The Failure of Diversity: The First Indian Superhero Out of Love in Marvel’s ‘Eternals’
I was standing in a noisy, barely contained line of schoolboys outside a classroom, indulging in my usual habit of stand up comedy. It was the mid-90s. My routine consisted of an imaginary scenario where the top heroines of the time pestered me with phone calls and visits at my house. Suddenly, a teacher, a bespectacled white woman with a nasal voice, figuratively pulled me by the collar into a classroom where the sixth form girls – the only female students – were vegetating. The teacher asked the several white girls if they would ever go out with me on a date. Politely, looking down at the short ethnic minority man wearing his older brother’s cast off blazer, the girls declined.
The point of this bizarre ritual was to humiliate me, the ethnic minority man, to show that we were unworthy of romantic love. It was meant to destroy my confidence in myself. But the performance did not work. It failed. Even at the time, I knew that I had got the reaction from the girls because they were white. Everyone knew that white women thought we were undesirable. What do I mean by ‘we’? We call ourselves British Asians in England if we hail ethnically from the subcontinent. A brief quote about a male, British Asian character from Zadie Smith’s novel White Teeth in 2000 shows that the Western presumption is that we are not attractive:
Pulchritude – beauty where you would least suspect it, hidden in a word that looked like it should signify a belch or a skin infection. Beauty in a tall brown young man who should have been indistinguishable to Joyce from those she regularly bought milk and bread from, gave her accounts to for inspection, or passed her chequebook to from behind the thick glass of a bank till. (1)
British films like Bend it Like Beckham extend these conceptions when they represent sexual freedom and desire for British Asian woman as a release from coupling with British Asian men. America is hardly innocent of these characterisations. In The Big Bang Theory, the Indian Raj is the only one that cannot get a girlfriend, much to the amusement of the audience it would appear, who could not get enough of this running joke. In light of such racist, unspoken assumptions, the bizarre ritual that I was subjected to should not be seen as an isolated incident. As I will argue, it informs the representation of us on the screen. Ethnic minorities that have historically come from the subcontinent. Even when lip service is being paid to ideals of ‘diversity’, used as a tactic of selling movie tickets.
Kingo: The First Indian Superhero and Western ‘Diversity’
The Indian character in the Marvel Eternals team is Kingo (Kumail Nanjiani). This is a historical role, the first superhero from South Asia on a Western screen. In an interview, Nanjiani spoke of the grave responsibility of portraying Kingo in a representative way that accorded with ideals of diversity:
The responsibility is a real thing, because there haven’t been other South Asian superheroes in the MCU, or any other Hollywood mainstream movie for that matter… I can’t represent every South Asian person in the world, because we’re all completely different, right? So while there is that responsibility, I want to do a good job. (2)
Eternals itself has been marketed as a positive ‘diversity’ film. Salma Hayek (Ajak) says, “the Eternals film is a “huge” step forward for diversity and inclusivity in the film industry”, sentiments echoed by Gemma Chan (Sersi). (3) This marketing tactic has indeed influenced audience reactions. Oliver Jones of the Observer says that “one of the most impressive aspects of the Eternals is how the culturally representative team’s identities play into the theme and story in powerful and essential ways”. (4)
However, for all the talk, Kingo carries the racist, Western association of undesirability and failure at love. That is, Kingo is a failure in Western diversity, a continuous failure which is always represented, tragically enough, as a success. A short reflection on how Kingo is related to the other Eternals reveals that Kingo loves no one. Kingo is loved by no one. He is an Indian man completely out of love in all its variants, romantic and non-romantic.
Everyone else in the team of Eternals either loves a team mate, is loved by a team mate, or has a partner, as in the famous gay pairing between Phastos and his partner that showcases homosexual couples for the first time in a Marvel movie. Except, that is, for Kingo. Sersi and Ikaris love each other and have even been married at one point. Makkari and Druig are falling in love. Sprite secretly loves Ikaris. Thena (Angelina Jolie) is in a relationship of love and protection with Gilgamesh. Even Ajak, who appears to be solitary and celibate, has been described as a beacon of love by writer Chloé Zao, who comments, that the role called for “a woman with the heart the size of the ocean” and represents a powerful, maternal love. (5)
So this is Western ‘diversity’. Even when we are portrayed as superheroes, we are unattractive, out of society, unable to form not only romantic relationships, but other loving relationships. In fact, as we see when his film posters are shown, Kingo conceals his immortality by reproducing asexually in his Hindi film avatars where he is his own grandfather, father and self. He is like some virus outside of normal sexual reproduction. Ironically, one poster is for a Hindi film (‘Bollywood’) entitled ‘Yuva Prem’ (Young Love), where Kingo plays a romantic lead. It is only in another non-Western cinema and space of imagination that he can be recognised as a lover.
