‘Interior Chinatown’ Star Chloe Bennet on Her Theories About That Cliffhanger Ending and Being Told She Doesn’t Look ‘Asian Enough’

As I delve into the captivating world of entertainment, I find myself deeply inspired by the journey of actress and creative powerhouse, Hailee Steinfeld. Her unique background as a “hapa” individual, a term used to describe someone of mixed Asian and Caucasian heritage, has undeniably shaped her perspective and fuels her passion for storytelling.

⚠️ Warning: This conversation reveals crucial plot points from the series “Interior Chinatown,” currently available on Hulu.

Chloe Bennet has experience living between two realms, not just on screen but also in real life. For seven seasons, this versatile actor, who is Chinese-American, portrayed Daisy Johnson/Quake in ABC’s “Marvel’s Agents of S.H.I.E.L.D.”, a series that had a long run and was similar to procedural shows. Since the better part of her 20s was spent on this show, Bennet found herself shaping aspects of her life by embodying her character, feeling almost as if she grew up in the world of procedural television.

Upon initially delving into Charles Yu’s National Book Award-winning novel “Interior Chinatown”, Bennet – who has a Chinese father and a white mother, and has worked in Hollywood – found striking similarities between the protagonist’s journey and his own. The story revolves around a Chinese American actor who feels like an extra in his life until he witnesses a crime in Chinatown, revealing that he is part of a bigger narrative, which resonated with Bennet’s experiences.

Bennet praises Charlie’s exceptional writing skills in both his work and personal life. He particularly admires how Charlie delves into complex and subtle emotions about racial identity, which resonates with Bennet even as a woman portrayed on TV. In ‘Interior Chinatown’, Charlie masterfully articulates feelings that Bennet has experienced throughout her life, making it feel like he was compiling her half-expressed thoughts into the book. The experience left Bennet feeling deeply seen and connected, as if Charlie was capturing her unspoken thoughts and translating them onto the page, in a script format for a TV show.

However, upon encountering Karen, the half-Asian detective who was later renamed Lana in Hulu’s adaptation, Bennet found it impossible to continue reading “Interior Chinatown”. Anticipating that the novel would undoubtedly be adapted for the screen, she expressed her inability to endure the idea of someone else assuming the role.

Bennet explains that when he found out Yu was adapting his own book for the project, he contacted everyone he knew who was involved or had connections to it. “I approached it like dating,” he says, “acting cool but not overly so, trying hard but not too much. Eventually, I managed to get involved, which was a huge relief because without it, I might have quit acting altogether.

In the fresh 10-episode series, Bennett portrays Lana Lee, a recently assigned detective who joins the police force due to “ethnic concerns,” as another officer remarks sarcastically. This occurs amidst an escalating crime wave in Chinatown, although Lana has limited understanding of the community. Interestingly, Lana is the only character in “Interior Chinatown” who appears aware that she’s playing a detective in a satirical spin on “Law & Order,” titled “Black & White.” Straddling these two realities, Lana – who is also typecast as a secondary character in “Black & White” – partners with Willis Wu (Jimmy O’Yang) – the Chinese American lead who doesn’t seem to comprehend that he’s the main character of his own show-within-a-show. Together, they aim to solve the mystery surrounding Jonathan’s (Chris Pang) sudden disappearance after being offered a leading role as the stereotypical Kung Fu Guy. (Bennet is still grappling with the complex nature of the narrative.)

In a comprehensive discussion, Bennett shares insights into the development of her character in “Interior Chinatown,” discusses how she has handled the unavoidable criticism concerning her racial identity in actual life, and explains why, after being part of that series, she is more resolute than ever to narrate her personal tales.

How would you describe Lana’s arc in this 10-episode first season? What does she learn about herself?

In this post, she’s objectified and elevated in a way that’s all too familiar for many female actors. She’s scrutinized based on her race, with comments like “Who is that?”. As an actress, I can relate to this treatment. At first, she might feel proud of her versatility to play various roles. However, I’m unsure if I see the privilege in that, as it seems exhausting. In this character, Willis introduces her to a Chinese community she’s never been involved with before, which could bring about new realizations and potential exhaustion.

In Episode 5, this world becomes significant for Lana as she uncovers and experiences it. She learns the advantages of being present in one place at a time instead of juggling secrets. As the series progresses, we observe that she’s gradually understanding, “I can belong to all these worlds, but I don’t truly fit into any.” Lana doesn’t find acceptance in either world. The imagery is profound, as many aspects revolve around being multiracial or mixed. We’re barely delving into Lana as an individual character, and her exploration of her identity and what truly drives and motivates her. I believe that her character development evolves throughout the show. However, discussing Lana in relation to Willis’ story is a separate topic.

