Hank Azaria will no longer be voicing Apu.
Apu is no more, or, at the very least, the Apu we knew is gone.
Ever since Hari Kondabolu's 2017 documentary, The Problem With Apu, the iconic Kwik-E-Mart owner has been widely viewed as a source of controversy. Kondabolu's documentary explores the culture surrounding Apu, the Indian immigrant stereotypes Apu enforced, and the effect it had on the children of Indian immigrants who grew up in the '90s and 2000s. On one hand, Apu was arguably "representation" for Indian immigrants at a time when there were no other Indian characters on TV. But on the other, Apu's stereotypical manner of speaking and catch phrases like, "Thank you, come again!" became a common source of ridicule for Indian people in the real world.
"I think particularly right now, people feel so aggrieved and crazed and powerless that they're picking the wrong battles," said Simpsons creator Matt Groening at the time. "I am sorry that The Simpsons would be criticized for having an Indian character that, because of our extraordinary popularity — I expected other people to do it. I go, maybe he's a problem, but who's better? Who's a better Indian animated character in the last 30 years?"
To Groening's point, even in 2020, there are very few Indian faces on American TV. But for Azaria, the diversity provided by Apu didn't necessarily make up for the real pain that the character caused so many young Indian-Americans.
"The idea that anybody, young or old, past or present, was bullied or teased or worse based on the character of Apu on The Simpsons, the voice or any other tropes of the character is distressing," said Azaria shortly after watching. "And especially in post-9/11 America, the idea that anybody was marginalized based on it or had a hard time was very upsetting to me personally and professionally."
Azaria immediately called for more South Asian representation in The Simpsons' writing room, but now, after 30 years of being the white voice actor behind the best known Indian character on American television, Hank Azaria has officially decided to step down from the role.
"Once I realized that that was the way this character was thought of, I just didn't want to participate in it anymore," Azaria recently told the New York Times. "It just didn't feel right." However, he admitted being hesitant to give up the character. "I didn't want to knee-jerk drop it if I didn't feel that was right, nor did I want to stubbornly keep doing it if that wasn't right," he said. "But then I started thinking, if that character were the only representation of Jewish people in American culture for 20 years, which was the case with Apu, I might not love that."
"What happened with this character is a window into an important issue," Azaria said. "It's a good way to start the conversation. I can be accountable and try to make up for it as best I can."
Of course, that doesn't mean that Apu is actually gone. "Apu is beloved worldwide," said The Simpsons executive producersexecutive producers in a statement confirming Azaria's departure from the character. "We love him too. Stay tuned."
So what does the future hold for Apu? Can a character largely based on cultural stereotypes survive in the media landscape of 2020, or has Apu already failed the test of time? After all, times change, and culture changes, too. Things that were largely considered "okay" in 2019 can no longer hold up when we factor in the voices of non-white people who grew up experiencing the repercussions. But change is a good thing. That's how humanity grows and advances. Maybe Apu can grow and advance, too, with an Indian voice actor and Indian writers leading the way.
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Breaking down the bias of comfort films.
With the constant onslaught of complicated news that 2020 has brought, sometimes you just want to be able to shut off your brain, relax, and feel happy.
Enter comfort films. These are the feel-good movies that feel like a warm hug when you finish them, the ones that allow you to escape for a short while. We often turn to these types of films in times of trouble or extreme stress, and when we're not sure what films of this nature we should watch, we turn to the Internet for options.
Rivera's "Glee" character was not just important, she was groundbreaking.
As a young queer girl growing up in the south, I was lucky that my parents weren't homophobes.
My parents believed that people were sometimes born gay, and while they wouldn't "wish that harder life" on their children, they certainly made me and my sister believe that gay people were just as worthy of love as anyone else. I was lucky.
Still, in my relatively sheltered world of Northern Virginia (a rich suburb near Washington D.C.), homophobia wasn't as blatant as hate crimes or shouted slurs, but it was generally accepted that being straight was, simply, better.
In high school, it wasn't uncommon to use "gay" as an insult or for girls to tease each other about being "lez." While many of us, if asked, would have said we were in support of gay marriage and loved The Ellen Show, being gay remained an undesirable affliction.
