government that operated far away from a free press with the likes of Seymour Hersh poking around its files and exposing war crimes like My Lai. Given that many Americans want a government that provides us with more, we also need to be mindful of what such a powerful government can take from us. 

The Space Race might be over, but we found a black hole!

Fittingly, one of the bright spots of the Trump era has been a literal black hole: in April, the very first image of one was captured by an international team. Meanwhile, the American century’s certainty of measurable progress has collapsed; we are a dying star and this black hole has a name: the algorithm. All the numbers, all the metrics have been automated and programmed to produce more and more data and metadata, so that discernible political reality has collapsed under its own weight, and space-time warps into phenomena like Pizzagate. On December 4, 2016, a man fired multiple rounds of ammo into Comet Ping Pong, a D.C. pizza joint thinking he was busting up a sex-trafficking ring run by Hilary Clinton. This rumor had been spread as “news” by Twitter bots and Trump supporters, much in the same way the Obama birther “movement” was spawned. Uncannily, in NASA illustrations, the silhouette of a star-death is orange and flailing.

No one is at the wheel anymore

Our economic reality is the same: our war machine has collapsed into a Ponzi scheme of a service economy. Corporations that boast of high valuations do not created anything, post no profits, and offer employees few benefits. As Rick Wartzman, author of The End Of Loyalty: The Rise And Fall Of Good Jobs In America, pointed out, “We're now at a point where fewer than 7 percent of private sector workers are unionized in this country. And it's just clearly not enough to have the kind of collective voice and countervailing power against corporate power that, again, was able to lift wages and benefits for all folks, not only those carrying union cards but other blue-collar workers and even white-collar workers in the past.” Fewer Americans have health insurance with every passing year, yet we have apps to manage apps. The cruelest irony is this: the data sucks! Remember the 2016 electoral polls results that showed Hillary Clinton's victory was a dead certainty?  Still, we remain in thrall to irrelevant figures — like the stock market — and use such indexes as magical thinking to ward off evil premonitions of decline and fall. Reporting on a paper the Fed published earlier this year, Forbes, not exactly known as a bastion of Sanders supporters, published an article titled with Trumpian hyperbole, “America's Humongous Wealth Gap Is Widening Further.” It gave the following statistics:

In 2018, the richest 10 percent held 70 percent of total household wealth, up from 60 percent in 1989. The share funneled to the top 1 percent jumped to 32 percent last year from 23 percent in 1989. ‘The increase in the wealth share of the top 10 percent came at the expense of households in the 50th to 90th percentiles of the wealth distribution.' Their share dropped to 29 percent from over the same period. The bottom 50 percent saw essentially zero net gains in wealth over those 30 years, driving their already meager share of total wealth down to just 1 percent from 4 percent.

But who cares when the DOW is up over 27,000? McNamara’s tyranny of numbers is complete. 

Keep it casual!

Though an egghead as surely as he breathed, McNamara kept a common man image close at hand. The very same meritocracy that enabled his rise, ensured he could always do so. He could always claim, no matter how many diplomas he’d earned, no matter how many companies he’d run, that he was a middle-class Irish striver and a family man. Today we have Trump who is, as Fran Lebowitz deliciously put it, “a poor person’s idea of a rich man” — from the Fifth Ave apartment that looks like Versailles vomited to the McDonald’s catering for Clemson’s triumphant football team at the White House. Populism is always essential in the American political arena, as the imminent spectacle of all 19 Democratic candidates chowing down on corn dogs across Iowa soon will prove. 

The meritocracy was a Western

The American meritocracy has closed, like the American frontier. Much like the frontier, the illusion of accessibility was the most potent part of its myth of inevitable progress and increase. The barriers, too, were the same: race, class, gender. As with a Western, when you step back a bit, you may ask, why on earth is this our chosen narrative of progress? What is the enduring appeal of genocide and discrimination in this country? Yet, there is an almost sweet naïveté in the notion that something as simple as a test could identify all our future leaders from all walks of life! Similarly, there is a grand romance to thinking an empty continent simply awaited discovery and settlement! But the problem is the continent was not empty, and not everyone could take that test, let alone access the tools to excel at it. And the results of the test themselves were impoverished scraps of data that correlated to achievement insofar as they granted that selfsame access. Nothing succeeds like success!  