In contrast to Kingo (and the other ethnic minority men in the movie), the white man is constantly loved romantically by women. The main character, Sersi, only falls in love with white men. There is not only a love triangle between Sersi and two white men, but also a love triangle between Sersi, Sprite and Ikaris for the white man. The white man is repetitively, irresistibly desirable, the Indian man is supposedly not. Not only this, but in the ending of the movie, the white man’s love is the ultimate saviour of all humanity, in a reworking of the trope of the white saviour. Ikaris fails to stop Sersi’s plan to rescue humans which he believes is counter to the mission of the Eternals because he still has feelings for her. To add insult to the negative and racist depiction of an Indian man and white love supremacy, Sersi and Ikaris have an Indian wedding, attired in Indian costume. Emphasising the point that, even on the Indian’s own terrain, the white man is the victor in love.
Kingo is not absolutely, entirely excluded from the domain of love. In fact, he is the only one that can see the secret love that Sprite has for the white man, Ikaris. He is relegated to just looking at the field of love and not being a part of it. Like a sexually frustrated viewer who seeks solace in pornography, Kingo can only look at the love of others as an outsider. Also, Kingo dreams of being in the position of the desirable white man. While Ikaris steals Kingo’s sexual and romantic identity by having an Indian wedding, Kingo can only unsuccessfully play at being the desirable Ikaris on film. Thus, Kingo is introduced via the ‘Bollywood’ song sequence, for a film called “Shandaar Daastan-e-Ikarus” (The Splendid Story of Ikaris). Predictably enough, the dance performance is strained and comical.
Conclusion
The bizarre ritual that was played out in my youth, ‘proving’ my undesirability as a South Asian is a mainstay in British and American media, although it has received little critical attention. Because it is such a solidified set of implicit assumptions. When we were finally able to be seen as superheroes on a Western screen, all the old prejudices were added to our representation. The worst thing is that all of the female directors, authors and screenwriters that I have cited above all have something in common. Those that cast us as undesirable are mixed race or ethnic minority women themselves. Perhaps showing that racism against the self by such women is tactfully exploited by the Western system of representation.
Yet, Marvel has taken over the world and is celebrated for being ‘diverse’. So this is what diversity means in the modern world? In fact, Western ‘diversity’ is a continual and embarrassing failure of real representation and real inclusion. The on-screen portrayals of us in the West and their bizarre, racist rituals have always and will always fail in my eyes. Because I do not hate myself. I have been given love and status as a loving being in this world. At home, my nickname is ‘Sonu’ (‘handsome’).
1 Zadie Smith, White Teeth (London: Hamish Hamilton, 2000), 273
2 Anon, “Eternals actor Kumail Nanjiani’s Kingo is a genuine Bollywood superstar in these retro posters, also starring his father and grandfather”, November 12, 2021, Indian Express, https://indianexpress.com/article/entertainment/hollywood/eternals-kumail-nanjiani-kingo-bollywood-superstar-retro-posters-see-photos-7619071/, accessed 03.01.2022
3 Anon, “Eternals has ‘most diverse cast’ ever and is ‘huge’ step forward for film, says Salma Hayek”, Thursday 4 November 2021, https://news.sky.com/story/eternals-has-most-diverse-cast-ever-and-is-huge-step-forward-for-film-says-salma-hayek-12459569, accessed 03.01.2022
4 Oliver Jones, “Eternals’ Is a Refreshingly Romantic Reminder of the Power & Purpose of Event Films”, 10/24/21, The Observer, https://observer.com/2021/10/marvel-eternals-review-chloe-zhao-angelina-jolie-richard-madden-gemma-chan/, accessed 05.01.2022
5 Tracy Brown, “Why ‘Eternals’ cast Salma Hayek as a Marvel superhero who leads with love”, NOV. 5, 2021, https://www.latimes.com/entertainment-arts/movies/story/2021-11-05/eternals-salma-hayek-marvel-chloe-zhao-superheroes, accessed 05.01.2022
diary of a lone man 