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waitmyturtles · 11 months

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Turtles Catches Up With Old GMMTV: I Told Sunset About You (ITSAY) Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, in a long post, I work my way through Nadao Bangkok’s cinematic motherlode: ITSAY. Thanks to everyone for your patience with this post: I did major due diligence with it, with the absolutely TREMENDOUS help of @telomeke, @lurkingshan, @wen-kexing-apologist, and @bengiyo to ensure I had facts and analysis correct. Thank you, from the bottom of my heart, to these dear friends for holding me down and offering your sharp eyes.]

To dive into a topic as complicated, as beautiful, as reflective, as impactful as a macro-analysis of I Told Sunset About You is to take on...a lot. As I’ve discussed with @lurkingshan, from a filmmaking perspective, as so many of us who have watched ITSAY know -- it occupies the top spot of Thai BLs by way of pure cinematic quality. (If you follow my late-night liveblogs, you’ll know that this was the first show -- not even Bad Buddy did this to me -- where I needed to stop multitasking, to just sit and watch the episodes. No drama has done that for me in the years since I became a multitasking mom.)

As with 2gether and Still 2gether last week, this watch of ITSAY is a definite milestone on the OGMMTVC list, and I really thank @shortpplfedup, @bengiyo, @wen-kexing-apologist, @lurkingshan, @telomeke, and others in advance for what we’ve talked about in direct conversation regarding ITSAY, its many influential tentacles, and the influences that the show itself may have come from.

I’d like to touch upon a couple of frames to structure this piece, but the caveat here is that by no way will I consider myself an ITSAY expert, because there’s a tremendous fandom that knows much more about the Nadao Bangkok studio, about PP Krit and Billkin Putthipong, about the director and screenwriter, Boss Naruebet, and much more. I will have a substantial postscript to capture loose notes and learnings that didn’t make it into the main analysis.

Inspired in part by direct conversations with @telomeke and @lurkingshan, I’d like to dive into the following:

1) From a question that @lurkingshan posed to me: what shows from the start of the OGMMTVC watchlist -- and, more broadly, what art out there -- do I think spoke to ITSAY and its development, 2) The important story of Chinese migration to locations like Phuket, Penang (in Malaysia), and other locations on the Malay Peninsula, and how Chinese and Thai-Malay-Chinese-Peranakan cultures flavored ITSAY’s storytelling, 3) A discussion of internal and external homophobia on Teh’s experience, and how his conversation with Hoon encapsulated our understanding of homophobia, filial piety, and socioeconomic pressures in Teh’s particular life, timeline, and culture,

and more, I’m sure. Let’s boogie.

I warned some folks prior to this review that my thoughts on what may have spoken to ITSAY may turn some people off, so I offer this as a flare to y’all in advance. Acknowledging that episodes three and four of ITSAY were as emotional as anything I had ever seen in Asian BLs, Teh was just such a PERFECTLY written character. (The ITSAY supporting documentary episodes state that the show was in part inspired by Billkin’s and PP’s personal lives, and I know there’s fanon that the show was meant to deeply depict their personal stories with each other. I don’t have primary source material to point to regarding this, so I’ll leave it alone, with the understanding that there are interpretations of the show that read between the lines to bring that lens in. I acknowledge the existence of the theories, but will not dive into that here.)

So, in regards to Teh, as I chatted with @lurkingshan as I was watching the series, I just kept thinking to myself... hello, Fuse.

CHAOS BOYS! (Fire Boys? No, no, chaos boys, ha.)

This is where I think my analytical read might get a little controversial with folks, because to compare Make It Right to ITSAY -- from a LOOKS perspective, CERTAINLY from a storyline and narrative structure perspective -- no, it’s not there, not by a long shot.

But when I wonder about what ENERGIES and inspirations opened the door for Boss Narubet to WRITE the way that he wrote, and to DIRECT the way that he directed, Teh’s ENTIRE EMOTIONAL PROCESS AND BREAKDOWNS, his back-and-forth, his hesitations -- I saw chaos, and when I think of chaos, I think of Fuse.