R.I.P. public service

The ideal of civil service, as illustrated by Kennedy’s founding of the Peace Corps or Carnegie’s philanthropy, is dead. The Trump administration’s scandals, shameless profiteering from the private sector, and virulent partisan politics have painfully gutted agencies ranging from the foreign service to the Department of Justice. In her recent testimony to Congress over influence-peddling in Ukraine, former U.S. ambassador Marie Yovanovitch said:

Before I close, I must share the deep disappointment and dismay I have felt as these events have unfolded...Today, we see the State Department attacked and hollowed out from within. State Department leadership, with Congress, needs to take action now to defend this great institution, and its thousands of loyal and effective employees.

She added that she feared “harm will come when bad actors in countries beyond Ukraine see how easy it is to use fiction and innuendo to manipulate our system.” The integrity of institutions has eroded at a terrifying pace; and that wealth of experience and culture of service cannot simply be rebooted in an election cycle or two. The sort of service to mourn is not the type exemplified by McNamara — an executive who traded outstanding profits for unthinkable power — but that of the 2.79 million civil servants who get out of bed, make the federal government run, and will never have an Oscar-winning documentary that motes they "sacrified" a big corporate salary.  Today marks the release date for Errol Morris’ newest political documentary, American Dharma. His subject this time is another creature of his times — Steve Bannon. As the historical narrative passes over the event horizon and into the black hole of Twitter, I am reminded of that fabled ghost in the American propaganda machine — the myth of American exceptionalism. Morris’s movie makes the following thesis statement on the origins of McNamara’s power and how it tied into his own sense of exceptionalism: he was the very embodiment of the American meritocracy. Meritocracy, this vaunted bubbler would have us believe, identified the talent that enabled America’s successful prosecution of World War Two; triumph in the Cold War; and stewardship of the Free World. As ludicrous as this sounds, the fact of the matter is, that I see how someone could have felt this way in the thick of it all. I see how someone might have taken a test, served in the Army, gone to college, gotten a job, bought a house, made a life, and felt pretty great about the whole system. Yet, in the thick of 2019, from my own considerably privileged perch, I don’t see how anyone could feel that sense of purpose and belonging from the service economy that isolates and social media that distorts — and I wonder what Gen Z will make of it all, another 16 years from now.  [post_title] => The fog of overachieving: From Robert S. McNamara to Donald J. Trump [post_excerpt] => Watching The Fog Of War in 2019 almost made me nostalgic for what I now realize was a sense of progress that I had in 2003. It made me wonder what I have learned as the lofty aspirations of the Great Society have degenerated into the bitter pandemonium of Making America Great Again.  [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-fog-of-overachieving-how-robert-s-mcnamara-and-the-meritocracy-paved-the-road-to-donald-j-trump-and-the-algorithm [to_ping] => [pinged] => [post_modified] => 2026-08-06 23:21:21 [post_modified_gmt] => 2026-08-06 23:21:21 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=1444 [menu_order] => 295 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

The fog of overachieving: From Robert S. McNamara to Donald J. Trump

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    [post_content] => 'The game is rigged, and it does not reward people who play by the rules.' — Ramona (Jennifer Lopez)

In 2019, sex workers are some of the most powerful women in America. That’s the reason Hustlers has been cleaning up at the box office. Every movie theater in America is now an ersatz strip club, catering to a gaze that doesn’t objectify its subjects so much as shower them with solidarity and aspiration. You love to see it: a swaggering, unabashed admission that beauty is capital, and women deploying everything used to deny them power – their bodies, sexuality, and financial precariousness — in order to reclaim their own.

The film, for those who have not heard of or seen it, stars an ensemble cast featuring Jennifer Lopez and Cardi B.; the women play strippers working at Scores, the iconic New York City club, which is frequented by wealthy Wall Street men. Angry at the decline in their income after the 2008 financial crisis, the women engage in a Robin Hood-type con: they target rich customers, the men who caused or became rich from the very crisis that is now depriving them of income; they drug them, steal their credit card numbers, and charge them to the limit. The plot of the movie is ripped from the headlines, so to speak: it was reported by Jessica Presley for New York Magazine, in a 2015 feature titled The Hustlers at Scores.

https://www.youtube.com/watch?v=4ZXYLoog1TI

Even before Hustlers took over both movie theaters and the cultural discourse, Stormy Daniels, the nom de film for porn actress Stephanie Clifford, was able to humiliate Donald Trump and reveal some of his financial arrangements. She steadfastly rejects any shaming over her work, whether it is stripping or starring in porn films. Cardi B, star of the charts, stage, and screens big and small, openly relishes the way her body allowed her to earn money and command attention: "When I was dancing, I had so much fun. I felt powerful in the club. I felt free.” Stormy Daniels and Cardi B weaponize their lack of shame. Their power, and that of the characters in Hustlers, comes from exposure —  not of their bodies per se, but of the transactional mentality behind gender relations under capitalism.

