Paging Wendee Lee!

Like Tara Strong, I’m a huge fan of Wendee Lee’s work in animation. Like Tara Strong, Wendee Lee’s voiced some of my favourite characters. Like Tara Strong, Wendee Lee has amazing vocal range. And like Tara Strong, Wendee Lee’s in hot water. Oh dear…

I’ve never gotten into Bleach. I’ve seen bits and pieces online over the years, but it’s never captivated me. That said, it has impressive voice work, with some of the anime dubbing industry’s best having lent their pipes. So it pains me what I’m about to discuss. I should only be so blessed, right?

It was recently revealed that Anairis Quiñones was ousted from her stint as Yoruichi in Bleach. Despite being well-received, the role was returned to the previous VA, Wendee Lee. Quiñones took to social media to make the announcement and thank everyone, specifically mentioning that she harboured no ill-will against anyone involved. Naturally, she received plenty of support from fans and fellow VAs. And this is where it gets muddy.

Let’s address the elephant in the room: I’m sure Quiñones being a mixed-racial woman had something to do with this decision. It’s speculation, but considering her initial announcement as the character caused uproar among purists, I wouldn’t hold it past her employers. Especially since Otakudom has a racism problem. It sucks, but I stand by what I’ve said here.

Complicating matters is the second part, which underscores the first. Wendee Lee took the time to express her thoughts on social media under every VA’s response to Quiñones. And she did so with a passive-aggressive response that amounted to “I’m surprised you feel this way”. Essentially, Lee was being defensive. Not of Quiñones being removed, but of people being disappointed.

Here's where I have to ask: Wendee, why are you doing this? Why are you repeatedly expressing your displeasure in a terse way? Why are you being me when I was a teenager, trying to subtly-but-not-so-subtly guilt people? And yes, I called this a teenager’s response. Because I see teenagers behave this way when they’re frustrated.

Now for my next question: why are you so offended? You’ve had plenty of voiceover roles in the past. You were TK, Faye Valentine and Haruhi Suzumiya and so many others. You even got to voice Yoruichi! Meanwhile, Quiñones is a rising star with not nearly as many roles. Considering she spoke highly of you as a VA director, shouldn’t you be more sympathetic? Shouldn’t you be more supportive, too?

I don’t know if Lee will read this. She probably won’t, knowing how she’s been behaving. But that doesn’t absolve her of criticism, as her reaction is really petty. It also doesn’t help clear her of any potential motives, something I, again, can’t verify. Not to mention, given how much past work she’s had, it makes her selfish.

It also speaks to a bigger issue at play. I know we’re supposed to be sympathetic to actors because of the SAG-AFTRA strike, and I am, but that doesn’t mean there aren’t real problems. One of these, unfortunately, is racially-motivated competition and jealousy in casting. Simply put, a white person has a larger chance of being cast in a big role than a minority, even when not suited for the role. This is also true of animation, where the lines are blurrier because the voice is what matters. And even though dubbing anime is even stickier, as someone from another country was meant for the role, when an opportunity for accurate representation pops up, it should be seized.

This is what bugs me about Quiñones’s situation, particularly Lee’s response. Lee losing one role isn’t a huge deal. She’s in her 60’s, and she’s been acting for decades. She can give up a high-profile character to a newcomer, and she can afford to do it with grace. Quiñones doesn’t have that luxury, being newer to the industry, and acting entitled doesn’t make Lee look sympathetic.

Additionally, Lee passive-aggressively responding to every VA who’s expressed concerns is a good way to burn bridges. Remember, Wendee Lee’s been around for decades. She has credibility and a large network. By harassing people for not standing by her, she’s not doing herself favours. If anything, she could potentially be blacklisting herself from future projects! Does she really want that?

Okay, “blacklisting” might be a little idealistic. Plenty of actors, VAs included, have done worse, and they still have careers. Lee might not be acting professionally, but she’ll most-likely still have a career because she’s white and has influence. And if she wanted to really be petty, she could be the one doing the blacklisting! But that’s something I’d rather not think about…

I get it: voice-work’s cut-throat and emotional, and it’s not uncommon for VAs to get attached to their characters. Wendee Lee’s also human. And it’s not like she’s pulled a Tara Strong or a Chuck Huber and ruined her career entirely with bigotry. But that doesn’t excuse her cattiness, nor does it excuse her belittling people who sympathize with Quiñones. And while it’s not my place to police her behaviour, I still think that Lee should introspect and apologize. Not only will she feel better long-term, but so will everyone else.

