Warning: possible spoilers ahead! Available in cinemas on March 25th On behalf of The Universal Asian, I had the privilege of attending an early screening of A24’s latest offering: "Everything, Everywhere All at Once," written and directed by the dynamic duo known as Daniels (Daniel Kwan and Daniel Scheinert). Starring Michelle Yeoh, Ke Huy Quan, James Hong, Stephanie Hsu, and Jamie Lee Curtis, this frenetic film is nothing short of brilliant insanity. Previously known for "Swiss Army Man," Daniels have crafted a film that truly manages to be everything, everywhere all at once. It encompasses every genre, every tone imaginable all while offering a kaleidoscopic commentary on family, intergenerational trauma, and existential ennui. Michelle Yeoh is inimitable as Evelyn Wang, an exhaustedly numb Chinese immigrant everywoman, as she tries to juggle a tax audit, her emotional distance from her daughter (Joy [Stephanie Hsu]), her father’s perpetual disapproval of her life choices, and a mission to save the multiverse—unceremoniously dropped into her lap by an alternate version of her mild-mannered husband, Waymond (Ke Huy Quan). As she pinballs between versions of herself, she slowly pieces together a realization that family, simultaneously enduring and dysfunctional, is the answer to everything and nothing at all. “She is just absolutely incredible in this role,” says Ke Huy Quan. “Michelle Yeoh, the person, the actress, is very glamorous and beautiful, and for her to so willingly shed all of that and get into this humble, middle-aged woman who is struggling to keep a family together and to finish her taxes at the same time, to see her deliver that performance is amazing to watch, and I’m just in total awe of her talent.” “[This movie] shows the depth of her talent,” James Hong, esteemed veteran actor, adds. He plays Evelyn’s austere father with surgical precision, able to cut into Evelyn’s most vulnerable parts with a single word, in a way only family is capable of. “She’s not just a kung fu artist, as they cast her in a lot of other movies. She is truly a brilliant actress. I think people will see the different dimensions of her.” Photo: Courtesy of A24 In my conversation with Ke Huy Quan, it is surprising to learn that this is his first major role in decades. The resurgent actor delivers his performance with a sweet sincerity, completely natural and believable. “I don’t think I could have done this character had it been given to me 10-15 years ago,” Ke admits. “I was really nervous when the role was offered to me because I hadn’t done it for so long. So, I hired myself an acting coach, a dialogue coach, [and] a voice coach so the [versions] of Waymond could sound slightly different, and most importantly—and more interestingly too—a body movement coach. I wanted the audience to be able to tell which Waymond you’re looking at just by the way he stands and the way he walks and the way he moves.” His hard work most assuredly paid off, giving us three solid facets of Waymond Wang. In a glittering world of entertainment industry success for Evelyn—which takes inspiration from Michelle Yeoh’s own phenomenal career—and corporate success for Waymond, Ke Huy Quan channels the slick vulnerability of a heartbroken ex-lover against a backdrop awash with a sumptuously saturated color palette straight out of Wong Kar-wai’s "In the Mood for Love." In another universe, Alpha-Waymond is a fighting force to be reckoned with in a jaw-dropping fanny pack sequence. But, my favorite version of Waymond is the one in “our” universe, an unfailingly kind, empathetic, nurturing soul with an endearingly meek physicality. He is the backbone of the film, a steady reminder that sometimes strength is not found in battle, but in surrender. It is Waymond who breaks the cycle of trauma in his family with a desperate plea for peace. Photo: Courtesy of A24 “I was afraid that I wouldn’t be able to go there emotionally when we did that scene,” Ke Huy Quan reflects. “It was in front of so many people. [But] once I stepped in front of the camera and I started speaking—the first word out of my mouth—it began to hit me. What this character means and what it represents. I’m glad I was able to go there, to give the performance the Daniels wanted. I’ll let the audience decide, and hopefully I don’t disappoint them.” “I wanted it more than anything on the planet when this was presented to me,” he continues, recalling the audition process. “And I’m so grateful to [Daniels] for offering me the opportunity to play this kind human being that believes in empathy and love and respect for each other. And to do this with Michelle and James Hong and Stephanie, and of course the great Jamie Lee Curtis, was just a dream come true.” “The two Daniel guys, they’re crazy,” James Hong says with a chuckle. “In [writing] this movie and directing it. Of course, the producers did a very good job and A24 took a chance in distributing it. I hope it’s a success. I sit here and I wonder, will the people like it? Will they understand what this movie is about?” Amidst the chaos that is "Everything, Everywhere," it’s difficult to hold onto the idea of a single narrative, theme, or message. To me, that is exactly the point. This film is a massively ambitious attempt at a theory of everything, and