Even more insidious, I was instilled with the belief—by my church and my peers—that if gay and lesbian people could be straight, they would. But since they were simply incapable of attraction to the opposite sex or fitting into traditional gender roles, we should accept them as they are as an act of mercy. At the time, this kind of pity seemed progressive and noble. Those in my close circle of family and friends weren't openly dismissive or condemning of gay people, but we saw homosexuality as a clear predisposition with no gray areas.
Specifically: Gay men talked with a lilt, giggled femininely, and were interested in things that weren't traditionally "masculine." Meanwhile, gay women dressed like men, had no interest in makeup or other traditionally female interests, and probably had masculine bodies and features. In my mind, before someone came out as gay, they did everything in their power to "try to be straight" but were eventually forced to confront the difficult reality that they felt no attraction at all to the opposite sex. I viewed homosexuality not as a spectrum, but as a black and white biological predisposition that meant you were thoroughly, completely, and pitiably gay.
As a child, when I began to experience stirrings of attraction for other girls, I would reassure myself that not only had I definitely felt attraction for men in the past, but I also liked being pretty. I was a tomboy as a child, sure, but as I got older I recognized that my value was increased in the eyes of society if I tried to be a pretty girl. As it turned out, I even liked putting on clothes that made me feel good, I liked applying makeup, and I liked some traditionally "feminine" things. In my mind, this meant that I couldn't be gay, because gay women didn't like "girl" stuff.
As a teenager, I began to learn more about the difference between gender and sexuality, and the fluidity of both. I began to let myself feel some of the long-suppressed feelings of queer desire I still harbored.
Still, in the back of my mind, the instilled certainty of sexuality as an extremely rigid thing sometimes kept me up at night. What if I was gay? Would I have to change the way I looked? Would I have to give up some of the things I liked? In my mind, being gay meant your sexuality was your whole identity, and everything else about you disappeared beneath the weight of it.
But then, Santana came out as gay on Glee.
GLEE - The Santana 'Coming Out Scene' www.youtube.com
If you didn't watch Glee, than you might not know the importance of Naya Rivera's character to so many queer young women like myself. Santana was beautiful, she was popular, she had dated boys, she was feminine, she was sexy, and she was gay. There's even evidence that Santana had previously enjoyed relationships with men.
But the character came out anyways, not because she had to or because it was obvious to everyone around her that she was gay, but because her attraction to women was an aspect of her identity she was proud of. It wasn't an unfortunate reality she simply had to make the best of; it was an exciting, beautiful, aspect of her identity worth celebrating.
Before Santana, it had never really come home for me that being gay wasn't an entire identity—that it wasn't an affliction or disorder, but just another part of a person. She also didn't suddenly start wearing flannels or cutting her hair after coming out. She was the same feminine person she had always been. I had never realized that being a gay woman didn't have to look a certain way. Santana and Brittany's gay storyline showed two femme-presenting women in love, and for me, that was a revolution.
If it wasn't for Naya Rivera, we may never have had that important story line.
"It's up to writers, but I would love to represent [the LGBTQ community] because we know that there are tons of people who experience something like that and it's not comical for them in their lives," Rivera told E! News in 2011. "So I hope that maybe we can shed some light on that."
While Rivera herself wasn't gay (the importance of casting gay actors in gay roles is a separate conversation), she understood how important her character was to the queer community. "There are very few ethnic LGBT characters on television, so I am honored to represent them," Rivera told Latina magazine in 2013. "I love supporting this cause, but it's a big responsibility, and sometimes it's a lot of pressure on me."
Rivera wasn't just a supporter of the LGBTQ+ community on screen. In 2017, she wrote a "Love Letter to the LGBTQ Community" for Billboard's Pride Month. In it, she wrote, "We are all put on this earth to be a service to others and I am grateful that for some, my Cheerios ponytail and sassy sashays may have given a little light to someone somewhere, who may have needed it. To everyone whose heartfelt stories I have heard, or read I thank you for truly enriching my life."
Now, as we mourn the loss of Naya Rivera, at least we can take comfort in knowing that her legacy will live on—that the light her Cheerios ponytail and sassy sashays gave us won't go out any time soon.
Excuse me, I have to go weep-sing-along to Rivera's cover of landslide now.
Glee - Landslide (Full Performance + Scene) 2x15 youtu.be
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