There’s a lot to unpack in the finale alone. After realizing that he and the rest of the people in Chinatown exist as characters in a meta police procedural controlled by a powerful corporation, which has been invasively broadcasting all of their lives, Willis attempts to take control of his own narrative. The season ends with Willis and Lana jumping off a rooftop together, which symbolizes their attempts to break free, but they seemingly wake up in another show playing the same characters but in different circumstances. What was your interpretation of the ending?

I’m interested to hear other people’s fresh takes on it, because we’ve been sitting with this for two years, and I’m not quite sure if I can be completely objective about what I think happens in the ending. But I think that they discovered that they are pieces of a much larger puzzle. I think at the beginning of the show, no characters are entirely aware of that. I think Lana might be the most aware of it and it’s still deeply embedded. I don’t want to say anything on the record that’s going to be totally wrong, because I have my own personal theories, and I don’t know if they’re right.

Give me one of your theories then.

There are several approaches I could take to analyze it. From my perspective, there were numerous events unfolding as we wrapped up the series. We had to deal with strikes, and a multitude of things were happening simultaneously. Only recently have I had the chance to view our work due to shooting more than initially planned. What was eventually showcased seemed carefully selected, which suggests strategic decisions. While I can’t comment on the creators’ intentions, my personal interpretation is that I can relate it only to my acting experience.

From my perspective, it feels as if Lana and Willis managed to break free from a series that limited their roles, only to find themselves in another one. To make this conversation smoother for the interview, let me simplify it a bit. There were numerous deep discussions on set about many intricate topics, some of which got quite intellectual. Now, I haven’t had a chance to discuss this specific matter with Charlie or Taika yet, but your questions are thought-provoking. As for Jimmy’s gaze at the camera in the finale, we shot multiple takes, so it could be any number of things. I’m keeping my thoughts on the overall series under wraps for now, as there might be some unexpected twists. Whether we proceed with another season or not will influence my perspective on the whole narrative. If this is indeed the end, I may express my views about its significance. However, if there’s more to come, I prefer to keep potential spoilers to myself.

You’ve always spoken openly about how when you’ve walked into casting rooms, people don’t always know where to place you. You’ve been told that you’re not white enough to play the lead, but you’re also not Asian enough to play some of the more stereotypical and supporting roles. Now that you have established more of a public profile in the business, do you find that you’re still having to deal with those kinds of conversations about your racial identity?

It seems there’s still a significant amount of work needed, and it’s not only my observation. The industry has made a significant shift in a different direction. Recently, I’ve encountered situations where I was not chosen because I didn’t fit the “Asian” stereotype enough, yet I’ve been told that diversity is desired on screen. This tour has been quite enlightening, as it highlights an elementary grasp of racial diversity and true advancement. In my opinion, genuine progress means discussing these topics less frequently. Even in promoting our show, it often gets labeled solely as an Asian American story, but it’s so much more than that. Therefore, I believe we have a lot of work ahead to broaden understanding and achieve real progress.

Do you feel like you’ve reached a point where writers and producers are able to lean into and write toward your ethnicity as opposed to running away from it?

They’re fleeing from something unclear, possibly racial issues. I can’t quite pinpoint what it is exactly. The race factor continues to be significant. It’s clear now that excluding someone based on their ethnicity from being the main character is no longer acceptable in any form. However, there are still barriers, but they are manifesting themselves differently at this juncture.

Your decision to change your professional last name from “Wang” to “Bennet” came with a lot of strife and backlash, particularly from the Asian community. Now that you are over a decade removed from that decision, how do you reflect on that choice now?

For years, making that decision has been a challenge for me. At 18 and 19, I was struggling to cover my rent expenses. It felt like the scene in Episode 2 or 3 where Willis keeps getting locked out of the police station. I naively expected things to be easier, but I found myself shut out from job opportunities. Typing “Bennet” instead of “Wang” was a dramatic turning point for me. The way the light shone on my computer screen remains vivid in my memory. However, I recognize that my privilege of being able to make such a change played a significant role, as it eventually led to me getting employment.

It’s important to recognize that not everyone can simply discard their last name and pass as white. However, it’s troubling when people view this as a privilege. While there are undeniably societal advantages associated with passing as white, let’s consider what impact this has on an individual’s psyche if we remove the external factors. I personally have faced significant psychological consequences due to questioning my identity throughout my life, and I have struggled immensely with these issues.

