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Chrissy Teigen Wrote a Beautiful Note About What *Crazy Rich Asians* Means for Her Daughter


After seeing Crazy Rich Asians with her daughter (Luna) and husband (John Legend) over the weekend, Chrissy Teigen took to Instagram and explained why the movie was so important for her family.

“You never know how much you miss being represented on screen until you actually see what it’s like to be represented,” she wrote in the caption, picking out specific moments of resonance, like seeing Luna call Constance Wu’s character’s mom “yāy,” or ‘grandma’ in Thai, because she looked like her own yāy. The model also wrote about how great it was to see that representation manifest with a wide range of different characters and themes, from sacrifice and hardships in the table scene to over-the-top spectacle in the party and wedding scenes, “just like any other great movie.”

Also included were cute photos of Luna and Teigen looking up at the poster, Luna and Legend watching the movie, and a video of the dad/daughter pair dancing over the closing credits at the end.

The importance of representation in Crazy Rich Asians has been pretty much woven into the movie from the start. Kevin Kwan, the author of the original novel, optioned the movie rights for $1 so that Hollywood wouldn’t whitewash it. And earlier this month, Constance Wu published a statement on Twitter about how significant it is that Crazy Rich Asians is a romantic comedy that “not only centers [on] an Asian-American story,” but fills it with a “talented, dynamic, unique all-Asian cast.” Its impact has already been felt at the box office: In just four days, it made $34 million and became the top-grossing film on its opening weekend.

You can read Teigen’s full caption below:

What can I really say about this movie that hasn’t been said byabsolutely everyone who has seen it. I’ve been excited to see thissince production was announced but I could have never imagined howwonderful it would be. I planned on seeing it, making a few jokesabout how it checked all the boxes for me (CRAZY ☑️ RICH ☑️ ASIAN ☑️)but the feeling I got during the credits, watching John dance with mylittle black asian mashup baby bear luna tunes, was a feeling Ihaven’t had at the end of any other movies.

Luna, aside from being blown away by the general movie-goingexperience (yep she’s 13 now, time flies) looked up at @constancewu’smother and yelled “yāy!” (“Grandma” in thai) because she saw someonewho looked like her yāy. Someone beautiful and aspirational. It wassomething that simple that made my heart just…warm. That made mehappy. It made me happy to see this over the top story done from somany angles, some I could totally understand because of my ownconfusing Asian American upbringing. I loved it all, from the quietermoments of talking around the table of sacrifice and past hardships tothe spectacle of the bachelor party. Finding that I could cry watchingthe most over the top aisle walk on the planet.

You never know how much you miss being represented on screen untilyou actually see what it’s like to be represented. And represented byall different types of characters with all different types ofpersonalities, just like any other great movie.

Also aside from all that, it’s just colorful, fun and big as f*ck.

God I love a rom com. God I loved it all. Thank you guys for makingthis movie.

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The *Crazy Rich Asians* Engagement Ring Has a Sweet Backstory


If you came out of Crazy Rich Asians with quite a few pieces of wedding inspo, you can at least partially thank Michelle Yeoh. Turns out, the second (gorgeous, emerald) ring that Nick (Henry Golding) proposes to Rachel (Constance Wu) with, which comes from his mom, Yeoh’s character Eleanor, actually belongs to the actress in real life. Director Jon M. Chu spilled the beans to Vulture in a piece published on Thursday (August 24).

“We had a ring designed already, and our mock-up looked so sh*tty that Michelle [Yeoh] was like, ‘That cannot be the ring I wear,’” Chu told Vulture. “I’m like, ‘I know, I know. I’m so embarrassed by it, but we don’t have the money.’ She’s like, ‘I have a better ring than that.’”

As Chu told Vulture, Yeoh then had her assistant fetch her jewelry box, whereupon she revealed a gorgeous emerald-and-diamond number she’d originally bought as a gift to herself (!). “She pulls it out, and I was like, ‘Oh my gosh, that’s our ring,’” Chu said in the interview.

