Representation matters. True representation matters. So let’s keep creating. Let’s keep fighting.
What did “bring home the troops” actually look like after 20 years? The abrupt withdrawal from Afghanistan might’ve sounded good on paper, but it proved far more complicated in practice. Footage of the tumult at Kabul Airport is forever etched into our collective memories: desperate Afghans clamoring to secure a spot on the last planes out of the fallen city. And even if you were glued to the news while all of this was unfolding, you likely didn’t witness anything quite like what filmmaker Matthew Heineman captured in his 2022 documentary Retrograde, like the lingering shot of a dazed Afghan woman pressed up against a chain-link fence at Kabul Airport with a wordless sense of terror and defeat shimmering across her face—almost suggesting an echo to that famous 1984 National Geographic cover—as history repeated itself with fresh suffering.
War movies are ultimately relationship movies, whether it’s the trench bonds that allow hell to feel temporarily palatable or a soldier’s reckoning with a very clingy abyss. Guy Ritchie’s latest is something of a tonal switch-up for the director from his quintessential works, even with its lashings of muscular action. There is no London. No fast-talking crime lords. Instead, Guy Ritchie’s The Covenant is an emotionally-driven military thriller that’s more concerned with the effects of war than the FX of it all. The story follows US Army Sergeant John Kinley (Jake Gyllenhaal) and Afghan interpreter Ahmed (Dar Salim). After an ambush, Ahmed goes to Herculean lengths to save John’s life. When John learns that Ahmed and his family were not given safe passage to America as promised, he returns to the war zone to repay his debt and retrieve them himself.
Rising star Jason Wong co-stars in The Covenant, which marks the British Asian actor’s third collaboration with Ritchie following The Gentlemen and Wrath of Man. Life’s full-circle moments can give anyone pause because they’re sometimes baffling, and Wong’s journey seems riddled with them. By coincidence or providence, these moments have brought him to where he is now. Wong also recently starred in Dungeons & Dragons: Honor Among Thieves as evil sorcerer Dralas, and will next appear in season three of Warrior, a series that’s based on the writings of Bruce Lee.
Guy Ritchie’s The Covenant lands in theaters on April 21 via MGM.
Hi, Jason. How’s London treating you?
London is quite temperamental right now. It’s gray and then it’s sunny. It’s four seasons in a day. That’s the crack of London right now. Spring’s coming. Hopefully, it won’t be riddled with rain.
I know you have roots in Singapore. I was just there for the first time. A rare, humid winter.
It loses its novelty sometimes when it’s constantly one temperature. Maybe I’m getting old. I used to be able to handle the heat. Now I’m going, “I can’t deal with it anymore.” It’s constant sweat.
I have this quote from you: “I was made in Singapore/Malaysia and I was assembled in London, England. They’re both home for me. If you cut me, Penang Laksa bleeds out. If you gut me, chicken rice gushes out of me.” Ethnic makeup aside, food is big with you, huh?
Culturally, I’m mixed up: born in Singapore and Malaysia, but heritage-wise, I’m Chinese. Singapore’s subculture, Malaysia’s subculture, and also British subculture have their nuances. For me, one connection between Singapore and Malaysia is the battle of foods. Malaysia’s got their Penang Laksa and Singapore has their Penang Laksa. I haven’t met one Asian who doesn’t love food. Maybe I’m making generalizations, but we all love good food. We’re spoiled with choice, especially living in Asia. So I use food to describe one of the connections I have with Asia. Food is how I always connect back home. That’s how my mom always connects with Asia as well ‘cause she’s been living in London since the ‘80s. The one connection she always has is cooking her local cuisine. Language has a big impact as well. I grew up speaking Cantonese and watching Hong Kong cinema. Language and food reconnect you to your heritage and to your cultural identity.
This would’ve helped me before I went to Singapore, but do you have a favorite hawker center? The first two locals I met recommended La Pau Sat. That’s where I ended up.
For me, it’s Chomp Chomp in Serangoon Garden. They have this incredible stingray. They grill it over banana leaves and put sambal on it. Oh my god, it’s the best thing in the world. The sauté is great there, too. Every hawker center has a specialist so you’re always bound to find something good. By the way, I’m a huge fan of Korean food. I love Korean barbecue. Every time I go to LA, I can’t wait for Ktown and hitting up the barbecue. It’s one of my favorites.
