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"Why There are 'No' Asians on Television"

Part 3: 'Our Stories, Ourselves'

By Erin Quill, IMDiversity.com Special Contributor

Let’s go on to the writing – because that is where the real power begins in TV.  The Writer's Guild of America’s demographic profile for TV writers are Caucasian males between the ages of 23 - 37.  That’s the average, but of course it allows for errors on both ends.  Most writers choose to "write what they know" – as the oldest adage goes. The trouble is, this mostly leads them to write themselves. Our TV landscape is brimming with kind-of-shlumpy white guys married to women much hotter than them and 2.4 kids, and no matter what happens on the show, Dad knows best.  That’s the average American sitcom.  Minor variations on the same theme: white female characters who act like gay men (believe me, no one has THAT much sex in any city -- unless they are ‘desperate’).

Now, I know those writers have APAs in their lives – maybe a doctor, lawyer, postman, deli guy – could be anyone, anywhere, because that’s who and where WE are.  However, when they write for APAs, more often than not it’s all about thick accents and misinformation and lots of laugh tracks.

Hence, what a breakthrough was David E. Kelley's role for Lucy Liu’s character on Ally McBeal!  Yes, she was kind of a dragon lady, but one unaccented, and with a depth of feeling, who at the end of the day stood toe-to-toe with the hottest cast (at the time) on TV.  Simply put, Lucy Liu on that show proved herself to be very, very good – and that is why she’s working.

Kudos also to The Gilmore Girls and Keiko Agena, Rex Lee on HBO’s Entourage, Grace Park on Battlestar Galactica, Alec Mapa on UPN’s Half and Half, Daniel Dae Kim on ABC’s Lost.  (I’ll be happier when Daniel’s character gets to learn English; but, am I happy he’s a hot, Asian hunk wearing clingy, wet clothes ninety percent of the time?  Damn straight!)

And there you have it – five Asian American regulars on television because non-Asian TV writers/producers took a stand and said that they wanted APAs in those roles.  They deserve a shout: JJ Abrams…YAY! Amy Sherman and Jeffrey Klarik…way to take a leap! Doug Ellin, Glen Larson, Ronald D. Moore, did I ever tell you you’re my heroes?

Big-screen honorable mention must also be given to director Danny Leiner, who helmed the 2004 major motion picture, Harold and Kumar Go to White Castle, starring John Cho and Kal Penn.  He mainstreamed a film starring two APAs that would have never seen the light of day if not for his insistence that it could work.

Choose to Know

So okay, Erin, you say.  You've convinced me.  But what can we do? Glad you asked! Did you know that CBS, NBC, FOX, and ABC all have diversity programs to cultivate writers, directors and executives of minority backgrounds? Yes they do.  To be considered for a writer’s program, the applicant must submit 'spec' scripts -- scripts written on ‘speculation’, that is, you do not get paid to write them, but they are the mark of many things: how you get an agent, an interview, a pitch meeting.  So, check out these network website pages for specifics and applications, and get moving!

• http://www.cbsdiversity.com/writers_program.shtml

• http://www.fox.com/diversity

• http://abctalentdevelopment.com/html/writing_fellowship_mainpage.htm

• http://www.nbc.com/NBC_Career_Opportunities/Diversity_Initiative_for_Writers.html

In Improv, we have a catchphrase: ‘Choose to know’.  In this context, the means success can come to those who choose to know about opportunity.  My friend Chuck Kim wanted to get into TV writing, and I was in a unique position to know about writing programs available to him. Not only did I participate in diversity acting showcases for both CBS and FOX, but I volunteered to do office work for both FOX and ABC during their showcases where my tasks included calling Agents of writers who had been chosen and set up their pitch meetings with the Executive in charge of that division.

I was not spying, but learning the way things work, and then I told Chuck, who is talented and diligent, and got into the program.  When he arrived for his first day, they decided he was too good to be an intern (the interns do get paid) and they put him on as a writer on a show. Did I get Chuck on that show?  No.  Did I do anything but read his spec and tell him it was good and he should submit?  No.  However, Chuck did not know about those programs before I told him.  It’s about spreading the knowledge.  See, those programs do work, not always as quickly as it did for Chuck, but anything is possible if you commit fully to it.

One word of caution: Do not write an "Asian character".  Write a great character who happens to be Asian.  Believe me, there is a difference.

If you do not see your stories on television, then it’s up to you to get them on there. Want more success stories?  Go to the IMDB and look up Eric Byler, Jessica Yu, Alice Wu and Justin Lin.

When the Suit Fits, Wear It

Here we go – the Executive Branch.  To become a Network Exec, you have to use every tool at your disposal, and again, all the networks have executive development programs for minorities. 

But here’s the catch: If your ethnicity helps get you in the door initially, to stay there you have to deliver.  Although we are minorities in the ranks of TV and movie Execs, once you actually become an executive, you are first and foremost a suit. You represent the network.  End of story.

That said, APAs who make it into executive decision-making roles are not powerless.

I’ll give you one example where a creative decision to include Asian Americans was overturned.  There is a military show, not the original, the second wave -where the original quirky girl who was kind of punk-like, was supposed to be Asian American. The cast description was of an Asian American or Eurasian (this includes Southeast Asians, I’m going to assume you know that). That was the original description of this character – Asian American.  The show is currently on a prime time slot.  The part is being played by a Caucasian who affects a kind of Japanese fashionista clothing style and oh yeah, the BEST part – her hair is dyed black and it’s usually worn in two pigtails.

How about a medical show set in San Francisco with only one APA character, who happened to play more the bumbling intern than the competent doctor in training?  Thankfully cancelled.  How about a different show set in San Fran that when they hit the air, realized that they had no APAs and quickly added one, hoping no one would notice – also cancelled.

Anyone miss that show set in Hawaii with no APA regulars? Why would the network pick up a show in Hawaii with no Asians? They must have watched Pearl Harbor too many times.

Well, you get the point: Sh-t happens...especially on television.

But conscientious APAs who make it behind a network desk can have ample opportunities to promote results that are good for both APA representation and, ultimately, for the network.

Where We Go Next

Now you have a fully comprehensive view of the way APAs can advance in the entertainment industry. First, we need to allow our young people to continue to study their crafts without prejudice – whether it is acting, writing, directing, study is essential.

Second, we need our young people to continue to invest in careers in entertainment behind the cameras – creative, production, and executive.  

Third, and most importantly, we need our writers to step up and create APA images that we want to see. I want characters that audiences want to deal with and most importantly, when the writers are asked if those characters ‘have’ to be Asian, I want them to stand up and yell "yes!"

Does a character who is a heart surgeon in a hospital in San Francisco have to be Asian?  YES!  Not because the writer is Asian and said so, but because the U.S. Census says that doing so will accurately reflect the American scene. The producer signed the contract; it’s up to us to make sure he/she follows through.

Finally, we need APAs on all levels to continue to contribute to the arts. SHOW US THE MONEY!  Realize that if you support an APA film or play or theater company, you are supporting one another.  We are Americans.  Now we must get together and act like it.

-- Part 4: Conclusion, Sidebars, APA Entertainment Industry Quiz, and "Top 10 Ways to Never See Asian Americans on TV" --