PHOTO: ANGELA WEISS/Getty Images

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PHOTO: Sanja Bucko/Warner Bros.

As for other details you can steal for your own wedding, the stunning pastel blue gown that Rachel wears to Colin (Chris Pang) and Araminta’s (Sonoya Mizuno) wedding is made by Marchesa. Meanwhile, the wedding dress itself was actually a Mary Vogt–designed jumpsuit that came complete with a 10-foot train, “thousands” of Swarovski crystals, and “waterproof material.”

And for the part where Araminta walked on water as she came down the aisle, production designer Nelson Coates says he used a “flower-lined water aisle, constructed in truck-able segments, and somehow waterproofed during the fast installation.” Here are a few more details, in case you don’t have a crazy rich budget and want to do it yourself: Coates told Brides that he laminated the waterproofed marine plywood aisle with a reflective fabric, lined it with orchids, bromeliads, and ferns, and hid water jets among the plants to adjust the volume and direction of water. Happy crafting!

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This Singer Auditioned for Crazy Rich Asians Through YouTube—and Got a Role


Back in December 2016, director Jon M. Chu and Warner Bros. put out a worldwide casting call for a little movie you may have heard of: Crazy Rich Asians. Hopefuls were asked to upload two-minute audition videos to Facebook, YouTube, or Twitter using the hashtag #CrazyRichAsiansCasting for a chance to be considered for an acting or creative role.

Naturally, the casting call went viral across the world, and thousands swarmed social media with their audition tapes. Though the lead roles ultimately went to stars with more clout and credits—including Constance Wu and Awkwafina—a few spots were given to Asian and Asian American actors and artists who applied. One of them was Cheryl Koh, a student at University of Southern California at the time.

Known as Cheryl K on YouTube, Koh made an impression with her audition, a belting rendition of Jessie J’s “Mamma Knows Best.” “I almost was going to take it down,” Koh says of her audition tape. “But I thought, whatever happens, happens.”

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A year after uploading the tape, she was chosen to sing “Money (That’s What I Want)” for the opening and ending credits of Crazy Rich Asians. Chu asked Koh to put a spin on the song, which was originally recorded by Barrett Strong and famously covered by The Beatles, by singing both Mandarin and English verses.

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Of course, the rest is history: The film’s number one at the box office, and a sequel is already in the works. Now, Koh’s looking for an agent, publicist, and record label to keep up with the demand for her work. Here, she tell us more.

So, what made you decide to upload an audition tape? And what led to you being chosen?

Cheryl Koh: When I heard about the casting, I thought this would be a really good chance for me. I didn’t have anything to lose. And when I read the script, I felt like being in Los Angeles and being Malaysian would give me a chance. I thought, Maybe they won’t have to fly me to LA for the audition, so that will help! The acting part took up most of the time; I only had 15 seconds to do a “hidden talent.” I memorized the script and then chose a song to reflect my soulful singing type.

When did you hear back?

CK: I didn’t hear back for an entire year; I got an email from Warner Bros. this January. It was [director] Jon M. Chu who saw my audition and asked them to contact me. Of course, I was jumping up and down. I recorded the song they wanted me to sing—“Money”—in my room. I learned it and recorded it on the same day. Jon called me and said, “Cheryl, I have good news for you.” And I replied, “Am I going to cry?”

PHOTO: Courtesy of Cheryl Koh

You met the cast. How was that?

CK: I just loved how friendly they all were to me despite being big celebrities. Gemma Chan was so elegant. Constance Wu was approachable and professional. Ken Jeong even went up to me first and introduced himself. When I got home, I saw that he had followed me on Instagram. It was so cool. I took selfies at the premiere with most of the cast, and they recognized me too.

Now that the movie’s out, what’s the response been like?

CK: I am very grateful for the support I’ve been getting from friends, family, and even random strangers who message me and tell me they like my song. It’s very encouraging for someone like me, coming all the way from Malaysia to Los Angeles and never expecting something like this would happen.

What are your thoughts on how well Crazy Rich Asians is doing at the box office?

