There is indeed a scene in which three of its cast members meet to talk about a recent occurrence during a soup shopping in such a Chinese medicine store for just a couple of episodes from the new television show, Bling Empire. When they function through bunches of horses, ginseng and sea cucumbers, they begin to exchange jabs on expenditure and relationship status.
This is the ideal East-meets-West for just a show-fighting event before a $15000 dried fish maw can be found in a single one (a type of fish bladder believed to be good for the skin). Suddenly it switches from because he didn’t suggest what kind of typical broth he should make with a fish maw to his pregnant girlfriend. That was Bling Empire: not only does it offer tea but also serves a full meal.
The show follows loosely the opulent lives of its Asian friends in Los Angeles who meet to play the cock and party as well as shop as a reality-TV version of Crazy Rich Asians. In this casting is the son of an immovable magnate throughout Singapore, the daughter of its Chinese tech billionaire, the cosmetic surgeon and his glamorous spouse of Beverly Hills, as well as the half-Russian as well as half-Japanese daughter of a supposed arms dealer.
The show takes place over a total of eight episodes, tracking casts from jet-sets into Paris and from Vegas to luxurious dinner and spa days in Beverly Hills, Malibu and Calabasas in such a multimillion-dollar manor house. The very first episode begins with a lavish Chinese New Year banquet, intended to shut off an entire portion of its Rodeo Drive, which concludes a few nights later in a big company affair, where only a discussion over plans for the seating and splitting donations shows the first fissures between frenemies.
Whenever it comes to flash & fancy, this series was made by Jeff Jenkins, the person responsible for showings, including Keeping Up with the Kardashians, Simple Life & Mariah’s World. It is no wonder that the Bling Empire would be against all other programs of its reality-TV landscape. The seasoned showrunner believes that the objective would be to select a circle of friends that we’re able to catch the same Crazy Rich Asian magic, but also for the tiny display.
Jenkins, who recruited Philippine-American showcase Brandon Panaligan for managing production, has installed Asian managers throughout every creation, from marketing to post-production. “I believe that every manufacturer has seen the film and thought ‘Wow, that would be an extraordinary realism display,’ The director also has at least two cast representatives and “more than 30 per cent” from the staff of Netflix who served in Bling Empire is Asian. Jenkins is not only Asian but Asian. “I realize I am just ‘a white man’,” Jenkins states, “and even at the very start of this, I realized that behind the camera, there must also be Asian-American talents.”
While Netflix does not disclose the exact number of streams since its premiere in mid-January, Bling empire has been one of the ten best-seen streamers, with viewers loudly praising his Asian cast and his surprisingly complex, even if shallow, stories.
Nevertheless, in a period when demands for inclusion and representation haven’t been stronger – or more important – does the Bling Empire really mean the Asian story to concentrate on? How about thousands of Asian healthcare workers and physicians in the battle against Covid losing their lives? Or are Michelle Steel, Marilyn Strickland and Young Kim, the three first Korean-American female members newly elected to the House of Representatives, Kim & Steel from California, as well as Strickland in Washington? Their history is strong but largely overlooked, their inspiring acts unannounced. The question is whether the correct method to highlight the diversity onscreen is a truth series regarding wealthy Asians comparing blinged “promise rings” and private jet etiquette. The response is not clear, yes or no. The gaps between representations and fact remain as grey as always after a year of racial counts in the US.
A self-professed fan of ‘from over top, opulent and uncomplicated reality TV shows,’ Adrian De Leon, PhD, Assistant Professor of American Studies and Ethnicity, University of Süd California. De Leon said how you react to a display such as Bling Empire relies on your view. “I’ve grown up with Surreal Life, Taste of Love and Survivor and I’ve been able to witness shows such as Selling Sunset and yes, Bling Empire.” “The sales pitch must always attract a ‘wide market,’ as all pop culture productions do. And every time the abstract speaks of this market and this broadness, they were almost always believed to be white and medium.”
The issue,” describes De Leon, “not the untold Asian story, but that Asian people, as well as other minority people in the US, have been pushed into so many stories through white people. Any tale which does not match that mould is still on the stick’s short end.”
This is a feeling of its Rich Kids from Beverly Hills, expressed by Dorothy Wang, another of Asia’s leading real-time televisions cast members. Wang says that, in general, she was pleased by her camera image, but she also made sure that she didn’t make her “Asian-ness” an image point. Wang says she seemed happy. Nevertheless, her race and culture have naturally been involved.
“I recall some experiments about Season Two and Season Three and they discovered that audiences liked ‘Chinese Dorothy'”, remembers Wang. “There was therefore a great emphasis on attempting to grab me performing ‘Chinese things.’ Whenever I spoke Mandarin with my parents on my device, I recall that instantly all cameras were zooming on to me. We’d meet what other “Chinese stuff” we might include in my fiction. I had to teach all the white producers about what ‘Chinese things’ felt real to me, which is a bit of a good and delightful thing but it was also a bit of a bit unfortunate that there had been no diversity within our product team.”