I think of Fuse, and how Fuse was held back, particularly in Make It Right 2, regarding Fuse’s CULTURAL AND SOCIAL ASSUMPTION that he couldn’t break up with his girlfriend, all while being in a nascent give-and-take, back-and-forth relationship with Tee. And how that ASSUMPTION held BACK the full expression of commitment, honesty, and trust that Fuse and Tee ended up having at the end of MIR2. Fuse was being rather unsophisticated while he was struggling with this, and he was bringing Tee along, frustratingly, for that ride.

Something that you said to me also really resonated, @bengiyo, in conversation with @lurkingshan, about comparing TeeFuse and TehOh, in that Fuse and Teh weren’t necessarily SPARKLING or GIFTED presences. As you two both pointed out to me: Teh had to work much, much harder than Oh-aew for the talents that Teh achieved, and somehow, chaotically, he managed to lose his grip on those talents and achievements as he gave up his hard-earned opportunities for the sake of the overall-better-off Oh-aew. MESSY, BRO.

Besides MIR/MIR2, there’s somewhere else where I saw chaos. @bengiyo, you pointed out to me that you felt that you saw more of Thai queer cinema in ITSAY than in BL. I don’t think ITSAY *doesn’t* speak to BL and vice versa (I don’t think there’s anyone who thinks that, considering what Nadao Bangkok achieved with this show), but when I think of chaos -- and of the structures of storytelling that allowed us to get such an in-depth experience of Teh -- I also think of 2019′s Dew the Movie, and to a different extent, the before-its-time show in 2019′s He’s Coming To Me.

ITSAY, Dew, and HCTM have:

a) multiple chaotic leads (including actual ghosts and dudes who see ghosts), b) overarching cultural backgrounds rooted in extremely specific Asian cultures and/or practices and/or time periods, and c) interplays of emotional revelations vis à vis those specific cultural backgrounds.

- Fuse introduced to us, way back in 2016 and 2017, an internal holding back of an emotional engagement with Tee that was rooted in internal homophobia by way of his negotiation with what Fuse’s girlfriend expected of him, and what HE expected of HIMSELF regarding HAVING a girlfriend, while falling in love with a young man.

- Dew featured two young men in chaos, in 1990s rural Thailand, one of whom (Dew) who had previously lived in a different city where, likely, his sexual orientation would not have been met with such dystopic scrutiny as it did in the movie. The movie made clear that Dew wanted a solid relationship with Phop, but with both Dew’s and Phop’s families and cultural expectations holding them back, they both met untimely and unfortunate ends that hammered, in extremes, the perils, in cinema, of being gay and out in an incredibly restrictive and old-fashioned Asian society.

- HCTM featured a young man (Thun) who could see ghosts, along with the ghost that he ends up falling in love with (Med). The revelation of Thun’s being able to see Med is deeply connected to Thun’s Thai-Chinese Buddhist practices, and how his family has engaged with spirituality over the course of his life. While the structure of the show has often been described as having a happy ending, I argue the opposite -- that the ending is left open-ended, as it so often is in some of P’Aof Noppharnach’s shows, with the assumed understanding on behalf of an Asian audience that Med will one day be reborn and will leave Thun’s side (unless he’s reborn into another person that knows Thun) (hello, Until We Meet Again).

So what do all of these shows/movies -- ITSAY, Make It Right/MIR2, Dew, and HCTM -- have in common?

ITSAY, Dew, and HCTM have the common background of an old-fashioned culture serving as a MAJOR anchor to their stories. Their stories are leveraged by the micro-level, individual-level interplay between their main characters and old-fashioned worlds, complete with old-fashioned notions, assumptions, and expectations. ITSAY, Dew, and HCTM negotiate boundaries with these cultural guardrails, and we see -- Teh at the end of episode 4, Thun on the rooftop in episode 5, Dew talking to his mother -- what those expectations and boundaries have done internally to our dear young men.

Make It Right’s Fuse, way back in 2016, internalized this slightly differently, without us seeing as deeply the WORLD in which he grew up. The directors and screenwriters New Siwaj and Cheewin Thanamin gave us a guy in school with a girlfriend. FUSE’S world, that we see, is a school world, so apropos for that time of Thai BLs, complete with very heterosexual expectations for a young man WITH a girlfriend. And Fuse struggles with his push-and-pull throughout the two seasons.