not in the sense of theoretical or quantum physics. The film swings wildly between existentialism and nihilism. It proposes a meaningless universe in conjunction with a directive to find meaning as a mode of survival. In other words, the world is what you make of it, nothing or everything. Perforated throughout the film is a recurring discussion of the complexity of family and the movement of trauma down and alongside the generations. “There’s a great valley of difference between the two generations,” James Hong acknowledges. The Minneapolis-born actor is a son of immigrants himself. “The old generation from a foreign land, between that group and the one that is born here into rock and roll and jazz and all that modern stuff.” It is this valley that’s slowly and steadily crossed in "Everything, Everywhere." There is a tangible divide between Evelyn and her father, which leads to a jagged edge between Evelyn and her daughter. The friction between the three characters sends sparks flying in a particularly tense scene when Evelyn balks at her father’s seemingly cruel order to kill her daughter to keep them all safe. And, in the background of the multiversal madness, Evelyn struggles to balance her support of her daughter’s sexuality and her fear of her father’s reaction to it. There is something precious in the imperfection of Evelyn’s character, a monument to the somewhat hypocritical nuance of humanity. Cover photo: Courtesy of A24

"The Wedding Banquet" (2025) is now in theaters. Photo: Courtesy of Bleecker Street and ShivHans Pictures In 1993, Ang Lee’s “The Wedding Banquet” broke ground as one of the earliest films to bring a queer Asian love story to a global audience. It was a story of compromise, of navigating the delicate balance between cultural tradition and personal truth. For many, it was a revelation, a rare glimpse of queer life framed not by tragedy but by humor and heart. Thirty years later, the world has shifted in profound ways, and with it, the story of “The Wedding Banquet” has found a new chapter, reimagined for 2025. At the heart of the original film was a singular question: How can one stay true to themselves while upholding the expectations of family? In 1993, the stakes were clear. Marriage was portrayed as the finish line, a hard-won victory for those who could claim it. For Wai-Tung and Simon, balancing a sham marriage and a closeted existence was as much about survival as it was about love.  Photo: Courtesy of Bleecker Street and ShivHans Pictures The 2025 reboot, helmed by an ensemble cast including Bowen Yang, Kelly Marie Tran, Lily Gladstone, and Han Gi-Chan, takes that foundation and builds something bolder. It shifts the focus from marriage as the ultimate goal to the broader, messier questions: What else is part of an evolving relationship? Marriage is great, but what about parenthood? Choosing a family? How do we navigate the responsibilities and uncertainties of queer love in a landscape that is both more accepting and more precarious? Bowen Yang reflects, “I feel like we're still collectively figuring out how to move into those spaces of acceptance that feel uncomplicated and don't have an asterisk to them. It just feels very relatable. And there's the power in that.” The reboot captures that relatability by refusing to shy away from the complexities of queer life today, where the victories of the past coexist with the challenges of the present. Photo: Courtesy of Bleecker Street and ShivHans Pictures Family, of course, remains central to “The Wedding Banquet,” but the film reexamines the theme through the lens of chosen family. In this updated vision, family is not just a biological bond but a conscious act of connection and support. “Between Angela and Min, they choose their biological family, to bring them into the fold after years of being alienated by them,” says Bowen Yang.  “It’s kind of a double meaning. There’s the family you choose, and then there’s the act of choosing your family,” adds Lily Gladstone. “I have my own perspective that is shared widely through Indian country. We're not a homogenized society, but there are some things that are kind of common. And one of those is this concept of chosen family. We keep really tight record [of our family lineage] orally and [for] the last couple hundred years for government purposes, on paper. Adoption is as good as blood. Like when you're coming of age, and you're starting to date around, your family lets you know who you're related to and who you're not, so you don't cross those lines.” Bowen Yang and Han Gi-Chan, who play one half of the central couples, bring a contemporary depth to their roles (Chris and Min, respectively). Their characters delve into the complexities of queer relationships today: the shadow of generational trauma, the weight of societal expectations, and the joy of building something entirely new. Their story isn’t just about coming out; it’s about staying out, about the daily acts of courage required to live authentically in a world that still resists full acceptance. Photo: Courtesy of Bleecker Street and ShivHans Pictures “Min feels like he can't come out to his family because it would cut him off from something that he feels rooted to,” says Bowen Yang of his co-star’s character. “[And] Angela had a pretty tumultuous coming out that ended up boomeranging back into overcorrected acceptance. She still feels alienated even though it feels like it's this thing that's being embraced about her now. The movie does a really amazing job of mending those wounds as the story progresses.”  “I agree,” Kelly Marie Tran adds. “I also think Kendall’s coming out and the idea that Chris takes care of them in this process is also such a beautiful depiction of what a coming out can be if you have a family that doesn't accept you.” Photo: Courtesy of Bleecker Street and ShivHans Pictures Perhaps the most beautiful aspect of “The Wedding Banquet” is also its most coincidental: the timing of its release. While the film was crafted as a deeply personal story about queer love and family, its arrival feels a little bit like fate, or at least a blessing, shining as an inadvertent beacon in a sociopolitical climate battered by conflicting waves of progress and backlash. “We didn't make a political film,” says Lily Gladstone. “We made a film that had really solid bedrock with socioeconomic, cultural comments without being explicitly about queerness, about culture, about gentrification. Those are all just the world that this family finds themselves in. And I think that makes a film that represents people really authentically where they're at. And the rest of the ship was just built so well that it can weather a lot of different seas. So I do feel like it does have this timeless element because it embraces and acknowledges the culture and the time that we find ourselves in, and each character's proximity. It makes space for widening the lens and the conversation about queerness globally and culturally.”  “I learned just now that it is not a safer time for LGBT communities to live peaceful lives,” Han Gi-Chan says. “We didn't plan this timing [for the movie] to come out. And not only for those communities, but every humanity on earth could see this movie and feel what family means, what love means to them. It's a story for all times. We live with a family, we live with love.” “I feel like we did create this big warm hug of a film for people that we always intended to,” Gladstone adds. “We didn't know that we were making such good medicine for the times ahead for people who needed it.” Bowen Yang echoes this sentiment, noting, “They say hyperspecificity ends up being universal. I feel like this kind of hyperspecificity ends up being relevant and timeless. And it's never not going to be important to touch on these things, just like how the original movie was relevant at the time [and] still is.” About "The Wedding Banquet" (2025): Run: 87 minutes Director: Andrew Ahn Screenplay: Andrew Ahn and James Schamus (Based on the screenplay by Ang Lee & Neil Peng and James Schamus) Producers: Anita Gou, p.g.a., Joe Pirro, p.g.a. Featuring: Bowen Yang, Lily Gladstone, Kelly Marie Tran, Han Gi-Chan, Bobo Le, Camille Atebe, Joan Chen, Youn Yuh-Jung Directors of Photography: Youn Yuh-Jung Production Companies: Bleecker Street, ShivHans Pictures, Kindred Spirit & Symbolic Exchange Cover Photo: Courtesy of Bleecker Street and ShivHans Pictures

“Him” (2024) is now streaming on Apple TV+ and Amazon Prime.  Tomorrow marks the close of another AAPI Heritage Month, and the conversation about Asian representation in media continues to evolve. While progress has been made, there remains a persistent need for nuanced portrayals, especially of Asian women, who are often still caught in a web of stereotypes. These tropes — from “Dragon Lady” to “China doll” — may be less ubiquitous than they once were, but they haven’t entirely disappeared. This year, “ Him ” (2024), starring Kira Omans, Tess Higgins, Sydney Battle, Margaret Berkowitz, Lucie Solène Allouche, and Lisa Barnes, adds a fresh perspective to the ongoing discourse. The film follows five contestants on a reality dating show as they come to realize the true nature of their roles and collectively decide to strike back against those who seek to use them for their own gain. In a narrative that deftly blends critique with entertainment, the film examines not only the portrayal of Asian women in media but also the power dynamics that dictate which stories are told and how. It exposes the calculated manipulation of an industry infamous for distorting on-screen identities to serve hidden agendas. For Omans, playing her character required confronting both societal narratives and personal biases. “Before delving into my character, I really didn’t have a lot of sympathy for people who went on reality TV. I thought they signed up for this, that they knew what they were getting into,” she says. “But my character, Jenna, she’s super accomplished. She’s a Stanford grad studying marine biology. She’s an avid swimmer. And so I really had to put my own judgements aside and reconcile how this woman would end up on a reality dating show.” Through Jenna’s arc, the film highlights how societal expectations — particularly those tied to appearance and traditional gender roles — can shape women’s decisions. “The story delves into how our worth becomes intrinsically tied to our desirability and how we’re taught to aspire to marriage,” Omans continues. “I hope the audience goes on a similar journey to mine, rethinking their