Congratulations on Dungeons & Dragons. It’s doing very well. I would think one of the best things about being involved with adaptations like this is that they come with a loyal and enthusiastic fanbase that’s built in. You’re inducted, if you like, into existing fandoms.
A lot of friends who I hadn’t spoken to in ages found out I was in it and came reaching out to me. I didn’t even know they played D&D. This fanbase is very vocal. They’re very critical ‘cause they all have their own campaigns and stories. They know this world so well. So it was a balance for our filmmakers, John [Francis Daley] and Jonathan [Goldstein], to try and find something that could appeal to the masses, but also where the diehard fans could find a lot of appeal in it like, “Oh yes, I understand that!” There’s actually lots of little in-jokes that D&D campaigners who play the tabletop game would really appreciate. When I went to the premiere in London, that was next-level intensity I’d never experienced before. The fans turned out in cosplay, which was really lovely to see. When I was doing the red carpet, someone asked me, “How does it feel that someone’s gonna dress up like you for Halloween?” I hadn’t even thought about that. I can’t wait to see some of these outfits. I hope the movie continues to bring in new audiences so that we can keep engaging more with the tabletop game, because everyone’s playing computer games now. This is a different kind of storytelling, bringing people back together to have that communal fun we grew up with at school. I’m not sure this generation has that. They’re consumed by electronics.
You practice Wing Chun Kung Fu and Brazilian jiu-jitsu. Did that come in handy here? I’m wondering where the training that’s required for roles and your personal interests intersect.
I’ve been interested in martial arts since the age of five. My mom sent me to martial arts classes. I learned TaeKwonDo first and then Shorinji Kempo and Kung Fu and Muay Thai. As an adult, I picked up Wing Chun because I was gonna go to Hong Kong to teach, and purely because one of my idols, Bruce Lee, learned Wing Chun as his basis. His whole philosophy was based around Wing Chun movements, which he then modified and developed. I was like, “I’m in Hong Kong. I gotta take the road he took.” I also thought it would come handy if I ever need to utilize it on camera or on stage. And Brazilian jiu-jitsu is just one of those things I’ve always been a fan of ‘cause I love watching the UFC—the Gracie family. I now train with one of the best Gracies in the world. So martial arts has always been a big part of my life. It’s always been a great mental health outlet for me. Because acting can have its ups and downs, that’s the one consistency I always had. It really helped me in this role because the stamina, pace, and precision you need for a fight scene is there. I always remember what Donnie Yen said: “You can be a great fighter, but are you a precise martial artist?” The precision you need so that you don’t take someone’s head off and so that you’re not telegraphing up, you can’t fake that. You have to train. It’s muscle memory. It’s ingrained. If you don’t move a certain way or bring a certain level of power to movement, you won’t sell it on screen. That’s why a lot of people who do action sequences have to train, whether it’s military or hand-to-hand combat. We trained about four hours a day with our stunt doubles and the fight choreographer who does a lot of the Marvel choreography as well. There were welts, cuts, and smashing of each other’s hands. It’s a dance. And the way I trained with Regé [-Jean Page] was different to how we trained with our stunt doubles. What you see on screen for about three and a half, four minutes took about five days to shoot. That’s quite a short amount of time for what we did. There was also lots of wire work and that was new to me.
How about on The Covenant? Did that require training you weren’t familiar with?
I’ve played a lot of law enforcement officers and utilized a lot of firearms already so it had more to do with demeanor: being calm in moments of stress and holding yourself as a warrior. For me, Brazilian jiu-jitsu is probably the most stress-inducing martial art you can practice, and you have to remain calm and relaxed. Again, it’s muscle memory. We didn’t do as much training as we could have on this movie, but we did about seven to ten days worth of firearms and movement training with our military advisor. I felt pretty proficient in shooting and holding a firearm going in. You can tell when someone’s done it a thousand times versus someone who’s only done it a hundred times. I had wanted to join the army when I was 16 before wanting to become an actor, but circumstances changed that. I’ve always been intrigued by the idea of being a soldier and I get to play them now. I get to represent the soldiers who fight for our countries. I’ve got a lot of friends who are in the military so I asked them for advice: “How do I move? What are you thinking about here? Are you calm?” A lot of them will say, “I’m super calm.” In the most chaotic situations with bullets flying everywhere and grenades going off, they will find the most peace because their training kicks in. They can go about doing their jobs. I had to simulate that and not cower when there are explosions. I had to make sure that I found those moments of calm on camera.
