From stoner to “Star Trek,” John Cho is expanding boundaries for Asian-American actors

Quick: name an Asian-American leading man. A Hollywood star. One caveat: no kung fu.
Don’t worry, I’ll wait. I have the entire Lord of the Rings trilogy to get through.

(97 hours pass).

Oh yes, my precious indeed–you’re a devious one, Peter Jackson. Where were we? Right, Asian film star. Still nothing? No worries, you’re not alone.

Hollywood has routinely placed Asian-American actors in stereotypical roles–think martial arts badass or nerdy computer whiz. While Jet Li may make breaking bones an entertaining pastime, he isn’t exactly showing the best range while doing so. When, for example, was the last time you saw him or Jackie Chan passionately kiss a co-star? I’ll spare you the research: it’s a rare if not hereto unforeseen occurrence. Needless to say, if you’re looking for a character to go through some kind of internal transformation, chances are, you’re not looking for an Asian actor.

There is also the issue of “whitewashing,” where previously known stories are adapted for the screen, except that non-Asians are cast in Asian roles. For example, “21″ is based on the book “Bringing down the House” about MIT students who take on Vegas. While most of the real–and main–people are Asian, they’re white in the movie, with the few Asian characters adding little except supplementary nerdiness and comic relief (stereotype: achieved). Similarly, “The Last Airbender,” based off a cartoon set in an Eastern world rife with the appropriate population, features a bunch of white kids.

Why this occurs is up for debate (and another article), but it certainly happens and to such a dramatic extent that there are entire organizations, like the Media Action Network for Asian Americans (MANAA), that are devoted to reversing these stereotypes and ending practices like whitewashing.

Is there change in sight? Perhaps, because Hollywood may have found an Asian-American actor to break the mold…someone who can do more than simply crack an algorithm or yield nunchucks.

Ladies and Gentlemen: John Cho.

Who would have thought that the guy who introduced “MILF” to our collective vernacular through a short, if not show-stealing scene in “American Pie,” would be on the precipice of stardom? And why him?

The Seoul-born Cho already has a leading role under his belt: “Harold and Kumar Go to White Castle,” the hysterical and wildly popular stoner flick that has Cho as a compulsive banker obsessed with his neighbor and perturbed by his roommate. His limited screen time in “American Pie” showed off a small sampling part of his comedic styling; “Harold and Kumar” exploited them.

But his range is expansive: he was deft in “Star Trek,” a summer blockbuster. His character, Hikaru Sulu, was placed in a variety of situations, ranging from funny to serious to action-packed (but with no kung fu). Previously, he starred in a theater production of Hamlet. Now, he is a lead on the new hit show “FlashForward.” As an FBI agent with a sense of impending doom about him, there is only drama to be found in the role.

Cho has thus shown a knack for nailing comedy, drama and action. He’s also ventured into the romantic side of Hollywood. His kiss (read: long make out session) with the ultra-sexy Paula Garces at the end of “Harold and Kumar Go to White Castle” offends exactly zero of our sensibilities. When that–Asian-American actors being placed in amorous scenarios–is considered a major hurdle, Cho’s lip-locking counts as progress.

That brings up another key part of the John Cho ensemble: his acting talent aside, he has the initial qualities that put him in contention for fame. He’s young, good-looking and personable. He goes to basketball games. He plays in a band. A few years back, People magazine named him as one of the Sexiest Men Alive. In terms of bankability, being both physically appealing and relatable is always a major plus.

All of these components combine to make Cho an attractive candidate to be the first true Asian-American Hollywood star. Cho’s ethnicity, ultimately, shouldn’t define his career, but it’s inescapable–that much he has noted in past interviews. He isn’t shy about it: for example, he appears on the video for the racially charged Nas track “Be a Nigger Too,” an acknowledgment of the barriers that have yet to be overcome.

The tune parallels Cho, who already has a nice resume to his name, but still has so much left to accomplish।

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