Categories
Entertainment

Lisa Pleasure on ‘Memory,’ ‘Westworld’ and the Lure of Techno-Noir

In her first writers’ room, Lisa Joy was politely pulled aside and told she didn’t need to work so hard. After all, born in New Jersey to British-Taiwanese parents, she was just a diversity hire.

The experience did little to stifle Joy’s ambitions or work ethic. In 2013, while expecting her first child, she wrote the screenplay for “Reminiscence,” a tech-noir thriller, and began developing the cerebral sci-fi “Westworld” for HBO with her husband, the “Memento” screenwriter Jonathan Nolan.

After three seasons of the show — the fourth is on the way — Joy stepped up to direct “Reminiscence” herself. In the film, debuting Aug. 20 on HBO Max and in theaters, Hugh Jackman plays a private investigator who taps into clients’ memories but becomes torturously fixated on his own. It’s a story about the pull of the past set in the future, in a Miami that has succumbed to rising waters and is populated by people who have turned nocturnal to escape the searing heat of the day.

In a recent video call, Joy spoke from her office in Los Angeles about being a perpetual outsider, current events imitating science fiction, and her partnership with Nolan. These are edited excerpts from our conversation.

You wrote “Reminiscence” while pregnant. It does feel like the work of someone at a turning point — looking back while looking ahead.

My main goal was to write something that entertained me while I was puking with morning sickness! Certainly it was a very dramatic moment. My husband was working a lot, I was at home with the dogs. I had a lot of time to contemplate my life. At the same time, my grandfather passed away. So there was loss as well as new beginnings. Sorting through his belongings was what really started my meditation on loss, and memory, and the way our memories start to fade.

Looking at the level of detail in your screenplay, I wonder if to some extent you had mentally directed it already?

When I write, I imagine the characters talking, I design the room, I block the scene in my head. I kind of transcribe the movie I’m already looking at. So when other directors were pitching their ideas, I realized that none of the visions aligned with my own. I wanted it to have the spirit of an independent film, to take some more risks, tell a story that wasn’t in a clear genre.

And Hugh Jackman in the lead role?

The second I even contemplated directing it, I knew Hugh was the right leading man. I wanted to show a hero unraveling, questioning his own memories and coming to understand a more nuanced version of the world. Hugh has that soulfulness. And he can also kick a lot of ass.

A lot of ass-kicking along with a lot of mind-bending.

And romance. I wanted to have all those elements in the film. Because life is like that. The polarity of film is frustrating for me. “This is an art-house film. This is a popcorn film.” I think that underestimates audiences.

You started out writing in comedy, on the series “Pushing Daisies.” When did you feel the gravitational pull toward science fiction?

I’ve always liked stories that tackle great, big timeless themes. It’s just where my curiosity took me. When I first went around trying to pitch “Reminiscence” — I was heavily pregnant — people would look at me and think, what the hell is wrong with you? Why are you writing this mysterious, dark, violent, sexy thing? Do a rom-com! People didn’t expect me to do huge, ambitious, world-building things as a junior writer.

Why set the film at some unspecified time in the future?

Stories are more universal when you don’t stick a pin in it. And when I first started contemplating this world, it was nothing like the world we live in now. I didn’t think reality would catch up to science fiction so quickly. And then, right about when the trailer dropped, there were photos of the walls they’re building in Miami. I think it was the front page of The New York Times. They looked exactly like our set designs. There are also scenes of upheaval and rioting in the streets in the movie, and political and socioeconomic unrest. There was a moment when people were like, this is too far-fetched. And then the next week riots broke out.

“Westworld” premiered around the time of #MeToo, and the treatment of the androids in the show seemed to speak to that movement. Were you conscious of drawing on your own experiences in the industry?

None of my work is explicitly confessional, but at the same time, we are who we are. I had just come off a staff that was all-male [USA’s “Burn Notice”]. I wanted to take back my story in the only way I knew how. Which was to write.