What I love about the OGMMTVC project is that by having watched these projects before ITSAY, I can somewhat predict what the journey of chaos, by way of internal revelation, will be for these characters.

However.

What ITSAY DESTROYED for me, as compared to these dramas and movies, was the high level of acting that Billkin leveraged to get Teh to the emotional levels that he reached. Teh, episode 4, and Thun, episode 5 = handshakes.

This is where ITSAY’s structure just brings ITSAY to the top of the cinematic list and runs away from everything else. I posted in my liveblogging that the ending of episode 3 blew me away with a subversion of the four-act structure of screenwriting. @bengiyo corrected me to say that it was, instead, a rare example of Thai BLs achieving a successful five-act structure.

Just -- fuck.

You combine this UTTERLY FUCKING BRILLIANT STORYTELLING STRUCTURE, NARRATIVE STRUCTURING PAR FUCKING EXCELLENCE, ALONG WITH BILLKIN’S PORTRAYAL OF TEH IN HEAT AND CHAOS, and I’m eating, fam. Five-star Michelin tasting menu-level.

But before I start that meal, there’s even more that ITSAY did to really hammer in what I’m referencing by way of the anchors of old-fashioned culture to this story, which, clearly, Boss and Nadao Bangkok value, in the show’s indirect commentary on Chinese culture and migration in Thailand, and what it meant for Teh and Oh-aew to grow up in Phuket and prepare to leave for Bangkok. (If you haven’t watched ITSAY, I highly recommend that you plan on watching the supplementary documentary material, because those docs give a ton of insight into the Thai-Malay-Chinese background of the show. As a SE Asian homey, those revelations gave me the wonderful warm and familiar vibes.)

Dear @telomeke (I don’t know what I’d do without you, friend!) helped me to understand, back in my HCTM days, that I inherently know more about Chinese migration, immigration, and culture into Southeast Asia than I previously gave myself credit for as a part-Malaysian, because many of the migratory patterns and cultural assimilations are similar between Thailand and Malaysia. I appreciated that confirmation, and had my inspector’s hat on during my watch and rewatch of ITSAY.

I’ve spoken with @lurkingshan and @neuroticbookworm about the impact of migration and diasporic existence, in that, I think, oftentimes, immigrants to another country often hold a more conservative view of the cultures they bring with them -- in order to hold onto the tenets of those cultures, and to keep those tenets from getting influenced or maybe even watered down by the new environment in which immigrants are living. (My example to Shan and NBW was that I find that South Asian immigrants are often MORE conservative than my relatives in my homelands -- so as to keep a tight grip on assimilation, or, say, moral/ethical weakening by way of Western culture.)

I think the background of Phuket and EVERYTHING it lent to the show...

- Teh’s mom selling Hokkien mee at a stall storefront and the boys eating it in Teh’s old-fashioned house, - The old-fashioned o-aew dessert shop, selling a Hokkien Chinese dessert, which is often preceded by a shot of the “Phuket Old Town” sign, - Teh’s mom’s traditional Chinese-Peranakan outfits, particularly when she’s celebrating Teh and Hoon’s successes, - The tight streets and alleys,

...all of it, visually and culturally, reminded us that the boys live in a world that was DEEPLY INFLUENCED by the way back when. I posit that Teh’s mom is the encapsulation of this kind of old-fashioned culture, from the architectural style of her Hokkien mee stall, to the clothes she wears, to the heavy decorations and rugs and furniture of her old-fashioned house -- to her old-fashioned notions of filial piety that both her sons will be successful and will help to take care of her as she ages. I posit that this old-fashioned mindset also likely led Teh to believe that Teh’s mom would not accept him for liking men, which I will delve into more in a bit.