Tell me about your character. Who is JJ?
He wants to serve his country. He has a family. He wants to make sure that his boys get back okay. He is there as a support to Jake [Gyllenhaal]. There was actually a lot more comedy written with JJ, but that didn’t make it to the final cut. These kinds of characters resonate with me because I know the people I’m playing. I sort of based this on someone that I knew. I’m sure they won’t mind me saying this: when you’re in the service, there’s a lot of waiting around. So you get to know your fellow soldiers, comrades, your platoon, your regiment, very well. You’re very close to the point that there’s no filter when you talk. We were trying to capture some of that. The conversations can be really mundane. But when things pop off, you’re gonna be ready.
There was a moment where we were trying to figure out where my character is from like, “What sort of Asian American is he?” I think we settled on half-Korean, half-Chinese, which is why he’s named Jung. Originally, the character was written as Josh Aidan. It’s Joshua Jung now. They thought it might be more intriguing because there’s a large Asian American community that served in the American army. I do feel sometimes like that aspect is forgotten. America and the Asian community have a long and complicated past with the internment camps and everything, and this is just me as a Brit observing and reading up on the history of it. I really wanted to make sure that you see someone who’s strong in character and not the tech geek we’re used to seeing—that he’s got that alpha energy to him. I wanted to portray someone who’s strong amongst his peers. We’re not the stereotypes that the media sometimes like to portray us as. We’re strong-minded and we have opinions. We are in positions of power. We have places in the military service where we can be seen as the heroes. It was important to me to be able to portray and represent that on camera, not just for the Chinese community, but Asian Americans in general. I know that’s a very broad subject and some Asian Americans might not like me saying that—coming from a Brit as well—but there’s unity there. We understand the battle. That’s important. Look at what Ali Wong’s been doing. She’s bringing sexy back for the Asian brothers. She was showing off Daniel Day Kim looking super stacked on The Ellen Show. [laughs] She’s giving empowerment to Asian men again. We’ve been emasculated for so long within the media, and that’s not right.
I remember having this conversation with Henry Golding, almost to a T. It fully resonates, of course. It’s also something to note that you’re being prominently placed in mainstream fare. When you were studying at Central School of Speech and Drama, did you see blockbusters on the horizon? What did you envision for yourself in terms of roles and career?
I always had self-belief and I always knew that I was gonna be able to do something like that. It’s weird because all the people that I loved watching in cinema, I’ve worked with already. Jake is one of those people. I feel a bit spoiled in that sense. Essentially, drama school was a place for discovery. When you go to drama school, people have certain expectations, but the primary objective is that you go there to train. You go there to learn and to fail and to rediscover. A lot of drama schools like to break you down and build you up to a model that they feel actors should be. So a lot of people have a negative experience going to drama school. Although I’m not convinced that’s necessarily the best way to work with actors because it doesn’t always resonate, I had a very positive experience and, if anything, it pushed me. I learned how to use that environment to my advantage. There weren’t many Asians in my British drama school. I can tell you there were only two people of Asian descent out of 300 people. It’s a very niche environment. It’s a very competitive environment. Everyone’s trying to make it. Everyone’s trying to get agents. Everyone’s trying to do blockbusters one day. I remember watching Guy Ritchie’s Sherlock Holmes when it came out and I was like, “I wanna work with him.” It happened. He’s one of my favorite directors. I remember watching Tom Wu, who’s my friend and colleague now, in a lot of his films. I was like, “One day, I want to be in Tom’s position and do films with Guy.” That happened. So I always had self-belief, but the roles definitely weren’t there when I came out of drama school in 2007. The roles are now coming out much later, almost 16 years later. We’re seeing leads like Henry Golding and Michelle Yeoh. There’s loads of others paving the way like Andrew Koji, Benedict Wong, and Daniel Day Kim. It’s lovely to see. They’ve helped people like myself get to where we are today.
Not only did you work with Guy, this is your third movie together. How did you guys meet?
It was in 2012 at the Roger Gracie Academy. I was a blue belt and he walked in under brown belt. He looked at me and went—he didn’t actually say this, this is his internal monologue: “I’m gonna warm up with this guy ‘cause I think I can smash him.” [laughs] I gave him a little tumble, but he definitely beat me up. He plays this annoying game: you think you got the upper hand, but then he spins you off and he’s on top, kicking the crap out of you. So that’s how we first met.