It’s not like I have some gift of prophecy. We live in this world. And we need to find a way to survive it. For me, acknowledging the cage you’re within is a way to break out of it. And it’s not just women — it’s anyone who’s felt trapped or been subjected to cruelty.

You’ve said you’ve felt like an outsider for much of your life.

I was born in America, but my mom is Asian, my dad is British. Hollywood was as far away as the moon when I was a kid. There’s always been a feeling of displacement. But almost everybody has that. That’s part of the human condition: to feel bereft from the currents rushing around us. And it’s one of the things that you can explore in fiction without being didactic or presumptuous about another person’s specific experience. And hopefully form a connection.

You were working as a consultant in finance and tech before Hollywood called — in the middle of a presentation you were giving, is that right?

It was kind of an abrupt change! I’ve always loved writing, but in the beginning, trying to be a writer was impossible. I had college debt, I had financial obligations. I worked in corporate jobs, but the whole time, I kept writing. Not because I had any expectation of being a working writer, but because it made me happy.

But working in another field for 10 years before becoming a paid writer — that’s not wasted time. When you’re a producer, it helps to be able to know how money works. Everything is a language. Math is a language. Computer science is a language. I spend a lot of time trying to be conversational in as many as possible.

There was even some Pythagorean problem-solving on your film set, wasn’t there?

It was for this complicated scene where Hugh is looking at a hologram of a memory of Hugh looking at a hologram of a memory. I called it a Hugh turducken.

Is it true a friend introduced you to Jonathan because you had a similar verbose email-writing style.

[Laughs] It’s true. We met at the premiere of “Memento.” I didn’t expect to meet my future husband on the red carpet the second I stepped on it. I was skeptical of him. Hollywood has a reputation — not entirely unwarranted. But we became friends. We were pen pals for a long time.

You ended up married and being collaborators. I’ve seen you describe creating a fictional world together as “romantic.”

I remember when we wrapped the finale of the first season. We had built Sweetwater [the town in “Westworld”] in Santa Clarita. It was a magical thing — you could walk those streets. The world in our head had manifested. Along with a child. We took a golf cart, and the sun was rising in the distance. And we drove through the center of Sweetwater, with our baby on my lap.

I am obsessed with time. There’s never enough of it, especially with the ones you love. And maybe one way to have more of it is to live in multiple worlds every day, to create whole new timelines and dimensions.

Categories
Business

The Lure of H Mart, The place the Cabinets Can Appear as Large as Asia

At the H Mart on Broadway at 110th Street in Manhattan, the lights are bright on the singo pears, round as apples and kept snug in white mesh, so their skin won’t bruise. Here are radishes in hot pink and winter white, gnarled ginseng grown in Wisconsin, broad perilla leaves with notched edges, and almost every kind of Asian green: yu choy, bok choy, ong choy, hon choy, aa choy, wawa choy, gai lan, sook got.

The theme is abundance — chiles from fat little thumbs to witchy fingers, bulk bins of fish balls, live lobsters brooding in blue tanks, a library of tofu. Cuckoo rice cookers gleam from the shelves like a showroom of Aston Martins. Customers fill baskets with wands of lemongrass, dried silvery anchovies, shrimp chips and Wagyu beef sliced into delicate petals.

For decades in America, this kind of shopping was a pilgrimage. Asian-Americans couldn’t just pop into the local Kroger or Piggly Wiggly for a bottle of fish sauce. To make the foods of their heritage, they often had to seek out the lone Asian grocery in town, which was salvation — even if cramped and dingy, with scuffed linoleum underfoot and bags of rice slumped in a corner.

Il Yeon Kwon, a farmer’s son who left South Korea in the late 1970s when the countryside was still impoverished from war, opened the first H Mart in Woodside, Queens, in 1982. It was the middle of a recession. At the time, only about 1.5 percent of the American population was of Asian descent.

Later that year, Vincent Chin, a Chinese-American, was beaten to death in Detroit by two white autoworkers who were reportedly angered by the success of the Japanese car industry. Asian-Americans, a disparate group of many origins that had historically not been recognized as a political force, came together to condemn the killing and speak in a collective voice.