Thirteen years have passed since Omar Little, a character in the acclaimed television series The Wire who made his living by robbing drug dealers, succinctly dispatched a lawyer’s attempt to stake out a moral argument while questioning him in court with the observation, “I got the shotgun, you got the briefcase. It’s all in the game though, right?” In 2019, Ramona (Jennifer Lopez) gives the feminist-specific take on the same respectability politics around white-collar and underground criminality: she tells Destiny (Constance Wu) that she doesn’t feel guilty about drugging and robbing Wall Street men because they “stole from everybody, and not one of them went to jail.” Later, she says, “this whole country is a strip club.” In other words, it’s all in the game.

The women of Hustlers are firing their shots not only at men, or the brokenness of capitalism. They are also calling out white women who use femininity as a scam — although the latter pretend otherwise, and would certainly deny the accusation vehemently. White women like Caroline Calloway and Tavi Gevinson, for example, attained notoriety for using Instagram to portray lifestyles, fashion, travels, and an overall gestalt of effortless cool and joie de vivre. The women present very different images, but they both monetized their personal brands to obtain six-figure book advances, payment for featuring products in their posts —  and, in Gevinson’s case, a free apartment in Brooklyn’s most expensive neighborhood. All of this was predicated on fan bases built on enticing people’s attention and admiration, using faces, bodies, outfits, and the impression of unobtainable glamour.

You know who else got a free apartment for being beautiful and alluring, but unavailable? Ramona –  one of the strippers in Hustlers. Gavinson’s hustle may centered on what she is wearing, while Ramona’s is more about what she is not wearing;  in the end, however, Gavinson’s fashionable Rodarte trousers are the briefcase to Ramona’s bodysuit shotgun. They are all in the same game of commanding attention in a visual medium.

As New York-based culture critic Larissa Pham observed of Calloway and Gavinson, “crafting and monetizing a brand is now the easiest way to enter a profession.” A lot of people are trying to cash in on this game, but their success is predicated on being able to deny plausibly that their business model is predicated on self-commodification. Part of the controversy around Calloway’s fall from grace and Gavinson’s breaking of the fourth screen is based on the revelation that their online presences had a commercial angle. The key to influencing is not looking like you’re trying to influence, and certainly never manufacturing artificial enthusiasm for a product when your authentic taste, reactions and voice are what “inspire” people. By contrast,  the working class women in Hustlers know that their looks are the best opportunity they have, and they never pretend otherwise

The difference between white women who are online influencers and women of color who make their living performing in a strip club is this: only the former can indulge in the delusion that their looks are not a commodity. This kind of plausible deniability is deeply rooted in toxic white femininity, which is based on a combination of good intentions and obliviousness to ugly social phenomena — like racism, for example. In the now-notorious article that Gavinson wrote last month for New York Magazine, she admits that her integrity and sense of self have been undermined by the performative process of building her personal online following and platform: “I haven’t believed the purity of my intentions ever since I became my own salesperson.” Her success as a publisher, editor, writer and actor felt “less real if I considered that I could only support myself using [my] face.” The disconnect around needing to commodify one’s looks is only possible from a place of privileged obliviousness. There’s no need for respectability politics if your race, size, and class already render you inherently respectable.

Hustlers is a hit because it portrays women of color using their bodies as their path to seizing the means of reproduction (if you will). To be clear, Hustlers is not and cannot be an indictment of capitalism – it is after all, a major studio film, a product that is going to make a lot of white people a lot of money. Can the subaltern executive-produce a film? I hope so, but Megan (daughter of billionaire Larry) Ellison is not the example I would choose for my answer. But in a moment of maybe-she's-born-with-it/maybe-it's-sponcon, when we pretend that race, size, and beauty aren't forms of capital, the real service Hustler offers is in showcasing women's agency, savvy, and — yes — sheer physical grace, when capitalizing on themselves.
    [post_title] => 'Hustlers' is a lesson in feminism from women of color
    [post_excerpt] => A Hollywood hit film starring Jennifer Lopez and Cardi B as strippers who rip off their Wall Street customers holds salutary lessons about capitalism, commodification, feminism, and racism. 
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‘Hustlers’ is a lesson in feminism from women of color