I mentioned cultural assimilation earlier: I brought up Penang, Malaysia, earlier, because I’ve spent time in Penang -- and Penang was referenced by Boss in the ITSAY documentaries as being similar to Phuket by way of cultural structure. @telomeke educated me on the tin-trade-influenced links from Phuket to the Malaysian towns of Penang and Kuala Lumpur, all towns that experienced heavy immigration from China and feature the strong presence of Chinese-Malay-Peranakan cultures in their social fabrics. The Peranakan population developed when the first Chinese immigrants to these regions began marrying the local ethnic Thai and Malay residents, creating a brand-new culture, complete with unique foods, clothing, architecture, and much more.

Having not been to Phuket yet, I believe Boss. As well, I want to note -- very important to me as a part-Malaysian -- that Boss referenced Teh’s nickname as the Malay word for tea. @telomeke noted for me this distinction as one that’s notable for how ITSAY differentiates the culture within the show -- again, a culture that’s influenced by Chinese and Malay migratory history -- against the backdrop of Bangkok, where tea is not “teh,” but rather is called “cha,” the Thai word for tea. [The most famous “teh” drink of Malaysia is teh tarik, a sweet, creamy, and strong tea drink that you see everywhere in Malaysia. While o-aew is a distinctly Chinese-style dessert, teh tarik comes from Indian immigrants to Malaysia (and is usually drunk with roti canai, another Indian import to Malaysia)].

In other words: we are talking a TREMENDOUS, a TREMENDOUS amount of references to cultural mixing, development, and assimilation here, all INTENTIONALLY placed by Boss Narubet and his screenwriting team -- and all of this serving as a reflection against what Teh and Oh-aew will experience as being “different” in their futures in Bangkok, where this Thai-Chinese-Malay cultural differential will make them different when they get to college. (Not having seen I Promised You The Moon yet, I wonder if IPYTM sets up Teh and Oh-aew as potential country mice, à la Ji Hyun and Joon Pyo in The Eighth Sense.)

One more pertinent note of cultural intermixing by way of the historical Thai-Chinese-Malay linkages. @bengiyo was surprised that I didn’t initially exclaim at the presence of hijab- and songkok-clad Muslim women and men eating at Teh’s mom’s Hokkien mee stall; Teh and Oh-aew’s friend, Phillip, is also shown with his Muslim parents. It’s funny, @bengiyo, as I said to you: because I was watching ITSAY with such a trained eye towards spotting the Thai-Chinese-Malay cultural mixing, seeing Muslims on screen did NOT ring a bell of differentials because -- I expect to see them there, in those kinds of spaces, anyway. (In fact, seeing Muslims on Thai television is rare, which I will get into more in the postscript.)

So we have: MANY CULTURES MIXING OVER MANY GENERATIONS. Migratory patterns intertwining. Indications of physical and emotional movement. And even though, and even DESPITE, these cultures mixing, we ALSO HAVE an OVERARCHING message of old-fashioned customs and ways of living that dominate the lives of the children in the show -- ESPECIALLY Teh. Teh and Oh-aew -- literally, their NAMES reference places ELSEWHERE than Phuket and Thailand. Phuket’s old-fashioned roots. Teh’s mom SELLS a dish that comes from somewhere else (the Hokkien Chinese population mostly hails from Fujian, China, as its origin).

What happens with migration and immigration? Cultures collide and combine -- social mores and expectations change -- one’s standards of HOW TO LIVE ONE’S LIFE changes.

Teh and Oh-aew, during the entire series, are facing a moment in time where THEIR lives, THEIR cultures, THEIR micro-interactions WITH THEIR cultures, ARE GOING TO CHANGE, definitively, by way of their burgeoning same-sex relationship. Teh and Oh-aew are already different in Thailand by way of their cultural backgrounds, as I’ve established -- and now, with a potential public revelation of their relationship, will they be even more different. And their families -- especially Teh’s mom, but Oh-aew’s family as well -- are going to collide with the very PRESENT present vis à vis their boys and their love.

As this happens with migration and immigration, CHANGE WILL HAPPEN vis à vis Teh and Oh-aew’s queer revelations as well.

Boss focused on the aspects of Phuket that were anchors to the culture that Teh and Oh-aew were raised in -- an immigrant culture, a migrant culture from China, that has had a long hold over many, many towns and societies in Thailand. We didn’t see the modern 7-11s that we know are there in Phuket, serving the tourists of these towns.