Both sides of the coin have opinions about it, especially the Asian community, and there’s no negating people’s feelings about that. But the reality is, I never changed my last name. I’m not Chloe Bennet. My name is Chloe Wang. I changed the way people perceive me, but nothing about me has ever changed. There’s a point when you’re like, “Oh, they let me in. I’m in the club.” You’re in the club, and then people don’t think you’re one thing. So I guess when you’re white-passing, people don’t know that you’re Asian, and you’re along for a lot of fucking racist comments. And when you defend it, it’s like, “Well, you’re not really [Asian].” So a lot of that has happened, and it’s a really complicated mixed bag, but it’s something that I still struggle with.

Have you ever considered changing your professional surname back to Wang?

I don’t know. It’s hard because I am still Chloe Wang all the time. When I go to a dinner or when I give my name for something, I’m not saying Chloe Bennet; I’m saying Chloe Wang. I made an effort to never shy away from talking about it or opening myself up to these conversations. It’s definitely something that is not black and white. I understand that there was a privilege involved in that, but it’s not as glamorous on this side of it as I think people think it might be. But I understand that it gave me a lot of opportunities.

You mentioned that you don’t want “Interior Chinatown” to be reduced to an “Asian show,” but it’s important not to downplay the significance of having so many Asian Americans working on the same project. For you, how different was the experience of making “Interior” compared to your other shows? Has making a show like this put you more in touch with the Asian side of your identity?

The experience was truly remarkable. It’s only when you witness something’s presence that you truly appreciate its absence, especially when you step onto a set. For a long time, I perceived my Asian side as more of a domestic aspect, strangely enough, while my white half seemed professional due to societal influences. However, it wasn’t until I stepped onto the set that I realized the profound sense of comfort, the deep breath I unconsciously took – even tearing up – when I truly saw diversity off-camera. What made this production unique was the presence of department heads who were Asian women, and everyone connected with the show on a deeper level. Moreover, people weren’t just hired because they were Asian; they excel at their craft and are exceptionally talented.

For me, as a creative artist who’s been contemplating a move away from acting for quite some time but lacked the self-assurance, it was truly inspiring to witness so many individuals in similar positions behind the camera. Their presence was incredibly motivating, making me realize that representation matters significantly. It struck me, “Ah, this is the privilege straight white men have had all along – the ability to see themselves consistently as creators.” The impact of seeing diverse people in power, off-camera, was immediate and powerful. I believe hiring based on talent and skill is crucial, not just diversity for diversity’s sake.

You mentioned wanting to branch out beyond acting — presumably into writing, producing and directing. Have you thought much about the kinds of stories that you want to tell? You have a particularly unique experience as someone who is “hapa,” or half-Asian.

For many years, I’ve been putting pen to paper, a task I initially found challenging due to my timid nature and lack of self-assurance. This endeavor often intertwined with complex discussions about identity and belonging, as I navigated through life in a unique household. Growing up, I was the eldest among eight brothers, each one carrying a distinct ethnicity – Chinese, Black, Mexican-Filipino, half-Chinese, half-Indian, and half-Indian through my stepfather. This multicultural blend is not a common experience for many people I know who are of mixed heritage.

As a child, I regularly joined conversations about significant subjects such as race, sexuality, gender, and politics during dinner, which provided a secure environment for discussions. I was able to express these topics freely with individuals who were diverse in terms of skin color. Growing up, my family created an atmosphere of equality at home, and I observed how the world viewed us differently depending on our physical appearances. This experience granted me a broad perspective.

As a passionate enthusiast, what drew me into the world of acting was the allure of engaging in profound dialogues that foster understanding, without fear of being silenced or judged. I crave conversations rich in depth and layered complexity – this is the type of content that truly resonates with me. Contrary to a typical narrative, my story isn’t one of despair; it’s about celebrating our unique identities and experiences. Having been raised within an intricate slice of American society, I can attest that while it wasn’t always easy, the journey was incredibly rewarding.

At the age of 17, I managed to secure representation by CAA through conversations about my family experiences, which ultimately led to the creation of a show based on my childhood stories. Working on “Interior” has ignited my creativity in a significant way, with Taika and Charlie serving as major inspirations. Charlie has been particularly supportive, acting not only as a mentor but also creatively behind the camera. The most impactful lesson I’ve taken from this show is that it’s up to me to tell my own story, and definitely not a group of white executives.

This interview has been edited and condensed.

2024-11-24 20:48