Why fatphobia in film and TV has to stop

The mistreatment and negative portrayal of fat people in film and television has been happening for years and needs to be called out. 

By: Jillian Gonzales

Content/Trigger Warning: Mentions of anti-fat stigma and body image

Donald Tong/Pexels

It is no question that film, television and popular culture have largely fuelled the toxic ideals society holds about body image today. Film is a medium that, for the most part, focuses on mirroring the harsh realities of society’s norms and so it stands to reason that this medium also reflects the anti-fat stigma embedded in our structures, policies and everyday lives.

So, it is a difficult relationship to navigate. That being said, fatphobia is real and there are many negative portrayals of fat people in the media, especially in film and television. It is important to call out fatphobic ideologies for their toxic and harmful effects and look for ways that film productions and the industry can improve how they portray fat people.

Virgie Tovar, a fat activist and expert on fat politics and body image, defines fatphobia as a “form of bigotry and a form of discrimination that says that people of higher weight are inferior physically, intellectually, morally and health-wise.” These attitudes and behaviours take shape through individual and systemic interactions that marginalize and target fat people. The belief that we are an open-minded and accepting society simply does not exist especially when looking at the treatment and judgement of fat people. And film is no exception. 

Think about some of the ways fat people are portrayed in films. These characters are almost always the butt of the joke. These jokes can also be directed towards the actors that portray them. Casting directors target these actors to fit and carry out their image of the “funny” characters. It may seem that actors are putting themselves in positions of being laughed at but it is us as audiences that allow it to happen.

Look at Drake and Josh as an example. Josh Peck starred in the Nickelodeon sitcom and at the beginning of the show, he was fat. However, in the middle of the series, the actor went through a weight loss that made headlines. The jokes directed to Josh’s weight on the show died down and he was taken seriously. This begs the question: why must characters and actors shrink their bodies in order to be deserving of compassion, nuance and validation? Even today, people bring up this weight loss from over a decade ago and Josh himself is tired of hearing about it. He made a TikTok which ultimately asks for people to not define him for his weight. It may seem obvious – but someone's weight does not define them. 

Embed from Getty Images
Embed from Getty Images

The late great John Candy was also subject to being the butt of fat jokes. John Candy was a Canadian actor, most popular in the ‘90s and early 2000s. Though he really showed his abilities as an actor, many of his roles were very similar to one another. He was often the butt of jokes focused on his body. He was most known for his roles in Home Alone, The Great Outdoors, and Uncle Buck. Most notably in Uncle Buck, he was the central character and was still portrayed in a way where he was not taken seriously.  His whole character was based on the fact that he was irresponsible and too much of a jokester. The sad reality of this is that it’s usually expected for fat people to be put in these roles; they are simply seen and hired to add comedic relief and writers usually fail to add substance to the character.

It is easy to think that what is seen on a screen is simply just for entertainment purposes; however, these kinds of narratives surrounding fat people have serious and harmful impacts on the so-called “beauty standard.” There is irreparable harm towards audiences and actors because now there is a box they are put in, not only on the screen, but how they are seen in real life.

These portrayals of fat people produce negative stereotypes that push society into further stigmatizing and pathologizing their bodies. When weight loss is the central or only component of their character arc, we manipulate audiences into thinking that all fat people are chasing weight loss, which is not true. In addition, headlines celebrating someone’s weight loss and giving praise towards celebrities solely for their weight loss creates the notion that one will only be treated with respect if they’re thin.

In an interview with Jonah Hill on The View, he opened up about the impact of being weight-shamed as a child. He spoke about his magazine, Inner Children, which centred around him writing to his younger self about how to handle his weight and appearance being discussed by people around him. The biggest takeaway from this conversation is that fatphobia doesn’t just affect your self-esteem; it can affect every aspect of your life. Especially in the film industry as an actor, again, there is a box one is put in. And when we continue to consume this content willingly as an audience, we enable filmmakers to continue creating it. We too are complicit as viewers in an anti-fat film industry.

Embed from Getty Images

CBC also looked into the relationship between fat people and the workplace. The article most notably mentions that there is “no minimum weight that is considered ‘fat’”, so this begs the question of who or what defines what it means to be “fat”? During the summer of 2021, there was a trend on TikTok where young people showed characters and celebrities from their childhood that the media convinced them were “fat.” How is it that there were so many shapes and sizes of people (mainly women) that were featured yet most people would argue that they were not the “conventional” definition of fat?

