KFC Japan Really Wants You to Ogle…er…Buy Its Breasts

KFC Japan has created a mascot to promote its new line of boneless chicken pieces which appears to basically be a piece of female chicken meat with big boobs:


You know ‘cause breasts sell…breasts, right?

And I always thought there was something a little off about the Colonel and seeing this marketing artwork, I finally figured out what it is…the Colonel is a perv:

THE FLASH Season 1 Finale by Robert Frost, American Poet

Reverse Flash/Dr. Harrison Wells/Eobard Thawne/The Man In The Yellow Suit

by Robert (Killer) Frost

Two timestreams diverged at a Yellow Flash,
And sorry I could not travel both
And become a superhero while also preventing my mother’s murder in the past
I asked Joe West (who was also on that TV show SMASH)
And he gave his usual awful advice, against his oath.

So we built a time machine, on Dr. Well’s dare,
Because at S.T.A.R. Labs we’re basically Marvel’s A.I.M.,
Where we help the villain by making Metron’s Mobius Chair;
While Iris looks on with a vacant stare
And Cisco references a Douglas Adams novel by name.

YOMYOMF Investigates: Where are the Asian Pacific Islanders in the New Film ‘Aloha’?


Director Cameron Crowe (Almost Famous) has a new movie coming out next week called Aloha that some folks are already upset about. Check out the film’s trailer and see if you can figure out why:

Yes, it’s a rom-com set in Hawaii that at least judging by the trailer is pretty damn white. And if you’ve been to Hawaii, you know that the one thing it is not is pretty damn white. Apparently, the majority of the folks in Hawaii do not look like Emma Stone, Bradley Cooper, Rachel McAdams, John Krasinski, Bill Murray, Alec Baldwin, Danny McBride, etc… I’ve heard the argument made that since the story takes place in a military setting, it doesn’t need to reflect the diversity of Hawaii, but if you’ve been to any military base on Hawaii or, frankly, anywhere else, there’s a lot of non-white people there so I don’t think that argument flies either.

YOMYOMF Rants: Can We Please Start Celebrating Asian Pacific American Heritage Month Properly?


As I’m sure most of our readers know May is Asian Pacific American Heritage Month or APAHM—the time of year when everyone pays tribute to our communities and our rich history. Now, I personally have nothing against APAHM, but I do have a beef with how it’s celebrated by many people.

This month is known as Asian Pacific American Heritage Month—notice that the word “American” is prominent in the title. What that means is that this is a time to celebrate the Asian Pacific American community—our history right here in America, as Americans. Which is why it’s annoying to get invites and see notices for APAHM events that includes such things as dim sum, geishas, cherry blossoms, lion dances, tea ceremonies, how to easily make kim chee in the comfort of your own home, Bollywood, fan dances, Akira Kurosawa films, taiko, Hayao Miyazaki films, acupuncture, kimonos/hanboks/cheongsams/ao dais/barong tagalogs, sushi, lotus blossoms and so on.

These are Asian Pacific things, not Asian Pacific American things. Big difference.

YOMYOMF Summer Blockbuster Showdown: MAD MAX FURY ROAD


 1. Remake, Reboot, or Recycled? — Is it a remake or reboot and how does it compare to the previous version?

Liz: I believe it is a reboot of the franchise. Honesty Time: I’ve never seen any of the old MAD MAX movies. I know. I know, sacrilegious but there’s never been a time in my life where I’ve really wanted to see them. UNTIL NOW.

I went zero expectations except for the knowledge that everyone I spoke to about the movie was super excited to see it since the original writer/director, George Miller came back to create MAD MAX: FURY ROAD.

Around the Horn: TV Memories


MAD MEN came to a close last night. With the exception of maybe BREAKING BAD, the show and its characters resonated with me on a personal level. It wasn’t always the easiest show to watch–not as purely entertaining as something like HOUSE OF CARDS or WALKING DEAD–but the world that creator Matt Weiner has given us is so detailed, real and emotional that it feels like more than the loss of just a TV show.

It may be a weird comparison but it’s similar to how I felt about GILLIGAN’S ISLAND when I was a kid. As sitcom-y and often stupid as that show got, as a child, there was something about the premise of these people being stuck on an island and not being able to get off as hard as they tried that really struck a chord (and to give credit to the actors, they did a great job of really breathing life into the characters who could’ve easily been complete caricatures). At some point, I realized I had watched all the episodes and there were no new ones and it felt like I was losing a connection to characters that had become a part of my life. It was the first time I realized how invested you could get in a work of fiction.

What’s the TV series that you’ve had the most personal investment in–good or bad? It’s not necessarily your “favorite” show but the one that really impacted your life on a level that made it more than just a TV show?

Movies That Should Have Starred Asians (TV Edition): Mad Men


Around the time Mad Men was making its debut on AMC eight years ago, I was coming off my first “business” trip to South Korea (the place of my birth) and experiencing the very different work culture I encountered—the drinking, smoking, carousing, casual sexism. Not that those things don’t exist here, but there was more of an openness about those things over there that felt a little…for a lack of a better word, retro.

I didn’t start watching Mad Men until its fourth season, but the world of the show very much reminded me of the time I had spent with my Korean business colleagues. I had met Korean versions of characters like the confident but conflicted Don Draper (Jon Hamm), the weasel-y Pete Campbell (Vincent Kartheiser) and the ambitious Peggy Olson (Elizabeth Moss)—in fact, they felt more stereotypically “Asian” to me than the white folks I knew. Which isn’t to say that’s the only reason why I’m writing about it for this series though I think its popularity in Asia has a lot to do with it being so identifiable.

The Art of Ear Picking

So I was picking my ears and thought to myself. “I wonder if I’m doing this wrong?” So i found this.

By Laura Fumiko Keehn
Photos By Aaron Farley

The Art of Ear Picking

It’s sensitive, private and very personal. A part of the body you would only share with someone you trust and love. That’s right, I’m talking about…your ears.

In Japan, cleaning your man’s ears is a time-honored tradition, a romantic act signifying intimacy. The Japanese mother of an exboyfriend was once horrified when she saw her son using an ear picker to clean out his own ear. “I always picked my husband’s ears,” she said in an accusatory tone. Point taken, it’s the duty of the girlfriend or wife to lovingly clean her man’s ears.

Why Shouldn’t Police Officers Wear Body Cams? No, Seriously, Why Shouldn’t They?

I recently tutored high school students preparing for debates.


The five-person teams, comprised of freshmen, are each assigned a “controversial” topic: gun control, marijuana legalization, teacher tenure, and, in the case of my group, police body cameras.


The students do not get to pick whether they will represent the “pro” or “con” side of the issue – it is simply assigned to them, and their job is to do the best they can.

The Daily Buzz at C3: An Interview with SEOUL SEARCHING director Benson Lee


The 31st edition of the Los Angeles Asian Pacific Film Festival (LAAPFF) presented by Visual Communications concluded last week and it was a blast to celebrate Asian American media and artists. This year was a banner year with highly anticipated feature films, documentaries and short films. Check out the Festival recap.

In addition to the Festival, VC also presents the Conference for Creative Content (C3), presented by Sony Pictures Entertainment. C3 is the premier entertainment media conference bringing together top industry and creative professionals, especially from Asian American content creators breaking new ground. Over two days, these esteemed panelists connect with the audience that include academics, filmmakers, new media creatives, industry executives and community organizations by not only speaking about their craft, but to reflect on the new directions in which creative visions are finding expression.