Her article is kind of ridiculous because if she is such an insider," How come no one has ever heard of her as an actress? How come all of her work is theater work?She is not an insider. She is a part of Lodestone which does theater and plays. Who says that she is a Hollywood insider?God this is ridiculous!!!! She's just an uncle tom sent to answer that writer Jonathan Chang and other Asian Americans who are now attacking Hollywoods system of ferreting out minorities except for established minority actors.This woman is the biggest braggart of all time. Read her bio-- credits on NY PD Blue,credit after credit after credit-- well that means no speaking parts.Is her article perhaps biographical? Is she talking about herself when she says that there just aren't enough talented AA actors and actresses or is she living proof that there is bias?How come she is a Hollywood insider despite doing play after play and no speaking roles but only credits in Hollywood? Wow, that really is a good example of Hollywood hype!!One other thing, I think that the Hollywood establishment sent her specifically because of Asians American activists and the factthat things are just beginning to turn around for our community. They sent her to sabotage our progress. Her article is a joke!T.H.

She's either a shill or just blind.I mean, here's someone from our community telling us that we're not being oppressed, and that our lack of positive representation is our own fault.She claims there's no great white agenda to keep us down...If there's no agenda, then why did they create Asian stereotypes, and why do they keep replaying them over and over? Why do roles played by Asians almost always end up being either insignificant, negative, or grossly weird and bizarre?Fortunately, ms. quill's ridiculous insights will not deceive the millions of Asians that grew up in the United States who have witnessed years and years of tv and movies mocking them.

Did people actually read the whole article to the end? I thought she had some very good points, especially the whole part about supporting the arts from the ground up, ie developing a demand doesn't come from writing to studio heads demanding roles, it comes from supporting local theater and independent film. The truth about performance professionals is that most of the people who can live doing it alone aren't making millions- they are doing regional theater, playing weekly nightclub/bar gigs, getting photographed in whatever's on sale at Target that week so they can get a check to pay the bills. That's true regardless of ethnicity. And it's true, the fact that entertainers had a status close to slaves in some Asian cultures (as referenced in the movie "Farewell, My Concubine" among others) doesn't help when we tell our families that is what we want to do with our lives. Is there any performer, artist, creative type out there whose parents said, "yeah, pursue that, don't worry if you'll be able to support us in our old age"? Making enough as an entertainer to be able to support a family is unlikely for anyone so of course cultures which place the well-being of the group before that of the individual (ie most Asian cultures) is going to frown on that. I don't think she was saying that's necessarily right, but it is something hopefull Asian American performers have to deal with more than their counterparts of other ethnicities. Regarding stereotypes, while I certainly agree that they get rotation long past their relevence, I don't think it's fair to say that they were created entirely by a non-Asian media. A recent example, of course, is William Hung- that dude wasn't fabricated in Hollywood but yeah, he's a really awkward, nerdy engineering student and that's the way he sings. Like it or not, he is Asian American. I definitely think he lasted as long as he did because he was safely an Other, so don't go thinking I want more of him on TV- I'm just making a point that there is some truth to the stereotypes- the real progress comes from exploring the complexities everywhere (because white stereotypes make for boring cinema as well).

Seng, i read the entire article and I agree - she does have some good points. the most powerful tool in 'negotiating' a better deal with any 'opposition' is showing that opposition that you don't HAVE to deal with them. Show them you have options and will use them. Supporting the arts on a local level will help to create both a demand and encourage a supply of artists. To the extent those local 'markets' are self-sustaining, the 'big dogs' will be forced to deal with you straight.Oh, T. H., what is with 'she's an uncle tom'. I mean 'Uncle Tom'??? seriously, man. what are you trying to say?