biases about reality TV and humanizing its participants. Viewing them as undeserving of empathy only reinforces the troubling nature of the reality TV industry. If no one cares, no one will ever push for change.” The film doesn’t shy away from unpacking deeper issues, particularly the challenges faced by women of color. Omans notes, “We wanted to show how women, especially women of color, are treated off-camera — the exploitative contracts, microaggressions, and psychological tactics used to make them feel worthless and replaceable.” Jenna’s storyline becomes a platform to explore the difference between tokenism and true representation, revealing how surface-level diversity often masks the absence of real agency in narratives. Photo: Renteria Photography “Jenna is very overlooked in the narrative of the reality show she’s on,” Omans says. “She’s not framed as a real romantic prospect and faces racist microaggressions that stereotype Asian families. Her cultural background is seen as an obstacle, and there are subtle moments that demonstrate how she lacks power in her story.” The film also confronts stereotypes of Asian femininity, a representation that Omans describes as historically polarized between passivity and hypersexuality. “Jenna is more of an everyman,” Omans explains. “She’s a mild personality amidst bolder characters, but she isn’t passive at all. She’s strong, funny, smart, and flawed.” But the harm in a stereotype isn’t solely in depiction, it’s in isolation. When a character is reduced to that generalization, it truly becomes an issue. “The way to challenge stereotypes is to add depth and nuance,” Omans says. “Jenna isn’t immune to emulating model minority behavior at times, but she grows throughout the film, learning to challenge societal ideals and the systems that benefit from her complacency. She makes active choices, and she contains multitudes.” With “Him,” the creative team has crafted a story that doesn’t just question how Asian women are portrayed but also critiques the systems that uphold these portrayals. It’s a reminder that representation isn’t just about being seen; it’s about who gets to tell their story, how it’s told, and the power to reclaim narratives. Photo: Renteria Photography Beyond its critique of representation, “Him” tackles themes like exploitation and agency, which resonate deeply with Omans’s personal experiences. “I’m a Chinese adoptee and I work in adoptee advocacy,” she shares. “International and transracial adoption is very romanticized, and mainstream narratives rarely touch on the fact that all adoption begins with loss. Adoption can be a very exploitative industry that robs adoptees of identity, removes agency, and our rights, in many cases. Film and media often feed us what is most comfortable for audiences to understand about adoption.” Regarding how these themes have affected the larger Asian American community, Omans says, “I don’t think we need to look any further than how Jenn Tran , the first Asian Bachelorette, was treated during her season.” The manipulative tactics of reality TV reflect a broader issue: how media shapes narratives to serve specific agendas beyond entertainment. News outlets, political campaigns, and even corporate messaging use similar techniques to guide public opinion. The result is a distortion of reality that perpetuates harmful stereotypes, fuels division, and obscures the truth. “Him” highlights the human cost of such manipulation, encouraging audiences to critically examine not only what they consume but also the motives driving its creation. Ultimately, “Him” is a call to action — a jarring reminder that change begins with collective resistance. “I do believe that the unity of the women in ‘Him’ can be seen as a mirror for how marginalized groups can come together to dismantle the systems that attempt to hold them down,” Omans says. “We get a very comprehensive look at how each of these women are treated and manipulated in different ways that serve the desired narrative. And that absolutely extends beyond reality TV.” As AAPI Heritage Month draws to a close, Omans hopes the film underscores the transformative power of solidarity, even in spaces designed to fracture it. “Unity doesn’t always mean we agree about every single thing. But in systems manufactured to keep us apart, unity comes from caring for one another, holding space for all experiences, especially those that challenge dominant narratives.”  Simply put, “Him” calls on us to rewrite the story, together. About “Him” (2024): The final five contestants on a reality dating show unite against a deceitful suitor and producers who manipulated them into falling in love. They revisit pivotal moments from their journeys as they struggle to come to a collective decision. Director: Rebecca Wahls Screenplay: Rebecca Wahls, Tess Higgins Starring: Kira Omans, Tess Higgins, Sydney Battle, Margaret Berkowitz, Lucie Solène Allouche, Lisa Barnes Director of Photography: Kevin Galloway

Want to work with us? Our doors are always open. Find out how you can get involved here! If you are interested in becoming a voluntary contributor, please email your resume and portfolio (if you have one) to theuniversalasian@gmail.com . No professional experience necessary, just a passion for AAPI/API stories!