CK: For a movie like this to come out is already an achievement. For a movie like this to come out and break all these records is another achievement in itself. This is the best thing we could ever hope for, and I couldn’t be more proud.

Have you been getting a lot of offers since Crazy Rich Asians?

CK: Warner Bros. invited me back to work on a few projects with them. I studied music industry in college, so I was able to negotiate the CRA contract by myself. But now I need to find an agent, a publicist, a record label since I’m going to be doing more things. I spend most days replying to emails, calls, and doing interviews now. It’s tiring, but I love it.

This interview has been edited and condensed.





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The Best Part of the *Crazy Rich Asians* Fashion Is the Revival of the Getting-Dressed Montage


As to be expected, there’s a crazy rich amount of designer gowns, over-the-top moments, and an overall obscene display of opulence featured in Crazy Rich Asians. In terms of the fashion, though, one particular scene stands out: Peik Lin Goh (played by Awkwafina) and Oliver T’sien (Nico Santos) act as fashion fairy godparents to Rachel Chu (Constance Wu), making her over for the wedding of the century and transforming her from a somewhat lost NYU economics professor into a fearless, high-fashion force.

There’s music. There’s some dancing. There’s a lot of twirling. There’s a ton of colorful fashion—and equally colorful, laugh-out-loud off-the-cuff snark from Awkwafina and Santos. It’s a revival of a classic rom-com hallmark we haven’t really seen in years: the getting-dressed montage.

It’s a feel-good scene that puts the tension on pause and suspends all the drama just for a second. For a moment, you—and maybe even the characters, too—forget what’s at stake: Rachel is about to enter the underbelly of high Asian society and go head-to-head with her boyfriend’s mother, Eleanor Young (played by the inimitable Michelle Yeoh).

PHOTO: Courtesy of Warner Bros. Pictures

Unlike some of the most memorable getting-dressed montages from rom-coms—in which the heroine loses her glasses, lets down her hair, and suddenly she’s hot (She’s All That); visits an off-kilter dress shop on the way to break up a wedding and ends up recreating iconic movie costumes (The Sweetest Thing); or tries on her former heinous bridesmaid dresses for whatever reason (27 Dresses)—this scene feels more profound. The sequence aims to instill confidence in a character who’s genuinely out of her element and provides pure joy courtesy of the delightfully extravagant fashion.

“I don’t remember [director Jon Chu] pointing out an example from another movie, but I can’t even think of a getting-ready scene where they try on so many dresses,” says costume designer Mary E. Vogt. “This was a scene that he really loved and he wanted to create from whatever costumes I gave him.”

Because “high fashion can all look the same,” according to Vogt, she set out to pick pieces that felt distinct and special, that would give the actors room to play. “I knew Awkwafina and Nico would be making jokes, so I tried to give something that would be easy,” she says. “It’s hard to make a joke about a super elegant dress.”

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PHOTO: Courtesy of Warner Bros. Pictures

And sure enough, Vogt delivered.

Originally, Chu asked for eight dresses for this scene. Vogt pulled 15 options (with five back-ups), each brimming with the promise of potential comedic material. In the film, Peik Lin and Oliver add some colorful descriptions: a short and silver Michael Kors dress was judged “the death of disco,” a bright and colorful prism dress was described as “a clown’s tampon,” and a little pink dress by Malaysian designer Carven Ong called to mind an “ebola virus.” (When asked about how the designers feel about the mirthful attack on their designs, Vogt says: “Oh my god, I don’t know! I hope they’re ok; I hope they have a sense of humor about it.”)

Vogt says the scene was “all totally improvised,” and that Awkwafina and Santos “didn’t need too much prompting.”

PHOTO: Courtesy of Warner Bros. Pictures

“It was very spontaneous and the two actors together were hilarious,” Vogt continues. “Jon is a very spontaneous person, too, and he had no problem taking ideas from the actors and using their ad lib lines—and his light touch gives the whole movie a playful, effervescent, sparkling kind of quality, as though it’s all happening live.”

