As a lonely teenager growing up in Virginia, I fed off any pop culture that could show me different ways of being from what I saw on 'The Cosby Show' reruns or read about in an Ann M. Martin book.

It took me years to find a program that kept me in shape: Gyms felt intimidating, and women's magazines seemed tailored for toning the bodies of already trim white women.

In America, mixed-race identity tends to invite both curiosity and suspicion, largely because few have found a way to interrogate it without centering whiteness as the scale by which to evaluate blackness.

The American understanding of China is filtered through years of politics; we rarely see the culture on its own terms.

Governments of rich countries spend some $6bn of tax money a year on disaster relief and development aid overseas, while each new earthquake, famine or tidal wave can attract 1,000 aid organisations, from the United Nations Children's Fund and Oxfam to the 'Jesus Brigades' of the American south and other charitable adventurers.

You can't blame movies for embracing spectacle; filmmakers since D.W. Griffith and Cecil B. De Mille have loved spectacle, and spectacle is something that movies convey like no other medium, especially in a digital age.

I mean, anything that money can be made off will never be a problem to make, no matter what it is.

When you first get money, you buy all these things so no one thinks you're mean, and you spread it around. You get a chauffeur and you find yourself thrown around the back of this car and you think, I was happier when I had my own little car! I could drive myself!