We are voices of the Asian diaspora. The Universal Asian is an open and safe online platform for our community of immigrated Asians. FEATURED Kira Omans Talks About 'Him': Challenging the Reality You Know “Him” (2024) is now streaming on Apple TV+ and Amazon Prime. Tomorrow marks the close of another AAPI Heritage Month, and the... Entertainment Ella Wu Nanchang Project Helps Chinese Adoptees Search For Heritage As May draws to a close, so does AAPI Heritage Month — a time to celebrate culture, identity, and history. But for adoptees like myself,... Adoptees Ella Wu An Adoptee’s Reaction to ‘Joy Ride’ (2023) Available in theaters July 7. “Joy Ride” hits like a solid punch to that white kid’s face: satisfying, but maybe not quite right. For... Entertainment Ella Wu RECENT POSTS Kira Omans Talks About 'Him': Challenging the Reality You Know Entertainment Nanchang Project Helps Chinese Adoptees Search For Heritage Adoptees Angeli E. Dumatol Paints Youth in Soft Shades Entertainment Rueben Dass Reveals How He Makes a Murderer Entertainment Lies, Spies, and a Guy Who Tries Entertainment ADOPTEE VOICES Kira Omans Talks About 'Him': Challenging the Reality You Know “Him” (2024) is now streaming on Apple TV+ and Amazon Prime. Tomorrow marks the close of another AAPI Heritage Month, and the... Entertainment Ella Wu Nanchang Project Helps Chinese Adoptees Search For Heritage As May draws to a close, so does AAPI Heritage Month — a time to celebrate culture, identity, and history. But for adoptees like myself,... Adoptees Ella Wu An Adoptee’s Reaction to ‘Joy Ride’ (2023) Available in theaters July 7. “Joy Ride” hits like a solid punch to that white kid’s face: satisfying, but maybe not quite right. For... Entertainment Ella Wu Artificial Habitat Growing up, I lived in one of those unremarkable suburban neighborhoods everyone has seen and no one remembers. Two-story houses.... Essay Cynthia Landesberg IN THE WORLD TODAY Introducing Studio ATAO’s ‘Food Systems 101’ Studio ATAO is raising funds for their first food education program “Food Systems 101: An Introduction to the Politics of Food &... World Ella Wu Book Review: 'The Global Orphan Adoption System' by Dr. Kyung-eun Lee "The Global Orphan Adoption System: South Korea’s Impact on Its Origin and Development" by Dr. Kyung-eun Lee is an informative and... Adoptees OSH Living as a Returned Migrant in Korea (Part 2 of 2) Reposted from Ildaro.com As Koreans from the diaspora who have returned to the motherland we are acknowledged by the government as part... World 이영숙 Kristin R. Pak Human Rights: My life as a migrant adoptee, 2018 (Part 1 of 2) Reposted from Ildaro.com Introduction: As someone who became a migrant through intercountry adoption, Kristin Pak has a unique... World 이영숙 Kristin R. Pak ASIANS IN ENTERTAINMENT Kira Omans Talks About 'Him': Challenging the Reality You Know “Him” (2024) is now streaming on Apple TV+ and Amazon Prime. Tomorrow marks the close of another AAPI Heritage Month, and the... Entertainment Ella Wu Angeli E. Dumatol Paints Youth in Soft Shades There’s a quiet brilliance to “ A Sky of a Thousand Colors .” What might seem at first like a straightforward mystery — a missing person,... Entertainment Ella Wu Rueben Dass Reveals How He Makes a Murderer “Late one night, I was walking home from the train station…” author Rueben Dass begins, sounding eerily like the opening scene of a... Entertainment Ella Wu Lies, Spies, and a Guy Who Tries Kam Raslan's “ Malayan Spy ” is the kind of novel that sneaks up on you. It spins espionage, history, and unadulterated humanity into a... Entertainment Ella Wu Join our mailing list! Get updates and subscribe to our newsletter! Subscribe Thanks for