Today, as they again confront hate-fueled violence, Asian-Americans are the nation’s fastest-growing racial or ethnic group, numbering more than 22 million, nearly 7 percent of the total population. And there are 102 H Marts across the land, with vast refrigerated cases devoted to kimchi and banchan, the side dishes essential to any Korean meal. In 2020, the company reported $1.5 billion in sales. Later this year, it’s set to open its largest outpost yet, in a space in Orlando, Fla., that is nearly the size of four football fields.

And H Mart has competition: Other grocery chains that specialize in ingredients from Asia include Patel Brothers (Patel Bros, to fans), founded in Chicago; and, headquartered in California, Mitsuwa Marketplace and 99 Ranch Market — or Ranch 99, as Chinese speakers sometimes call it. They’re part of a so-called ethnic or international supermarket sector estimated to be worth $46.1 billion, a small but growing percentage of the more than $653 billion American grocery industry.

Many of these chains have a particular focus (H Mart’s is Korean products), but also attempt the difficult feat of catering to a variety of Asian-American groups with different tastes and shopping preferences.

Mr. Kwon’s first store still stands in Woodside, with a blue awning that bears H Mart’s original name, Han Ah Reum. This is commonly translated from Korean as “an armful,” but has a poetic nuance, invoking warmth and care, as in an embrace.

H Mart is “a beautiful, holy place,” writes the musician Michelle Zauner, who performs under the name Japanese Breakfast, in her new memoir, “Crying in H Mart,” published last month. The book begins with her standing in front of the banchan refrigerators, mourning the death of her Korean-born mother. “We’re all searching for a piece of home, or a piece of ourselves.”

As the 20th-century philosopher Lin Yutang wrote, “What is patriotism but the love of the food one ate as a child?”

For an immigrant, cooking can be a way to anchor yourself in a world suddenly askew. There is no end to the lengths some might go to taste once more that birthday spoonful of Korean miyeok guk, a soup dense with seaweed, slippery on the tongue, or the faintly bitter undertow of beef bile in Laotian laap diip (raw beef salad).

When Vilailuck Teigen — the co-author, with Garrett Snyder, of “The Pepper Thai Cookbook,” out in April — was a young mother in western Utah in the 1980s, she ordered 50-pound bags of rice by mail and drove 150 miles to Salt Lake City to buy chiles. She had no mortar and pestle, so she crushed spices with the bottom of a fish-sauce bottle.

Around the same time, Thip Athakhanh, 39, the chef of Snackboxe Bistro in Atlanta, was a child in a small town in east-central Alabama, where her family settled after fleeing Laos as refugees. They fermented their own fish sauce, and her father made a weekly trek to Atlanta to pick up lemongrass and galangal at the international farmers’ market.

The essayist Jay Caspian Kang has described Americans of Asian descent as “the loneliest Americans.” Even after the government eased restrictions on immigration from Asia in 1965, being an Asian-American outside major cities often meant living in isolation — the only Asian family in town, the only Asian child at school. A grocery store could be a lifeline.

When the writer Jenny Han, 40, was growing up in Richmond, Va., in the ’90s, her family shopped at the hole-in-the-wall Oriental Market, run by a woman at their church. It was the one place where they could load up on toasted sesame oil and rent VHS tapes of Korean dramas, waiting to pounce when someone returned a missing episode.

A few states away, the future YouTube cooking star Emily Kim — better known as Maangchi — was newly arrived in Columbia, Mo., with a stash of meju, bricks of dried soybean paste, hidden at the bottom of her bag. She was worried that in her new American home she wouldn’t be able to find such essentials.

Then she stumbled on a tiny shop, also called Oriental Market. One day the Korean woman at the counter invited her to stay for a bowl of soup her husband had just made.

“She was my friend,” Maangchi recalled.

The H Mart of today may be a colossus, but it remains a family business. Mr. Kwon, 66, has two children with Elizabeth Kwon, 59, who grew up two blocks from the Woodside shop (where her mother still lives) and oversees store design.