And, just like the physical dystopia of Dew, and even vis à vis the spiritual practices built into He’s Coming To Me, the slice of Old Town Phuket that we SAW as that anchor was a HEAVY PRESENCE in Teh’s life -- it was PERFECTLY matched with the old-fashioned, conservative ANGER and DISAPPOINTMENT that we saw in Teh’s mom in episode 4, when Teh shares that he dropped out of university for Oh-aew. That anchor, to me, was meant to SMASH into, FEED into Teh’s overwhelming emotionality at his queer revelation, and at the revelation that serving his mother via filial piety would be automatically made more difficult, thus maximizing the impact of his internalized homophobia and his fear of recognizing his love and attraction for Oh-aew.

COUPLE THAT with the previous hints -- and then the SMASHING WRECKING BALL -- of the visual depths of Oh-aew’s own realizations earlier in episode 4, his own internally different place, the way he reveals himself to the world vis à vis the fast Instagram post of him wearing the red bra. And how Teh reacts to it. And how it sets off such an unreal chain of emotional unraveling for Teh, the SECOND of that episode, even before he goes to Bangkok to drop out.

WHOA.

THIS, TO ME WAS FUCKING STUNNING

and very important to me to see as a South/Southeast Asian. WHEW.

And, good lord. How Hoon comes in at the end for Teh. Hoon, the eldest son, the one who has very quietly borne the financial responsibility that his mom, Teh’s mom, too, has placed on Hoon’s shoulders, naturally, through generations of family custom. (Super duper thanks to @lurkingshan for talking me through this in detail with me.)

And Hoon gives his family, his little bro, Teh, comfort. How Hoon says, listen. Mom’s gonna be mad if and when you tell her about Oh-aew and your feelings for me. But guess what? She’s gonna come around. You’re a crybaby, Teh, but I’m here for you.

Hoon knows that Teh’s mom will come around -- because Hoon is also a part of the next generation of change, much like his Thai-Malay-Chinese-Peranakan community before him -- as he brings his Japanese girlfriend home to his mother and brother. (THANK YOU, @wen-kexing-apologist, for pointing this out!)

Teh’s mom, too, will move. She will move from her old-fashioned mindset, to migrate to a new mindset, where she will accept her son. Teh needed to hear that, to know that that movement would be possible.

Just like the movement of the many swirling cultures around Teh and Oh-aew, the hustle of Bangkok before them, nipping at their lives like the ocean to the beach.

What ITSAY captured for me was a cinematic moment of movement on so many levels. It was a pulsating reflection of change. It was meant and designed to insidiously shock viewers out of complacency. Like a beanstalk climbing from the ground, the movement begot movement to these two young men beginning to address and empty themselves of the homophobia that kept them back, Teh especially.

GAH, THEIR MOVING PHYSICALITY, IT NEVER STOPPED -- the end of episode 2 on the boat, the end of episode 3 in Teh’s room, GAWD -- Teh’s ABSOLUTE HORMONAL DRUNKENNESS, Oh-aew’s STARE AFTER STARE AFTER STARE, Oh-aew’s SILENT DEVASTATION AT THE END OF EPISODE 3, the way Teh would nod and FLOP his head uncontrollably in desire, the nuzzles, the sniffs, the uncontrolled reaches -- GAH. It gives me the shivers.

It was a lot.

ITSAY was just -- y’all know it. It was fantastic. While HCTM was before its time, I feel that ITSAY was RIGHT ON TIME. It brought so many elements of this GORGEOUS, HISTORIC, culturally Southeast Asian experience into the intersection of the queer lens, as well as the *migratory* lens of the Southeast Asian region specifically. It showed us, from a micro-perspective, the very tremendous macro-level implications and pressures of filial piety, of internalized homophobia, of the huge socioeconomic expectations that families have on Asian students to succeed in education, and so much more. IT WAS *DEFINITIVELY INTERSECTIONAL*, MORE SO THAN ANY BL BEFORE ITS TIME.

Yet again, for me, just like Bad Buddy, just like Until We Meet Again, I have another show in my arsenal that makes me proud to be an Asian watching these shows -- and in ITSAY, I feel particularly proud that a slice of my own personal culture, as an Malaysian, made it in there, intentionally. I will FOREVER, and ever, be grateful to ITSAY for that.