Azula's Big Shame

Avatar: The Last Airbender’s my favourite show. Despite getting into it late, it has everything I want from a series: a story with untapped lore, a conflict based in real world geopolitics, compelling action that’s unconventional, humour, drama and plenty of depth. It’s one of the best pieces of syndicated television, such that its sequel series couldn’t even live up. It’s easy to write it off as “animated children’s fodder”, but it’s more adult than many shows for adults. And all of this…while only 61 episodes.

When Netflix announced they were attempting a live-action reboot, I was skeptical. Not only had M. Night Shyamalan butchered a feature-length movie with The Last Airbender, but translating animation to live-action is often a recipe for disaster. Remember, animated ventures are animated for a reason. By porting animation to live-action, you lose some or most of the charm. Plus, it sends the message that animation isn’t worth taking seriously.

I wasn’t optimistic, basically. Compounding this was how all-over Netflix’s original programming is. I’ve enjoyed some of it, and despised some of it, and this could go either way. And now, several years after its initial announcement, we have images of the cast in action. Granted, they’re stills, but it’s something! And how do they look?

Surprisingly, really good! I’d even say they look faithful to the show they’re based on, such that I can picture them leaping out of my computer screen. This doesn’t mean the end result will be good, but it’s a start! And I especially like Paul Sun-Hyung Lee’s Iroh. He captures the perfect mix of wise and playful, and his portly belly’s the cherry on top. Out of everyone involved, he understood the assignment best.

But what stands out like a sore thumb is Elizabeth Yu’s Azula. Not because of what she’s said or done, but because of the criticism her character’s received. Remember how I dug into Princess Peach’s redesign and how the backlash was rooted in sexism? It appears I’m doing that again with Yu. Because the problem’s nearly identical, and equally absurd. Yay me!

Anyway, Azula. She was always going to be tough because she was modelled after her voice actress: Grey DeLisle-Griffin. Grey’s mannerisms embodied Azula, right down to her eyes. Grey might’ve only been using her voice, but villains are her wheelhouse, having made a career of them. She’s really good at bringing them to life while also giving them depth, and Azula, a sadistic teenager with a desire to dominate others, was made for her. So it was inevitable that her live-action interpretation would fall short.

I get that Yu’s Azula’s disappointing. What I don’t get is shaming her because she “doesn’t look like Azula”. Her cheeks are “too plump”, and her hair looks “fake”. And she lacks that instantly-sadistic look that’s threatening enough to scare you, yet not too threatening to lack humanity. It’s a tricky balancing act, and there are some who think Yu isn’t up to the task.

Here’s where I come to her defence. For one, Yu has an advantage her VA counterpart lacks: full body acting. Whereas the animated original relied on Grey’s voice, Yu has her whole body. This includes the face, which was built around Grey’s voice originally, but doesn’t have that luxury in the Netflix series. Besides, Yu might surprise us! She could capture the character’s essence while making it her own.

And two, about her face being “too plump” and her hair being “fake”? Give me a break. Yu looks like I’d expect of a teenager Azula’s age and status. She might have fuller cheeks, but 14/15 year old girls look like that in reality. This is a shameless nitpick, and that goes double for her hair.

I don’t understand what the end goal is. Are we shaming Yu because she doesn’t look like Azula? Or is it because she doesn’t look like Grey? Because if it’s the former, get over yourselves. And if it’s the latter, here’s a secret: no one looks like Grey other than Grey. She’s not even the same ethnicity or nationality as Yu, and the two share little in-common aside from both being actresses. Complaining that Yu doesn’t look like Grey is ridiculous, as is shaming her appearance.

Speaking of which, body shaming’s never cool. I went through most of my youth being chronically-underweight, and even now I’m pretty slim. I never asked for this, and I was routinely mocked by my peers. Humans often lack control over their builds. And in the case of women, who have significant barriers their male counterparts lack, this is especially true.

I don’t see Lee being mocked over his appearance. Iroh’s trademark, aside from masking wisdom with dad jokes, is his build. For over two-thirds of the original series, Iroh was fat. Yet we loved him anyway, and I’m sure Lee will embody that despite lacking his girth. So yeah, grow up.

It's not like this show isn’t worth being critical over. I’m concerned that Firelord Ozai’s being shown too early, as opposed to being a mystery until a later season. That not only made him mysterious initially, it made him threatening. By showing him now, you ruin some of the suspense. And that doesn’t show confidence, while we’re at it.

But I digress. This new series could go the Cowboy Bebop route, or it could go the One Piece route. Or it could go a third route and be mediocre. We don’t know the outcome yet, hence the intrigue. However, if we’re going to be critical, then it should be for valid reasons. Shaming an actress for not meeting an impossible standard isn’t one of those reasons. If anything, it makes you a jerk.