From the beginning, it was important to her that the stores were clean, modern and easy to navigate, to defy the stereotype of Asian groceries as grimy and run-down.

“It’s so emotional, shopping for food,” said her son, Brian Kwon, 34. “You don’t want to be in a place where you feel like you’re compromising.”

He never intended to devote his life to the store. But not long after he went abroad to take a job in Seoul — seeking to improve his Korean — his father asked him to come home and look over the company’s books, to make sure everything was running smoothly.

It was, as Mr. Kim of the Canadian TV show “Kim’s Convenience” might say, a sneak attack. Once Brian Kwon entered the office, he never left. “My father called it his ‘golden plan,’ after the fact,” he said ruefully. He is now a co-president, alongside his mother and his sister, Stacey, 33. (His father is the chief executive.)

For many non-Asian customers, H Mart is itself a sneak attack. On their first visit, they’re not actually looking for Asian ingredients; customer data shows that they’re drawn instead to the variety and freshness of more familiar produce, seafood and meat. Only later do they start examining bags of Jolly Pong, a sweet puffed-wheat snack, and red-foil-capped bottles of Yakult — a fermented milk drink that sold out after it appeared in Ms. Han’s best-selling novel-turned-movie “To All The Boys I’ve Loved Before.”

To be welcoming to non-Koreans, H Mart puts up signs in English. At the same time, the younger Mr. Kwon said, “We don’t want to be the gentrified store.” So while some non-Asians recoil from the tanks of lobsters, the Kwons are committed to offering live seafood.

Deuki Hong, 31, the chef and founder of the Sunday Family Hospitality Group, in San Francisco, remembers the H Mart of his youth in New Jersey as “just the Korean store” — a sanctuary for his parents, recent immigrants still not at ease in English. Everyone spoke Korean, and all that banchan was a relief: His mother would pack them in her cart for dinner, then pretend she’d made them herself.

Later, as a teenager, he started seeing his Chinese- and Filipino-American friends there, too, and then his non-Asian friends. Spurred by postings on social media, young patrons would line up to buy the latest snack sensation — “the snack aisle is notorious,” Mr. Hong said — like Haitai honey butter chips and Xiao Mei boba ice cream bars. (The current craze: Orion chocolate-churro-flavored snacks that look like baby turtles.)

In “Mister Jiu’s in Chinatown,” a new cookbook by the chef Brandon Jew and Tienlon Ho, Mr. Jew, 41, recalls Sunday mornings in San Francisco with his ying ying (paternal grandmother in Cantonese), taking three bus transfers to traverse the city, on a mission for fresh chicken — sometimes slaughtered on the spot — and ingredients like pea shoots and lotus leaves.

He still prefers “that Old World kind of shopping,” he said, from independent vendors, each with his own specialties and occasional grouchiness and eccentricities. But he knows that the proliferation of supermarkets like H Mart and 99 Ranch makes it easier for newcomers to Asian food to recreate his recipes.

“Access to those ingredients leads to a deeper understanding of the cuisine,” he said. “And that in turn can become a deeper understanding of a community and a culture.”

These days, even mainstream markets carry Asian ingredients. Ms. Teigen, who now lives in Los Angeles, often buys basics like fish sauce, palm sugar and curry paste from the Thai section at Ralph’s. Still, she goes to 99 Ranch for coconut milk, whole jackfruit and, above all, garlic in bulk — “a giant bag that I can use for months.”

(Garlic is an urgent matter for Asian-Americans: Ms. Zauner, 32, writes in “Crying in H Mart” that the store is “the only place where you can find a giant vat of peeled garlic, because it’s the only place that truly understands how much garlic you’ll need for the kind of food your people eat.”)

But Meherwan Irani, 51, the chef of Chai Pani in Asheville, N.C., and Atlanta, feels that something is lost when you buy paneer and grass-fed ghee at a Whole Foods Market. You miss the cultural immersion, he says, “getting a dunk and having horizons broadened.”

