**Anna May Wong: A Trailblazing Actress and Manifestor in Hollywood**

Anna May Wong, born on January 3, 1905, in Los Angeles, California, is celebrated as the first Chinese American Hollywood movie star and the first Chinese American actress to achieve international acclaim. Her remarkable career spanned silent films, sound films, television, stage, and radio, showcasing her versatility and talent. As a Manifestor in Human Design, Wong embodied the qualities of initiation and creativity, often paving her own path in an industry that frequently sought to confine her to stereotypical roles.

Wong’s presence was first felt in the 1924 film *The Thief of Baghdad*, where her captivating performance left a lasting impression. By the same year, she had become a fashion icon, achieving international stardom. However, as an Emotional Manifestor, she faced the frustration of being relegated to supporting roles that did not reflect her true potential. This emotional authority led her to make the bold decision to leave Hollywood for Europe in the late 1920s, where she starred in significant works like *Piccadilly* (1929), showcasing her ability to inform and inspire through her art.

Throughout the early 1930s, Wong traveled between the United States and Europe, continuing to break barriers in films such as *Daughter of the Dragon* (1931) and *Shanghai Express* (1932) alongside Marlene Dietrich. In 1935, Wong faced a significant setback when Metro-Goldwyn-Mayer overlooked her for the lead role of O-Lan in *The Good Earth*, choosing a white actress instead. This disappointment prompted her to reconnect with her roots by touring China and studying her family’s heritage, a journey that resonated with her 4/6 profile in Human Design, emphasizing her role as a role model and her desire to build connections.

In the late 1930s, Wong took on several B movies for Paramount Pictures, portraying Chinese and Chinese Americans in a positive light. During World War II, she shifted her focus from her film career to humanitarian efforts, dedicating her time and resources to support the Chinese cause against Japan. This period of selfless service reflected her emotional authority, as she prioritized her values over personal ambition.

Wong made a triumphant return to the public eye in the 1950s, notably with her groundbreaking television show *The Gallery of Madame Liu-Tsong*, which marked the first U.S. television series starring an Asian American lead. Off-screen, Wong was known for her proud and independent spirit, famously stating, “No, I am wedded to my art,” when questioned about marriage.

Tragically, Anna May Wong passed away from a heart attack in 1961 at the age of 56 in Santa Monica, California. For years following her death, she was often remembered for the stereotypical roles she portrayed, such as the “Dragon Lady” and the demure “Butterfly.” However, her legacy has been re-evaluated in recent decades, particularly around the centennial of her birth, with renewed recognition of her contributions to cinema and culture.

As a Manifestor with the Right Angle Cross of Tension (38/39 | 48/21), Wong’s life and career exemplified the power of initiating change and challenging societal norms. Her channels—26-44, 21-45, and 37-40—further highlight her unique ability to communicate and connect deeply with others, solidifying her place as a pioneering figure in Hollywood history. Anna May Wong’s story is not just one of artistic achievement but also a testament to the transformative power of following one’s emotional truth and inspiring others along the way.