The CBC article also calls on bosses and people in higher positions to enforce more diverse and accepting workplaces. If someone is able to get the job done, they should be able to work. This goes for film productions and all other workplaces. The Canadian magazine Chatelaine mentions that 54 per cent of fat Canadians face stigmatization. Marginalization in the workplace has become so normalized and blatant when there should be no room for it anywhere.

The National Film Board of Canada created a 24-minute documentary, Tales of Ordinary Fatphobia, focusing on the harms of fatphobia and how it has been so normalized today. The video uses animation and voiceover to tell the story of youth who experience fatphobia and how it has affected them. A doctor in the film speaks to the psychological, social and self-damaging effects of the ultimately abusing behaviour fatphobia has on a person, especially at such a young age. 

Film impacts people as they are able to see themselves through different lenses. Having fat actors play one-toned characters is destructive. Films and TV should instead shed light on the real stories and struggles one may go through. A recent show like Shrill, starring Aidy Bryant as the protagonist, focuses on the ups and downs of being a fat person. However, the main focus and objective of the show is to have Bryant’s character go through life without changing her body to please the so-called “acceptable” beauty standard. A show like this is made to empower fat people and not just typecast fat actors to play one-note roles, but give them realistic ones.

Movies and shows like Mike and Molly, Pretty Little Liars, Friends, Sex and the City and many more, promote negative and problematic narratives where being fat is treated as a mere vessel for condemnation or humour. In Pretty Little Liars and Friends, having characters in fat suits is a complete mockery and is blatantly disrespectful to fat people, who cannot simply just take a suit off whenever they want.

Some of these shows are directed towards younger female audiences. When talking about body image and beauty standards, the harmful messages in these shows pile onto damaging beauty narratives, as there is such a one-dimensional, presumed way for women in particular to look. In a blog post on The Nasty Woman Club, Demi Lynch, the owner of the blog, talks about different films from her childhood and how their portrayals of fat people damage their own body image which is a very relatable experience.

Listening to those who are othered in the media can change the film industry and media’s coverage of fat people. Normalizing different body shapes and sizes can create welcoming environments for people to feel seen and heard. 

Anti-fatness is a systemic issue, and we need to address the marginalization of fat people at its roots. Social media and film alone can’t solve this issue, but they can be powerful tools in reaching out and giving a voice to those who are marginalized. Bringing attention to fat actors, filmmakers and artists can allow them to tell their own stories. Your body and appearance do not define you and so we should not let film make us think differently. 

How Shang-Chi and the Legend of the Ten Rings shifts the BIPOC representation game

The future of BIPOC representation in the mainstream film and television landscape seems promising

By: Kuwarjeet Singh Arora 

(Abby Grant/CanCulture)

If you’re looking for an exciting movie to watch over the holidays, look no further than Shang-Chi and the Legend of the Ten Rings, already streaming on Disney Plus. 

Like millions of us, I saw Shang-Chi and the Legend of the Ten Rings during the theatrical release of the film. Having played the titular character Shang Chi, Canadian actor Simu Liu experienced the impact of representation firsthand.

At the age of five, Liu immigrated to Canada with his family. He was born in Harbin, China, and brought up by his grandparents. He was raised in Erin Mills, a neighbourhood of Mississauga, Ont., as an only child. In his early work, in 2015, he used to be a stuntman and then got cast in the OMNI Television crime series Blood and Water. Later that year, Liu played the lead in the TV adaptation of a play of the same name, Kim's Convenience, for CBC. This remains his most memorable television success, having been nominated for and winning numerous awards internationally, including Best Comedy Series at the 2018 Canadian Screen Awards and Most Popular Foreign Drama at the 2019 Seoul International Drama Awards.

It was back then that Liu talked a lot about Asian representation in the Hollywood landscape. He said he wanted that not only for himself but for his community as well. From there, he went mainstream in 2019. 

At Comic-Con 2019, it was announced that Liu has been cast as Shang-Chi, the lead superhero in the film Shang-Chi and the Legend of the Ten Rings, Marvel's first Asian-led film, which takes place in ancient China. Upon release, the film broke the record for Labour Day openings with estimated ticket sales of $94.4 million. Additionally, it was the first Marvel film with an Asian lead and a predominantly Asian cast.