Like how everyone meets in this industry.
[laughs] We trained after that a few times, but we never spoke about acting. I always kept it about jiu-jitsu on the mat ‘cause that’s where we all go to decompress. Then one day, we’re sitting on the sidelines and he goes, “J, are you a stuntman?” I went, “No, I’m an actor.” And nothing. No reply. I didn’t speak to him about that ever again and he didn’t say anything to me about it. We would train and never mention it. Then The Gentlemen came up and I auditioned for the casting director. My tape went to one of his producers, Ivan [Atkinson], who we train jiu-jitsu with as well. He went, “Look! Guess who just auditioned for the role.” He played the tape and Guy goes, “Is that J Wong?” I got the job ‘cause he was convinced. Guy knows once he watches something. He knows straightaway. I had to earn my stripes. I didn’t get it because I was mates with him on the mats. I made sure that I went through the same process. It’s the same story with Wrath of Man. I auditioned for The Covenant as well. I had to audition for these parts. They weren’t just offered to me. They still make you sing for your supper. It’s like, “Alright, lad. Keep it humble.”
That’s a great story.
I haven’t shared that story before.
You’ve previously said that The Covenant is Guy’s most beautiful film. Since you had worked with him twice before, did it feel like you were making a very different kind of movie?
Even though he’s still around lots of alpha dudes and all, there was a difference in the way he approached directing us. It was a lot more gentle. He was asking us to show a lot more vulnerability. I felt that especially when I was watching him direct Jake, Jonny [Lee Miller], and Alexander Ludwig. I was on set even if I wasn’t on call. I’d just go to set and watch them ‘cause what else am I gonna do? Sit in my hotel room? It was slightly different how Guy managed it. The journey is different from his usual films. You’ll find a lot more tenderness in this one. The trailer says something else, but when you watch it, there’s a lot more stillness. It’s classic storytelling and it’s beautifully shot. The DoP, Ed [Wild], made it super cinematic with the backdrop of Alicante, where they shoot a lot of spaghetti westerns as well. It will be interesting to see how critics and audiences respond because it’s about a subject matter that’s very dear to people’s hearts still, especially to those people who served and those people who interact on a day-to-day basis with interpreters. We’ve always seen soldiers and their stories of war, but we’ve never seen stories about the people who we worked with in war and then left behind to fend for themselves. We literally left a bunch of them behind when we exited. We tried to take many, but there’s still a lot of people left there living in fear of persecution. We haven’t seen that story before on TV or in cinema.
It appears there were other connections as well. You had the same drama teacher at school as Jonny, right? You also had a loose connection to Jake in that you starred in Jarhead 2.
There is something serendipitous about it all, like the universe is trying to bring it all back. With Jonny, for sure. I studied him when I was 16. I would sit there and watch him. We had the same drama teacher and I’ve literally got an essay on Jonny. I’ll post it online. It’s a breakdown of his performance in [the play] The Caucasian Chalk Circle. When I met him, I was like, “We had the same drama teacher,” and he just looked at me like he saw a ghost. He went, “How do you know that?” I was like, “I watched you in The Caucasian Chalk Circle.” And he was like, “How did you see that?” It was from his days at the National Youth Music Theater. I had also met him accidentally when he was training at my jiu-jitsu academy. He was a blue belt. It was while he was doing The Crown so he didn’t look like what I was used to seeing on Elementary. The whole time, I was like, “Is that Jonny Lee Miller?” I’m just watching him, and now he’s looking at me and goes, “Do you wanna spar?” So we trained a little bit, but I didn’t know it was really him until the very end when someone called him by his name. When we met on The Covenant set, we went for dinner and he was lovely. It was a surreal moment for me ‘cause he’s done so well and we came from the same stock, in a sense, you know what I mean? I know that connection just meant a lot to me. He invited me to the premiere of The Crown and we’ve been mates and we message each other now and then. It’s really nice to be able to form that friendship from doing a film together. As for Jake, he doesn’t know I did Jarhead 2. [laughs] I kept that a secret. I think his assistant came up to me once and said, “Does Jake know you did Jarhead 2?” I said, “No, and don’t bloody tell him.”