That playful, lighthearted quality might have something to do with Chu’s filmography, whose well-known projects have been music-filled hits, including various films from the Step Up franchise and Justin Bieber’s Never Say Never documentary. Whatever the reason, that little bit of movie magic was all the film needed to achieve two things: to reveal Rachel’s playful side, and to mark a character transformation moment. For that, Vogt says the scene was important to the director.

PHOTO: Courtesy of Warner Bros. Pictures

“During the movie, Rachel is serious, but this is the only scene where we see Rachel dancing—she’s relaxed and more playful than in any other part,” Vogt says. “Because of it, I didn’t want it to have a dull look. The clothes are there really to enhance the actors without overpowering them.”

It’s easy to overlook the montage, to judge it for its frivolity, or to even dismiss it as another opportunity to showcase more luxury. But the scene plays a much bigger role (albeit a covert one) that helps not only in furthering the plot, but driving home the overall message of the film. As Chu told Deadline: “It’s called Crazy Rich Asians, but it’s really not about crazy rich Asians. It’s about Rachel Chu finding her identity and finding her self-worth through this journey back into her culture, which, for me as a filmmaker, exploring my cultural identity is the scariest thing.”

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PHOTO: Courtesy of Warner Bros. Pictures

With the sartorial support of Peik Lin and Oliver, Rachel confidently emerges—in a ethereal Marchesa gown, crafted out of tulle. The dress appears soft, but acts as something like a suit of armor.

In a way, that’s what fashion’s all about.

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Crazy Rich Asians Is the Love Letter to My People I Never Had a Chance to Write


The first time I got to write a featured role for an Asian character was on a one-hour network TV drama. I was a staff writer and my showrunner told me he had an idea for my episode. “It’s about two sisters. Two HOT sisters. And they’re Asian. Like the Hilton sisters, but Asian.”

I’d like to say I was secure enough in myself and my views on cultural representation to tell him to stick it up the hole he was pulling these ideas from, but I didn’t. I was just psyched I had a job. Also, this was before Twitter, chronic wokeness, and #MeToo. Instead, I opened my notebook, licked my pen (figuratively), and asked, “So what are these two hot Asian sisters doing?” My showrunner shrugged. “They’re running around for two acts being hot.” I dutifully scribbled “Asians Being Hot” in my notebook.

That was just the beginning. That same showrunner also wanted me to feature Chinese triads, have them use Japanese throwing stars, and get into a kung-fu fight with our (white) lead. To not feel like I was totally selling out my race and culture, I tried to own it. Subvert expectations. I had the badass triads selling imitation handbags. (OK, that was more a dive into different stereotype.) I tried replacing the throwing star with another less culturally on-the-nose weapon: guns! And I tried to not have a scene between our other (also white) lead and his Chinese contact at a roast duck restaurant. I tried, but I failed. If you find this distasteful, it’s worth noting the episode did great with a 3.0 rating in the demo, which is astronomical for today’s standards. America did not share your squeamishness for racial stereotypes.

Adele Lim at the ‘Crazy Rich Asians’ premiere

That was over 10 years ago, and the shows I’ve worked on since have not come close to that level of doofy obliviousness. (Also, now that I’m more established in my career, I don’t put up with that nonsense.) But there are other issues I’ve faced in depicting my culture—or, more accurately, not depicting it. Of the dozen or so shows I’ve written on, none of them had an Asian lead. Only one had an Asian character in their main cast. And the few instances where I’d write a strong, sexually appealing Asian male guest character, I’d face pushback from the showrunner or casting. “Can he be Latino? Or African American?” was usually the first response, as if one minority was interchangeable for another. Casting would claim the talent pool wasn’t there, but I realized if I was an annoying enough jerk about it, they’d eventually find me the right actor.

So when director Jon Chu—who I’d worked with before, we sold a TV pilot together—asked if I’d be interested in working on the screenplay adaptation for Crazy Rich Asians (with co-screenwriter Peter Chiarelli), based on a book by Kevin Kwan featuring all Asian characters, my reply was not so much “yes” as it was “OH MY GOD. YES, PLEASE! WHEN CAN I START?!” It didn’t matter that I didn’t have the time (I was a full-time writer and producer on another TV show), had no idea how much or little money it would be, and I’d never written a movie before. I just knew this was a once-in-a-lifetime opportunity, and that I was going to make it work.