Redesigning Princess Peach

Wheel of Controversy, turn, turn, turn! Which scandal’s next to learn?

It’s no secret that I’m mixed on The Super Mario Bros. Movie. On one hand, being a fan of the IP, I enjoy the call-backs and humour. On the other hand, being based a video game, it doesn’t fully-translate to a movie. Basically, I understand its critical reception. But I digress.

I mention this because it ties in with Princess Peach: Showtime!, which is slated for next year. I’m excited. I’ve liked Peach since Super Mario Bros. 2, and it’s a shame she hasn’t been playable in too many platformers. It’s also a shame that the previous game she was the solo lead in, Super Princess Peach, had her rely on her femininity in a stereotypical way. I mean, crying as a weapon? Seriously?!

This is why this title excites me. Yes, Peach bakes in it, which feels out of place, but she also investigates, is a ninja and sword fights. That’s pretty cool, and it’s nice having The Mushroom Kingdom’s stereotypical princess flex her combat skills. That she’s also an actress definitely helps. I’m more interested in this game than Super Mario Bros. Wonder and Super Mario RPG, and I’m sold on both!

With all of this praise, you wonder what’d be the problem. Well…it’s really silly, but the internet found something. See, Nintendo updated the box art, and some people weren’t happy. Never mind that it isn’t even out yet, hence it could change yet again, Peach’s facial expressions as both her neutral self and her ninja self are more assertive. No longer is she shown as stereotypical and glassy-eyed, she has a smirk now. Her hairline’s also changed.

As expected, segments of the online world lost their minds, with tons of people complaining. How dare Nintendo alter Peach’s smile? Why does she have to be angry? Why can’t those woke SJWs leave everything-I’m sorry, I can’t finish that last sentence sincerely. Let’s leave it at Peach’s redesign ruffling feathers for now.

I don’t get it. Yes, Princess Peach has a redesign. And yes, it looks similar to that of the Illumination movie. But no, I don’t think it’s an issue. If anything, I welcome it! I wish it’d been made earlier!

I’ve never understood why Princess Peach’s face looked stereotypically girly. I know she’s a princess, and that she’s feminine, but her eyes and lips have always looked fake. She’s always been an idea of a woman, as opposed to believable one. Think Disney’s CGI princess face, but worse. It’s creepy.

I like this redesign. Having nothing else on the box art updated makes it stick out, but it’s nice to have a Nintendo princess and be life-like. It’s been decades since Peach’s introduction, and she’s long-overdue for a redesign. Besides, it suits her. Who wouldn’t expect a fighter to have this face? She looks like she’s having fun!

There’s a longstanding issue of sexism with female protagonists. It’s something Barbie called attention to: women are expected to conform to unrealistic and contradictory expectations, and they’re criticized when they don’t meet them. We saw this with the “Princess Peach is a girlboss now!” nonsense when her movie portrayal was first shown, and we’re seeing it again with her video game redesign. It’s tiring.

Some people have even compared her redesign to Princess Daisy. Daisy, for those unaware, is spunky, a complete foil to Peach. I can see that somewhat, but I don’t agree that it fits this particular redesign. Daisy’s not only spunky, she’s unhinged. Like Luigi re: Mario, Daisy’s always been the erratic firecracker. Peach, in contrast, is restrained, and while she’s been more assertive lately, she’s never been off-the-walls like Daisy. Her new design doesn’t convince me of that.

What confuses me is that I never see this critique for Mario. Mario’s allowed emotions. He can be redesigned and reinterpreted to fit the current zeitgeist. He can be conventional, and he can be unhinged, sometimes simultaneously. But Peach? Peach isn’t allowed to deviate from the archetype she’s been fashioned into. God forbid!

Here’s where I wonder if the complaints about Peach’s redesign are less about tradition than control. Yes, the box art could’ve been better executed. I, personally, think she has lower bangs now to compensate for her eyes being awkward without them, and I wish her sword and baking personas were consistent with that. But that’s nitpicking, and-let’s be clear-it doesn’t matter in the long run. The gameplay does.

In the end, this is another dumb controversy that deserves to be buried. Remember, Princess Peach: Showtime! isn’t out yet. The game could be amazing, and it could be atrocious. We don’t really know enough to judge it yet. But if Peach’s redesigned face is enough to cause outrage for insecure internet personas, then we have little to worry about. Because what does it really say when the subject of controversy is whether or not a fictional princess is smirking while stabbing her enemies to death?

Playing Petty Politics

(Warning: The following piece contains uncomfortable content. Read at your own risk.)