That’s hilarious. But why keep it a secret from Jake?
I mean, he probably won’t care. He might think—I don’t know what, to be honest. He’s a nice guy, I don’t think he would care. And that didn’t click, really, until a producer on set was like, “Ah, you both did a Jarhead film.” I was like, “What? Oh yeah… We did.” [laughs]
You mentioned earlier that you went to Hong Kong to teach. I believe that was for a year after you graduated. You taught drama and English. Tell me about that experience.
When I was working with young people in Hong Kong, a lot of them were from prisons and challenging social backgrounds. I also come from a challenging social background, so when I speak to young offenders and students, I hope that there’s a relatability I have with them. Essentially, I was trying to help them elevate their communication skills and their confidence levels so that they can use it in their everyday lives. It was to give them the tools to be clear, concise, and compelling when they speak. That’s what drama did for me. I was once very shy. Teaching drama, I also wanted to inspire them to be more creative. Hong Kong has a very different schooling system. It’s very technical so, in that sense, asking someone to be expressive in that kind of system proved quite challenging. It was different from what I was used to in the UK. They’re more focused on math, science and other more technical areas, rather than thinking creatively. When I would ask them, “What do you think about this?” They would just sit there going, “I don’t know. You tell me what to think.” I’d be like, “No, no. I want you to use your own imagination.”
Do you have a first memory of wanting to act?
It was doing a play when I was in year five. I was 10, 11 years old. I played the Lord Mayor in The Pied Piper. It was a supporting lead role that my primary school teacher gave me. That was the first time I was really able to come out of my shell. I was always a shy kid so I always got stage fright, but this one really gave me the self-belief that I could do it. I was like, “Wow, I’m hooked onto this.” Then I progressed to doing my GCSEs and A-levels when I was 15, 16 and met the drama teacher Jonny and I both had. He had belief in me and pushed me to do things I wasn’t necessarily comfortable with doing. He gave me lead parts in plays at school and that was amazing. When I came back from Hong Kong, I signed with my primary school teacher’s daughter who was an agent. She was the person who got me my first acting job. So it went full circle. She got me my first TV job with Jessica Henwick, Benedict Wong, and Tom Wu in Spirit Warriors. Now here we are. There have been very influential people in my life who came and planted the seed. Then, somehow, that seed manifested itself later on to be of help to me in different ways.
Sometimes, with touchstones like Parasite or Everything Everywhere All at Once, it feels like a tidal wave of progress. But we’re still not where we want to be, right? Do you feel more comfortable working as an Asian actor now as opposed to even five years ago?
It comes back to the whole thing about how Asians didn’t used to be seen as people that could draw audiences. We weren’t in a place of huge influence in that sense. Every time you would think about Asians stars, someone would say, “Jackie Chan. Bruce Lee.” But that is shifting and it’s opening doors and it’s positive. But only a few hands have gotten through. We need that door wide open, and the door we’re pushing down is taking so long. A lot of people fell under the car trying to get the door open in the first place so we have to make sure we pay homage to them and their sacrifices as well. There are things they refused to compromise on that got us here. There are things they’ve had to go through in Hollywood or, in the UK, all the times they were told they just weren’t good enough because they looked too gooky, their eyes were too slitty, they didn’t have double eyelids, or this and that. That was put upon us. Now it’s about saying, “No. I won’t do that.” We’re in a different situation. People just didn’t used to find us attractive even. Now you have the rise of BTS and Blackpink and everyone goes crazy over them. And seeing four beautiful Korean girls on stage, it’s not just that they’re beautiful—they’re talented. The rise of K-pop and Korean popular culture has also had a huge influence on today’s audiences. That’s what buys them into our stories. It’s a group effort. We’re a huge community and we’re everywhere. Hopefully, we can continue to keep supporting each other, whether it’s in film, music, the arts, theater. We’ve had our subcultural differences, fine. But collectively, we’ve always been tight.
Now you have me curious: what’s your favorite Blackpink song?
I’ve been to their concert and I’m going to their concert again. [Jason whispers] I’m a secret K-pop fan. “How You Like That” is pretty good. “Pretty Savage” is good. “Shut Down” was most recently added to my playlist. I’m not gonna lie, I bought merch. I’m a huge Blackpink fan. I’m a Blink.