My rabid enthusiasm for the book went beyond the fact its entire galaxy of amazing characters was Asian. Jon didn’t know it, but I grew up in Southeast Asia in the same overseas Chinese community and culture the book is set in. (Alright, not the exact same culture—we were middle class. I like to say my family isn’t rich, but plenty crazy.)

In a world where the majority of lead characters is male and white and you’re not, that’s a constant challenge.

I came to the States at 18 for college and hustled for years before landing my first TV writing job in Los Angeles. I feel blessed and fortunate for the career I’ve had, but I’ve often felt that there was a level I wasn’t hitting in my work. “Write what you know” is the platitude most often leveled at writers. But in a world where the majority of lead characters is male and white and you’re not, that’s a constant challenge. I had to work doubly hard to make sure their lines sound authentic (enough) or to have a handle on their drives and motivations. And if I did pull from my own experiences, I had to translate them through a fractured prism to make them applicable to a white guy with a strong jawline.

With Crazy Rich Asians, I had to do none of that. I felt these characters in my bones—they looked and acted like my family members or people I knew. Their voices were ones I grew up with. Their vices, predilections, and obsession with food and luxury handbags were details etched in my DNA. One of my favorite scenes in the movie is one that isn’t in the book—we had to compress plot points to squeeze it into a two-hour movie—and that’s a scene of Rachel, the protagonist, playing Mahjong with Eleanor, her boyfriend’s mother.

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It was inspired by the countless hours my family has spent around the Mahjong table, telling stories, working out family issues, and trash-talking the living fuck out of each other. It sounds narcissistic, but I cry every time I watch that scene. Not because of the Mahjong, but because it’s a love letter to my world and my people. One I never had a chance to write before.

Jon Chu has said that he wants our movie to be a movement. And I hope it is, or at least the beginning of an age where we give voice to all people whose stories have yet to be told. Where minorities and women in this country get to be equally celebrated in movies and TV. Having had a taste of it, I know there’s no going back. Kiss my ass, Asian Hilton sisters.

Crazy Rich Asians is in theaters now.

Photos: Warner Bros./Everett Collection, Getty Images



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I Tried to Make Myself Seem Less Asian My Whole Life. Then I Saw Crazy Rich Asians.


Before you have your first slice of pizza, you have no idea what you’ve been missing out on. Once you get a taste of that melty cheese, tomato sauce, and crispy crust, though, you can’t imagine life without it. Watching Crazy Rich Asians was like that for me: I never knew how good it felt to see only Asian faces on screen until it happened. And now? I’ve been living in a white-washed world for 27 years, and I don’t want to go back.

OK, maybe pizza, a quintessentially Italian-American food, was a weird example to share how overwhelmed I felt by Crazy Rich Asians. But it’s indicative of the way life has always been for me, relating to the world through the lens and interests of white people. I was adopted from Seoul, South Korea at seven months old by a loving (and very white) family in upstate New York. I was the only Asian person in my graduating class; at the time, I could count my Asian friends on one hand. I learned a bit about my heritage in bits and pieces—by going to a Baptist church briefly as a kid, attending a Korean mentor program at the local college, and exploring New York City’s Korean restaurants. But I always felt, as Goh Peik Lin (Awkwafina) describes Rachel Chu (Constance Wu) in the movie, like a banana: white on the inside, yellow on the outside.

As I watched the film last week—amongst a crowd of mostly Asian people—I realized I’d grown up without any meaningful pop-culture examples of women who look like me. Growing up, the biggest Asian figures in my life were, well, figure skaters. I idolized Michelle Kwan and Kristi Yamaguchi, both of whom were so talented and beautiful. I tried ice skating to be more like them—and failed miserably. The yellow Power Ranger was cool, but not as cool to me as the pink Ranger. And I liked Japanese-American Claudia from The Baby-Sitters Club fine enough, but it was the four-eyed, red-haired Mallory who I related to most at 13.