Ping Hue, as just a member of the cast of its 2018 E! Documentary Model Team, is yet another vet of Asia reality-TV, following a community of models throughout the process of navigating rides and castings in New York. Hue, who’d been raised in New York to the Chinese parents, said, “That it was a rare chance to portray Asian Americans on mainstream TV that really seemed so essential to Me.
However, Hue acknowledges that even at times, the feeling “feels sheltered,” which she states is “quite often the norm whereby my ethnicity is my defining characteristic or even the principal reason why I live.” Since she was “so distinct from my cast members physically,” she continued, “I came out clearly and particularly whenever I spoke since I always had different perspectives and opinions.”
As manufacturers put Hue on a blind date, the model remembers the feeling that it’s “ethnicity has been fetishized” and “further exaggerating the Asian entertainmentstereotype.” On some other shot, a white model professes to sound as outsiders in Hue’s battles since she “works in an another country each month for two years”. She says that she recognizes it. The talk seems to be played for fun because as credits go rolling.
While her scripting was dubious, Hue said she was still fond of her experience of real-life TV and was thankful for the opportunity to always be something of a popular program. ‘Looking at our supposed invisibility, people subconsciously internalize Asian faces’ weakness throughout the material they watch or even in the box that we are subjected to at the workplace and around the globe,’ she states. “I had to be underrepresented. So all of a sudden, the freedom to be a true, triple individual while doing great work was in there, whereas appealing to culture. I said, therefore, ‘Yes, where else do I sign?'”
Wang summarizes her experience with reality-TV likewise. “I think that any additional exposure in Hollywoodfor Asia and inclusion are wonderful,” she states. “Even though I am not your preferred aesthetic or even what you consider is really the ‘best representation’ I also said about myself, it has at least an Asian face out there.”
It is also the well-known refrain that having any form is better than getting no form. But De Leon warns against this logic too easily. “I’m tired of being onscreen if that doesn’t bring in a move offscreen,” he states. “White viewers write large-scale and so-called diverse tales, since white creators and artists believe that people like them are default cultural consumers.” The words of Zora Neale Hurston, “All my peoples are not familiar,” adds De Leon, “any tale which has deliberately been created for white viewers for me, no wonder the variety, could ever be a story I’m seeing on screen.”
When Christine Quinn has been the breakout star of Selling Sunset, Christine Chiu is BE the tour de force. Netflix has been giddily referred to it in its Bling Empire promotional campaign. The spouse of even a wealthy plastic surgeon of Beverly Hills – a prolific philanthropist and entrepreneur in her own right – Chiu is both ardent and frail, mostly on show, dissolving in diamonds and Dior for one shot while breaking up in some other doctor’s office.
The American-Taiwanese said she is confident of how well the show depicts casts, noting that fashionand fighting are only a front for deeper talks. “I think it keeps [the audience] in the heart and laughter while the show leads with glitz and glamour, perhaps the clickbait or hook,” said Chiu, really a series producer. “Well, as you’ll see in the show, I have spent a couple of hits and definitely modified my character so that it generates additional entertainment factor. However, for a greater reason, it was both a necessary evil as well as a fun and wilderness adventure. I hope to highlight additional voices & face to that same pop culture debate in America, which reflect Asian morals, beliefs, viewpoints, and customs.
Even seeing spoken Asian sounds like Chiu’s onscreen is indeed a change in Asian women’s stereotypically silent and relaxed experience; Chiu’s perception easily bounces. “As you note, an open dialogue in Asian cultures is not really a normal occurrence,” she states, rejecting critics that her unfiltered personality is indeed a negative idea. “I feel that, since Asians are private individuals, the mere fact we opened up and shared very private, intimate issues already breaks stereotypes.” ”
Cherie Chan, launched as a Hong Kong-born heiress by a Chinese maker of denim, is among the most unexpected discoveries throughout the Bling Empire. The story of Chan follows the new parent moaning about her own mother’s sudden loss while getting ready to welcome her second child with her devoted long-term friend. She seeks to see clearness first through conventional Buddhist meditation, then through a reading with celebrity clairvoyant Tyler Henry. Her travel reaches many common Asian troops – honour, faith, family – but she also exposes sometimes secret troops, as Chan openly spoke of its stigmas of the unwedded mother of two and asks if her mother had reincarnated or actually left the world for good.
Bling Empire often helps to launch new discussions about the Asians as well as the stories which they can tell. The cast covers people from China, Singapore, Korea, Taiwan, Japan, the Philippines, and Vietnam as well as Panaligan notes that producers are very concerned about the cultural traditions and stories that are intrinsic to each region. Panaligan said, producers. In one episode, Chan was preparing a popularly known Chinese after-Partum soup made with pork legs, ginger, and vinegar, whereas the Singapore-born Kane Lim explained the virtues of singing and meditation in his Buddhist faith.
De Leon always hopes that the popularity of the show will encourage more colourful people to speak about their stories. “The filmmakers, artists, producers, writers, noisy fans, and allies to many other color groups must be the ones who try to create their own narratives and films,” he said. “We must not encourage more diverse narratives and reward the competences which are given by the pathetic slivers. The issue is not so much a variety of realistic depictions but the space to be imaginative only to our own creators.”