This is Mia Khalifa.

Mia Khalifa, until recently, had a cushy job as both an OnlyFans actress and an Instagram influencer. Born in Lebanon, she made a name for herself by being as provocative as alluring. She also quickly racked up controversies that propelled her into the spotlight. And now, as quickly as her rise to fame, she’s squandered her reputation. Life’s funny like that, huh?

This past while has been tense for Jews globally. Beginning on Simchat Torah, exactly 50 years to the day of The Yom Kippur War, Hamas and Hezbollah infiltrated Israel and began abducting, raping and beheading civilians in large numbers. To date, over 1000 Israelis have been murdered, with even more badly injured or missing. In response, the Israeli government declared war on Gaza, firing missiles at proposed terrorist sites and levelling the strip to rubble. It’s scary and frustrating.

Personally, this has been really trying. Ignoring how depressing Simchat Torah was, especially since I didn’t have access to any news feeds, the aftermath has made my anxiety skyrocket. It didn’t help that social media was abuzz with misinformation and ignorance, with public figures, like Mark Hamill and Tara Strong, being scrutinized for expressing concern for Israel. And then there’s Mia Khalifa, whose behaviour was a whole other beast.

Khalifa’s made her political beliefs known many times. This itself isn’t an issue, she’s allowed, but many of her stances have provoked people without cause. Whether it was criticizing Caitlyn Jenner’s transition with the N-word, or calling Gal Gadot “Genocide Barbie” for being Israeli, Khalifa’s a known troublemaker. And now that’s cost her job.

On October 7th, right as the invasion of Israel began, Khalifa Tweeted:

“Can someone please tell the freedom fighters in Palestine to flip their phones and film horizontal?”

This wasn’t her only statement, but it was enough for her employer to drop her after calling her out. It’s easy to see why: despite referencing Horizon Mode on phones, which makes it easier to film something, Khalifa’s statement was tone-deaf. Since she represents a larger organization, regardless of whether or not she wants to, it’s reasonable to assume her statement would land her in trouble. It’s a decision I agree with, honestly.

That said, I also think the reactions online were inappropriate. On one hand, Khalifa’s not innocent. There’s no conspiracy against her, her life wasn’t threatened, and she’s not a martyr. Like actress Gina Carano, Khalifa had a cushy career and lifestyle that I envy. She had it made, and she threw it away because she lacked tact. If anything, she should’ve been fired three or four controversies ago.

On the other hand, people shaming her profession aren’t helping. Yes, Mia Khalifa was a porn actress. But so what? Sex work is work, and unlike most service industries it pays quite well. It also has job security, something many service jobs lack. And while it can be dangerous, for many reasons, it’s no-less valid.

Besides, sex workers aren’t inherently unintelligent. They enter the field for many reasons, and some do it as a side-hustle to pay bills or complete post-secondary/graduate school. Some even have PhDs! But above everything, sex workers often have interesting lives by the sheer nature of their clients.

The amount of sex shaming and misogyny that’s stemmed from Mia’s remarks is quite concerning. I get it, it’s easy to look down on her job. It’s “dirty” and “lesser”, and there’s still a heavy stigma surrounding the occupation. But while understandable on some level, there’s no excuse for it. Nor is it fair to mock her over it.

And yet, that’s exactly what’s happening, with detractors piling on her not because of her politics, but rather her occupation. It’s upsetting, as it both detracts from her lack of remorse, and ignores plenty of sex workers who aren’t nearly as tactless as her over sensitive political matters. You want to criticize her as a person? Go ahead, she’s not exactly making that difficult. But do it with tact, not with disdain.

On that note, I’d like to address the complaint that Khalifa’s boss, Todd Shapiro, fired her “because he’s Jewish”. Firstly, plenty of people in the industry aren’t Jewish, and they hold far more power than him. And secondly, so what? Shapiro’s decision to fire her was a PR move, as she was a loose cannon that was hurting the company’s reputation. If Shapiro had the influence people claim, he’d have fired her a long time ago.

I get that The Israeli-Palestinian Conflict brings out intense emotions in people. I’m not immune to that, as I’m sure you’re aware. But this isn’t merely a skirmish between states. This was an unprovoked attack with civilian casualties. I don’t care if you think Israel’s a demonic country, civilians don’t deserve to suffer because of it. Besides, Hamas and Hezbollah are designated terrorist organizations! What good comes from glorifying them like that?

...In One Piece

I’ve long been on the fence with the One Piece franchise. Ignoring the Manga, the 4Kids dub had its moments, yet, save the intro, didn’t do it for me. Even with FUNimation re-dubbing the show, its refusal to finish was a turn-off. The filler arcs didn’t help, either. Because how long can you pad a story?