I rarely saw Asian characters who weren’t a stereotype. To be fair, I didn’t seek them out, either, because I didn’t feel Asian. In fact, I was so afraid of being seen as a stereotype—or worse, an outcast—that I distanced myself from things like Korean pop music, anime, and Pokémon to appear “normal.” Maybe if I had seen a movie like Crazy Rich Asians as a kid, I wouldn’t have felt so alone.

Crazy Rich Asians might be the first time I didn’t see a white person for two hours, period.

Instead, I had to wait until I was 27; Crazy Rich Asians was the first time I saw a full Asian cast in anything. It might be the first time I didn’t see a white person for two hours, period. But after that initial, “Wow! Everyone is Asian!” feeling, I realized the movie is no different than any other (predominately white) romantic comedy I’d watched before. This isn’t a story that’s only accessible to Asian people; the friendships and relationships are nuanced and interesting, but they’re not groundbreaking. A makeover to impress a boyfriend’s family? Seen it. A battle against mean girls? Done before. What really got me was that I could finally see myself in the leading role. And the best friend role. And even the weird brother role. All of these characters are Asian, and none are the punchline.

My friend Marianne, who is half Filipino, agrees. “Seeing people who looked like me portray characters in a rom-com storyline that would typically have a white cast—with an ambiguously brown sidekick because, you know, diversity—was a huge deal,” she says. “I related to Rachel’s overall experience of, yes, she is Asian, but not quite Asian enough.” Kristina, who is also Filipino, echoed this. “I felt emotional seeing a protagonist [Rachel Chu] that not only looked like me, but she was someone who was complex, confident, vulnerable, and passionate.”

But Rachel wasn’t the only relatable character. The theater roared when Peik Lin (Awkwafina) made her grand, pajama-clad entrance. Later, as we watch her family’s lavish lunch, I teared up when her mom said “simple food, lah,” a Malay term used frequently in the book that didn’t have to be subtitled or explained. It just existed. The audience cackled when Peik Lin’s dad scolded his youngest kids to finish their chicken because there are “lots of starving children in America.”

PHOTO: ©Warner Bros/courtesy Everett Collection / Everett Collection

This difference stuck out to Emily, who is Korean and says she was moved by the way the movie navigated the cultural differences between Asian Americans and “Asian Asians.” This came through in the differences between Eleanor, an Asian tiger mom dedicated to family and loyalty, and Rachel’s mom Kerry, a first-generation immigrant who raised her daughter on her own. “What the film does beautifully is not pit these two women or cultural styles of parenting against each other, but embrace the validity in both,” Emily says. “I grew up with a mix of both, and it was touching to see both sides explored in the movie—and also gain a greater sense of appreciation for my family, too.”

I may not ever understand what it’s like to be a crazy rich Asian, passing down traditions of dumpling-folding and Mahjong (although my Jewish grammy is great at the game), but I do understand feeling like I’ll never be enough. Rachel’s monologue about knowing she’ll never measure up hit close to home, and I considered how I would be seen if I dated a man from a traditional Asian family. Would I be accepted? I’d like to think so.

By the time the credits started to roll, everyone in the theater was clapping, cheering, and wiping away tears. It felt like a celebration of being Asian, and that buzz has stayed with me ever since. I hope this shows Hollywood that an all-Asian cast won’t keep people from relating to a movie. Just like how I, a Korean-American woman, can relate to She’s All That and A Walk to Remember, people of all races can find similarities in stories about family ties, relationships, and that outsider-looking-in feeling. It’s time for more stories to be told with all kinds of people represented, and I hope Crazy Rich Asians is just the first of many Asian-led movies and TV shows I’ll see in my lifetime.

Maybe I’ll even see a story about an adopted woman trying to figure out her identity. Maybe I’ll even write it.

Alyse Whitney is a writer and editor at Bon Appétit.

Photos: Warner Bros./Everett Collection



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