“An Indian grocery is not just a convenience — it’s a temple,” he said. “You’re feeding the soul. Come in and pick up on the energy.”

In the TV special “Luda Can’t Cook,” which premiered in February, Mr. Irani takes the rapper Ludacris to Cherians, an Indian supermarket in Atlanta. Once Mr. Irani had to scrounge for spices like cumin and turmeric at health food stores; now, surrounded by burlap sacks stuffed with cardamom pods and dried green mango, he tells Ludacris, “This is my house.”

The writer Min Jin Lee, 52, remembers how important H Mart was to people working in Manhattan’s Koreatown in the ’80s, when it was still called Han Ah Reum and “tiny, with almost no place to negotiate yourself through the aisles,” she said. (It has since moved across West 32nd Street to a larger space.) Her parents ran a jewelry wholesale business around the corner, and relied on the store for a cheap but substantial dosirak (lunch box) that came with cups of soup and rice.

She sees the modern incarnation of the store as a boon for second- and third-generation Korean Americans, including thousands of Korean-born adoptees raised by white American parents, who “want to find some sort of connection to the food of their families,” she said. “There aren’t gatekeepers to say who’s in or who’s out.”

Maangchi moved to Manhattan in 2008, and used to buy most of her ingredients from one of the H Marts in Flushing, Queens. (These days she just walks to Koreatown.) To save money, she would take the subway, bringing an empty backpack and her own shopping cart, then walk for 20 minutes.

“Once I get there, my heart is beating,” she said. On the way home, she’d stop at a barbecue spot and drink soju. “Come home drunk,” she said with a laugh.

Sometimes when she’s at H Mart, one of her more than five million YouTube subscribers recognizes her and flags her down. Those seeking advice (or a photo op) are mostly non-Korean. But, she said, there are also “old ladies who come up to me and say, ‘I forgot everything — I left Korea long ago.’”

Recently, with the rise in incidents of violence against people of Asian descent, her fans have been sending her messages: “Maangchi, I’m so worried about you these days.”

This is the paradox: that at a time when Americans are embracing Asian culture as never before, at least in its most accessible forms — eating ramen, drinking chai, swooning over the K-pop band BTS — anti-Asian sentiment is growing. With visibility comes risk.

For Ms. Lee, this makes H Mart a comfort. “I like going there because I feel good there,” she said. “In the context of hatred against my community, to see part of my culture being valued — it’s exceptional.”

Categories
World News

Russia Seeks to Divert Youths From Lure of Navalny Protests

The seemingly sisyphic efforts of the Russian authorities to get social networks to remove pro-navalny content, however, have made it clear what is increasingly becoming a major security gap for the Kremlin: the availability of inexpensive, fast, and mostly uncensored internet access in almost all Countries populated corner of the country’s 11 time zones.

The government has tried, and for the most part failed, to contain the internet. For example, last year ended the two-year effort to block the Telegram messaging network, a ban that users could quickly bypass.

On Friday, the Russian telecommunications authority Roskomnadzor announced that YouTube, Instagram and the Russian social network VKontakte had begun canceling “calls for children to participate in illegal mass events” on the orders of the Russian attorney general.

Facebook, which owns Instagram, denied removing content.

“We have received requests from the local regulatory authority to restrict access to certain content that encourages protest,” Facebook said in a statement. “Since this content does not violate our community standards, it stays on our platform.”

The other social networks did not immediately respond to requests for comments.

The biggest problem, the regulator said, was TikTok, the Chinese-owned app that hosts seconds-long viral videos, often musically themed. Videos tagged with the hashtag #Navalny on the network had been viewed more than 800 million times by Friday.

In a clip that was “liked” more than 500,000 times, a young woman teaching pithy English gave tips on how to sound like an American – “I’ll call my lawyer!” – when arrested during the protests.

“The highest level of activity continues on the social network,” Roskomnadzor said in a statement referring to TikTok. “New appeals appear, which in some cases are artificially spread.”