I saw Shang-Chi and the Legend of the Ten Rings because it was the first Asian American superhero movie, which talked a lot about the lack of representation of BIPOC communities in the mainstream media. 

This movie’s plot talks about the representation of Asian language and culture. In the film, Mandarin-Chinese is the first language spoken and it is present in a large amount of dialogue, showing that director Destin Daniel Cretton wished to emphasize the importance of other languages besides English. The story explores themes of identity when many Asians immigrate to America. In order to adapt to a whole new country, they have to leave a part of their true identity behind. In this film, characters are reminded to never forget their roots or those who came before them through a combination of cultural elements.

Previous Marvel movies have also touched on social issues, from the generational effects of systemic racism in the Black Panther to sexism in Captain Marvel with their first female lead. Like its fellow Marvel releases that showcased notable "firsts," Shang-Chi's release in theatres has been connected to a frustrating discussion related to box office sales, equality, and representation. The concept is that Asian-American superheroes like Shang-Chi deserve a big box office haul because they are as valid as their white rivals. It's an advantage for mainstream media and the film industry to report on major movements like #BlackLivesMatter or stories about Asian hate when they hit the mainstream news. I don't know whether the hype around Shang-Chi will be a social justice gamechanger for Asian-Americans. It is unfair to expect a movie to solve complex problems such as racism or inequality in two hours. 

When it comes to Asian representation, there are a lot of times when films don't really have a full Asian cast or fail to challenge the unpleasant stereotypes of being portrayed as nerdy or negatively as some sort of villain. Most of the time we are represented through side characters helping a white protagonist. It's always great to have new representation, but at the same time, I wonder if it took too long. The reason I think this movie was late in releasing was the fact that Asian hate as a whole is on the rise. If this movie had been released before the Marvel universe, people’s perceptions of Asians might have been influenced positively. For the first time ever in history, Asians will be the main cast and the storyline will reflect and represent their culture. 

As a result of exploring Chinese values and avoiding offensive jokes, the film challenges typical Hollywood stereotypes about Asians. As a result, characters are no longer merely "quiet and smart Asians" but have flaws of their own: Shang-Chi and Katy both refuse to grow up; their mothers and friends never joke about Katy's "tiger mom." situation. Despite her strong and independent personality, Shang-Chi's sister is never sexualized to the point where she seems like a "dragon lady."

Additionally, the film addresses issues of immigration and identity. With uncertainty about her identity, Katy must discover who she is and what she wants, while Shang-Chi must deal with the conflicts presented by his past as a trained killer and a new existence in the United States.

Mainstream discourse needs more BIPOC voices. Those with resources and power need to tell stories about issues like Black Lives Matter, how Asian hatred is soaring, and why BIPOC are the first ones targeted when it comes to literally anything. 

It’s hard to say that BIPOC communities are fairly represented in the Hollywood landscape. As a Sikh, I don’t see someone who looks like me as a Marvel hero and I think that needs to change. This change is urgent because a lot of the hate crimes on the rise are the result of misconceptions about people's backgrounds.

We still haven't seen a Sikh superhero with a turban and a beard, and representation of my community in the mainstream Hollywood industry. This is especially true of people of colour who have a religious identity to maintain, for instance, a Sikh man like me or a woman wearing a burqa or hijab. Hollywood needs to address this issue because people who look like me are often portrayed as taxi drivers or as terrorists. 

When it comes to the future of BIPOC representation in the mainstream film industry, I think there is hope that movies like Shang-Chi will inspire people to demand more BIPOC representation in mainstream media. Yet, at the same time, everyone needs to think about why BIPOC communities are misrepresented in the Hollywood landscape in the first place. 

We need more diversified faces in Hollywood and more BIPOC lead roles, who are there to reflect their communities. An important fact to remember is that a considerable percentage of North America's population is composed of immigrants. But there are barely any movies that truly represent minorities’ values. Films such as Shang-Chi, starring an Asian actor, represent Asian heritage in one of the best possible ways.

I dream of living in a country that proudly tells stories of my community, as well as cultural stories that are rarely represented in the Hollywood landscape. Where it’s normal to have a person who is recognized as a BIPOC or from the LGBTQ+ community become the lead character in the mainstream entertainment industry. Where it’s normal to have a superhero with a turban or brown, Muslim women as superheroes. We need to further challenge the status quo with the power of cinema.