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Instead, they lean left on the political spectrum, which speaks to another phenomenon: how liberal white women are reluctant to come to terms with how they hurt us. The truth might be clearer if the offenders in question were conservatives. Why, then, has this mantle been enthusiastically taken up by white women in recent years?
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Offscreen and on, white men have long been responsible for engineering the presumed competition between Asian women and white women via the “local girlfriend”-versus-“wife back home” narrative (see: South Pacific). And yet the film itself, set during the Vietnam War, speaks to how the real-life sexualization of Asian femme bodies is steeped in colonialism and war.
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As proof of how film translates into reality and vice versa, Asian women continue to be haunted by lines from Stanley Kubrick’s 1987 Full Metal Jacket. But given that repeated images affect our perceptions of reality, it’s especially damaging when the only Asian woman character is a whore. 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.
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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. In a fit of nostalgia, I recently watched Bridget Jones’s Diary (2001).