subscribing! FINDING OUR CULTURE On the Edge of Extinction: 'The Last of the Sea Women' Now streaming exclusively on Apple TV+. On the rocky shores of Jeju Island, a remarkable culture hangs on by a thread, embodied in the... Culture Ella Wu How Xenia Deviatkina-Loh Is Redefining Diversity in Classical Music Many people think of classical music as a thing of the past. Its compositions have stood the test of time, holding a unique place in... Culture Ella Wu Bao Vo's Journey from Refugee to Artist Can you share a bit about yourself and how your Asian identity shaped who you are? Today I am an artist, music producer, and songwriter... Entertainment Ana Clancey Korean Adoption Documents: The print portfolio The meaningful and meaningless documents that make up the story of my adoption inspired this set of digital composites. The first step in... Adoptees A.D. Herzel LIFESTYLE Introducing Angela Wu Angela Wu is a Licensed Marriage and Family Therapist and Empowerment Coach who is passionate about de-stigmatizing mental health in the... Lifestyle OSH Choosing Parenthood “I think, maybe, we should talk about starting a family,” my husband said one day, as we sat on the back porch of a winery north of our... Lifestyle Cynthia Landesberg A #hyphenatedAsians POV: Christine Ha Christine Ha is a powerhouse of creativity and resilience. She was the first-ever blind contestant and winner of Gordon Ramsey’s amateur... Lifestyle Haiku Kwon Food: Truly colorblind glue As I walked the streets in the Asian part of Rome near Termini Station, the Asian stores were mostly empty, perhaps as a result of COVID... Lifestyle OSH IN OUR OWN WORDS Musings of a Middle-aged Matriarch: Finding my tribe There’s a sea of different people in this world. While everyone is unique and different, there are enough commonalities between us all to... Essay Heather Lewis What It Means To Be Asian in America: Recognizing and breaking the cycle of trauma The rise in hate crimes against the AAPI community has left many of us questioning not just our identity as Asian-Americans, but how we... Essay Vanessa Nguyen Artificial Habitat Growing up, I lived in one of those unremarkable suburban neighborhoods everyone has seen and no one remembers. Two-story houses.... Essay Cynthia Landesberg Musings of a Middle-aged Matriarch: How do you find joy? As adoptees, many of us have had to create our own joy. We have to work at joy because it doesn’t come naturally to us. We are too busy... Essay Heather Lewis FICTON & POETRY Appearances That night, as she stood alone on the water’s edge, the expanse of the ocean before her felt as dark and infinite as the universe. A soft... Fiction & Poetry Samantha Der Poems Time Time flies by In the blink of an eye How should I spend my day So many things that I could do But in my bed i just lay Being... Fiction & Poetry Lauren Kofalt Are You Me? The Noodles That Tie Us I loved my shirt With three pockets of color Gym shoes Blue shorts And black hair That flopped over My gold-rimmed glasses I was ready... Fiction & Poetry Samantha Der Poems Nothing What can you do when there’s nothing to do The sun shines bright and the sky so blue Yet sitting inside thinking of you It seems... Fiction & Poetry Lauren Kofalt

Erika is a Korean adoptee (KAD). < Back Erika Fisher Contributor Erika Fisher is an #importedAsian from Korea; born in Seoul and raised in the U.S. While her professional background is in international education, she’s also worked as a freelance writer, editor, and writing instructor for nearly 20 years. Erika currently lives in London with her husband and two children, and has previously lived in Kenya, Thailand, and the U.A.E. You can find her at www.erika-fisher.com .