So what do you wanna do next? You once said that, after acting for 15 years, you are only now getting roles where it’s not ethnic specific. What’s in your crosshairs?
I really want to play a detective.
That’s a decisive answer.
I would love to play vulnerability in detectives. I want to be the Gary Oldman on Slow Horses. That’s why I’m gonna start writing these shows, and tell those stories with interracial relationships. I did a British show where they were trying to cast my wife and there was a moment where I was like, “Can we not make her East Asian? Can we make her white, black, Indian?” I want to show that diversity as well. Interracial marriages are very rarely seen. And to be honest, I do enjoy the tough guy roles. I would never demean the things that I’ve done. You can find complexity in those roles, too. I would just like to dip my toes into different areas as well. I want to be able to showcase that and not always be the angry Asian brother. I don’t always wanna be Asian and angry.
Because it’s not a matter of sacrificing one thing for another. You can do it all. Next, you have Warrior, a series based on Bruce Lee’s writings. It’s yet another full circle moment for you.
I’ve been in conversation about Warrior since Andrew Koji went up for it. Koji’s an incredible athlete and actor, and I’ve known him since back in the day. We used to sit in all the same audition rooms together. We went through the same struggles in the British film industry so we have a strong camaraderie. They were trying to get me for season two, but it didn’t happen. For season three, I think I auditioned for it six, seven times, to the point that me and my agent were like, “I don’t even know what role this audition is for right now.” [laughs] But I knew I wanted to be a part of it. When they came to me and said, “Alright, Jason, we’ve got this great part for you. But you’re only in two episodes,” I was like, “Send me the sides ‘cause I’ve been on this merry-go-round a few times.” Then I saw that it was with Olivia Cheng, Dianne Doan, Joe Taslim, and there was a part with Koji. I was like, “Absolutely, yes.” These are all my friends. I get to go to work and play with my mates. I trust them. If I fall, I know Liv will pick me up or Diane’s gonna pick me up. I hadn’t met Joe, but I knew we had a lot of mutual friends and that he would help me, too. And if I really needed it, Koji is there as well. I’ve never went in for a job this relaxed. It was like entering a family. It was a family. The Warrior family is so strong and I hope that audiences have love for it next season when they watch ‘cause it’s made with so much love. For me, it was making sure that, if Bruce Lee watched this, he’d be proud of us. Shannon [Lee], his daughter, actually gave each cast member letters he wrote to the head of studio at Warner Brothers. I have Bruce Lee’s business card and his drawings and handwritten poems. When I was reading his poems, I was in tears. The struggles that he was taking about are the same struggles that we’re still going through now. I was on the phone crying to my mom. It got to me. It mirrored the 16 years of struggles that I felt on my journey. He was thinking the same things I was thinking about: how we should see Asians in lead roles, what energy he could bring to it, and how audiences would buy into his films. He gave me a lot of inspiration. He gave me a lot of empowerment. He made me want to do good by all of it.
You’re doing your part in all of this, empowering others, and especially the Asian ones.
Thank you very much. I met someone recently and he went, “You really inspired me,” and I went, “What did I do?” [laughs] And do you know where that comes from? That comes from having great mentors. I’ve been lucky to have great mentors. If there are young actors, especially young aspiring East Asian actors, reading this, find a good mentor. Find your inspiration. I was about to quit drama school until I saw Dirty Pretty Things. Someone was like, “You need to watch that film. There’s an Asian actor in it and he’s from Manchester.” I went, “What? No way.” Then I watched that powerful performance. Benedict Wong kept me in drama school. I was like, “Alright, so it can be done.” Benedict told me that he was about to step back from the industry until he got the call for that role. He’s been a huge mentor to me. He supports young actors in the background and doesn’t take any praise for it. He’s always been a great cheerleader for East Asian talent.
I don’t think a lot of people realize just how important it is to see yourself up there on screen.
Representation matters. True representation matters. So let’s keep creating. Let’s keep fighting. Let’s say no to certain things. Let’s demand certain things. I’m not saying be difficult. It’s about how you might be treated differently on set. I’ve experienced my life like this. There are things to compromise on and things not to compromise on. There are moments where you gotta speak up because they will treat you a certain way, whether it’s racial, whether they’re aware of doing it or not. Why is everyone being treated differently but me? I’ve experienced that and I will speak out about it. I won’t compromise on that. Because fair is fair, right? I won’t be put in that position.