I mention this because One Piece is now a Netflix series. And unlike Cowboy Bebop, it’s been well-received. The anime-to-live-action “curse” has been broken by a series that shouldn’t have smoothly translated. It should also be up my alley! So why am I hesitant still?

Let’s first address the elephant in the room. I shouldn’t be against a never-ending series in theory. I’m an MCU fan! Like I said before, serialized storytelling’s designed to not end. It thrives on adding to what came before it, expanding the lore for future instalments. But here’s the difference: The MCU doesn’t require you to get “caught up”. The key is being able to enjoy serialization without seeing previous instalments. Even adamant fans of One Piece can’t attest to that.

Also, The MCU has actual endings. They’re not conventional, but there are arcs and mini-stories. The Ant-Man movies, for example, are a trilogy, the Captain America movies are a trilogy, the list goes on. Even within individual entries, they’re complete enough that watching the next entry’s optional. Once again, I doubt One Piece can attest to that.

The real issue, I think, is the filler arcs. Not filler episodes, which I don’t mind, whole arcs. Some of my favourite shows have plenty of the former, since they establish characters or build the world. Even in a worst-case scenario, where it wastes my time, I can forgive it if the rest of the show compensates qualitatively. Because it’s a one-off.

One Piece has whole arcs dedicated to filler. The one I hear about most is The Skypiea Arc. It’s 43 episodes, and it’s a side-story. 43 episodes is already the length of some series, and they usually go somewhere significant. But One Piece, being a Toei show, uses that as a way to let the Manga catch up. And said Manga’s been running since the 90’s.

It's frustrating because what little I’ve seen of the show’s excited me. Luffy’s mentor sacrificing his arm to save him from death? Sanji giving pirate criminals who are starving food because he has a code of ethics? Luffy’s brother dying in his arms? That’s all compelling drama, and the show takes full-advantage.

Even the main premise is captivating! A famed pirate announcing that he’s left his inheritance in a single treasure before he’s beheaded? That’s a literal MacGuffin chase story! It not only fits the pirate-exploration theme, it’s a great way to feel engaged. Who doesn’t want to know what this mysterious “one piece” is?

So why not keep the eye on the prize? Why bog down the story with side-quests that end up going nowhere? I understand that the creator of One Piece, Eiichiro Oda, is really invested in world-building, and that dragging stories out is a Toei trademark, but at 1093 Chapters and 1077 Episodes currently, you’d think the main goal, finding the treasure of Gold Roger, wouldn’t be important. Or, if it is, it’d either have been found multiple times, or be a wild goose chase. And yet, we’re supposed to care?

I haven’t even discussed the Netflix series yet. Despite translating this to live-action not being something I approve of, I’d be willing to give it a chance because it’s been around for long enough that a live-action redo can encapsulate the fervour while distilling the essence. There’s no need for all the unnecessary filler, something made easier by Netflix restricting seasons to a few episodes. It’s a great way to get someone like me invested, although there’s a high chance of cancelation without warning.

But why am I hesitant? I know it’s excellent, and I can tell everyone involved cared. What’s making me so uncertain? I’ve binged less-interesting stuff on Netflix, including Cowboy Bebop. Why the cold feet?

I think it’s the time commitment. I currently have two part-time jobs, and I’m pretty busy when I’m not working. Additionally, One Piece isn’t something I have a previous attachment with. It’s not like Cowboy Bebop, where the anime’s one of my all-time favourites. This is something I have passing knowledge about, have seen bits-and-pieces of, yet never really got attached to. If I have cold feet, it’s because I have nothing to compare it to.

I’m also not the most-adventurous consumer. I don’t like stepping out of my comfort zone, and new stuff scares me. Perhaps it’s childish, but a part of me feels like I’m protesting in silence. It doesn’t matter if Netflix bypassed my biggest concerns, I’m reluctant to try it. That’s what this boils down to.

Perhaps that’s silly. Perhaps it’s ignorant. Perhaps I’m so closed-minded about this show that it’ll make those reading this feel gross. Perhaps I’m also overthinking this. Perhaps this is all true.

But perhaps that’s also not unrealistic? I’m not being held at gunpoint, even if only figuratively, so the stakes are low. Nevertheless, Netflix’s releasing schedule means I’d be late to the party, as the show’s been out for a while. And while that shouldn’t stop me, as I started watching Stranger Things late too, a part of me feels like the ship has sailed. (Excuse the pun.)

Nevertheless, I should probably give it a shot. After all, the first season’s available, and there’s no harm in watching it, so…