In the original "Breakfast at Tiffany's" movie, Holly (played by Audrey Hepburn) was involved with Yunioshi, and many argue that the script was altered by jealous white directors to tarnish the image of Asian men in Hollywood for the next 50 years.

What most people don't know is that in the original novel or writing for "Breakfast at Tiffany's," the white narrator never had a romantic relationship with Holly. Instead, he was portrayed as an incel who daydreamed about Holly all day and somewhat stalked her. The director was deeply troubled by this and modified the script to have the incel narrator end up with Holly.

The original author of the original novel was Truman Capote, who was a homosexual, and we've seen as homosexuals have gained more and more power in western society, Asian men have had more and more reduced status, because gays are notoriously racist against Asian men. Also since the novel is written with heavy incel inflections, it's no surprise that Capote was gay, since a lot of incels turn to other men to get their sexual needs met, and incels also have tremendous distain for East and Southeast Asian men in particular. This is because East / Southeast Asian men have, like Yunioshi, generally have an easier time with loving, sexual relationships with women, while incels and gays obviously can't.

There are even subtle elements in the script that support this theory that Yunioshi was banging Holly. In the movie, there's a strange plot point where Holly keeps her keys in Yunioshi's apartment rather than her own. Whenever she wants to access her room, she visits Yunioshi to ask him to unlock her apartment door. The movie tries to explain this by saying Holly any is forgetful and prefers to keep her keys with a random Asian man in the apartment block. However, today, this excuse seems implausible, and it appears to be a leftover plot point from their previous relationship. Even in the movie, Yunioshi insists that she take back her keys, but she refuses, saying she'd rather he keep them. It's evident that this is a remnant of their prior connection that the director didn't completely remove.

When the director turned Yunioshi into a clownish character, this plot point became even stranger. Why would Holly leave her keys with the "weird Asian man" on the block?

Another point to consider is that Holly consistently rejects all the white men who attempt to visit her apartment sexually. She was written as a young woman who was golddigger with wealthy men yet constantly rejecting them, only to mysterious hang out with a broke, Japanese photographer. In the original writing, she also rejects the white incel narrator. She rejects all the white men but keeps her keys in Yunioshi's apartment. The original story becomes clear. In the original novel, she even ends up with the only other non-white character in the film, a Brazilian.

If you're still not convinced, here's another plot point that might sway you. In the movie, Yunioshi is annoyed with Holly because she frequently calls him or knocks on his door at 2-3 am to "talk" to him. How would you interpret this if a white woman left you text messages at 3 am every night, asking to come over and "chill"? Today, we'd call it a "booty call."

As a child watching the movie, I even got the impression that Holly was obsessed with Yunioshi. I innocently asked my parents, "Why is Holly so obsessed with Yunioshi when Yunioshi clearly despised her?" They simply replied, "She just likes to talk to him," indicating they struggled to explain it. As an adult rewatching the film, I still felt the same sexual tension and chemistry inherent in the original script between Yunioshi and Holly .

"Breakfast at Tiffany's" was written during the height of the Sessue Hayakama miscegenation era when comic heroes were depicted as Chinese or Asian men. During that time, Asian men were often portrayed as "seducers" in movies and books. Therefore, it's highly likely that the original script depicted a rich white socialite woman having a "forbidden" relationship with her Asian neighbor. However, when World War II came along, the script underwent a 180-degree change to shift the narrative, transforming Yunioshi from a dashing Sessue Hayakama character to a bumbling white man in yellowface.

Additionally, take a close look at the poster for the Japanese premiere of "Breakfast at Tiffany's." The man kissing Audrey Hepburn is not the later protagonist shoehorned into the movie; he has black hair and appears Asian. This suggests that Sessue Hayakama or another Asian actor was originally intended to play the lead, but when the movie changed, they continued to use the original poster for Japan. You don't just photograph a random Asian guy with Audrey Hepburn for Japan unless you already had this poster.