-------

I’d like to offer this postscript as a means of making some quick points that @telomeke, @bengiyo, @lurkingshan, and @wen-kexing-apologist shared with me as I was writing this review -- and I thank them all deeply for reading drafts of this post before publication.

1) I was previously unaware of the history and current state of Islamic culture in Thailand until ITSAY and Be My Favorite included women wearing hijabs in their shows. This is an important slice of culture for me to know about, as I’m part-Malaysian, where Islam is the dominant religion. @telomeke shared with me that the majority Muslim population in Thailand is in southern Thailand (although, of course, Muslims live across Thailand), and that there have historically been separatist efforts in those southern provinces that have often led to violence.

There are many reasons why discrimination of Muslims exist in Thailand, as it does around the world, including references to the separatist efforts in the southern provinces. As well, ethnic Thais can trace their heritage back to various towns and communities within China, thus possibly making northern Thailand, with its proximity to China, potentially more lauded in Thai culture, and contributing even more to a perception that southern Thailand, with its Muslim population, as potentially “less desirable.” (And I want to take a second to note @telomeke‘s excellent point to me that “Chinese” as a catch-all word is often incomplete, as Han Chinese make up a sizable portion of Thailand’s population, but as we see in ITSAY, the Hokkien Chinese population also flourishes in certain parts of the country, and there are populations of Teochew and Hakka Chinese as well, as there are in Malaysia.)

All of this combined -- the geographic proximities to China, the places where various populations have settled, from the places that various populations of Thais track their heritages, plus global and/or popular misconceptions and stereotypes of “other” communities -- can contribute to discrimination of Muslims in Thailand. Of course, that is not a universal statement, as we do see Muslims beginning to show up in Thai drama art, which is heartening. To me, it strikes me as more realistic for the region to see Muslims on screen, but I don’t know Thailand well enough to say that for sure (that’s my Malaysian-side talking). I really want to thank @telomeke for taking me on SUCH a deep dive with insight into this part of Thai culture that I think is very necessary and fascinating. (Politics in Thailand is quite complicated at the moment, but at this very second, Thailand’s current Parliament speaker, from the Move Forward party, is Thai Muslim, with a Malay Muslim name -- Wan Muhamed Noor Matha. Very cool, but this is going to change soon, as Move Forward will make way for another political party to take control of the government.)

2) If you know me well enough, I cannot leave food well enough alone in our wonderful dramas (exhibit A: Moonlight Chicken and khao man gai, exhibit B: coffee/kopi in The Promise, lol), and I want to make sure that we were all aware back in 2020, and/or make you aware now, that Hokkien mee is a VERY regional dish, with styles unique to each town in which it is famous. @telomeke, I know you feel differently, but Hokkien mee from Kuala Lumpur (KL), Malaysia is my.... it’s my heaven, my soul, my heart, HA!

Here’s some linkies to get you educated. And also! Oh-aew prefers his Hokkien mee with rice vermicelli noodles, instead of the usual, thicker egg noodles. You know what I like to do if I see that a stall has the two styles of noodles available: I like to get them mixed together. Hokkien mee, Hokkien prawn mee noodle soup, curry laksa -- I like the best of both worlds of noodles in my bowl. YUM.

Phuket Hokkien mee KL Hokkien mee Penang Hokkien mee (this one is the prawn noodle soup, not the fried noodles -- omfg so good) Singapore Hokkien mee (note the lighter color -- and the m’fing mix of thick and thin noodles, hell yeah!)

(If you made it this far in the ITSAY review, I have an easter egg for you. Guess what the Malay name is for rice vermicelli noodles? Bee hoon or mee hoon.

Hoon and Teh, two Malay names: thin noodles and tea. What Teh’s mom serves at her stall, and what Teh and Oh-aew represent, symbolically, by names and their noodle preferences, as a pairing. AND! @telomeke gave me one more easter egg! Teh O is a popular way to order tea in Malaysia and Singapore. It’s black tea with sugar, no milk. Another pairing reference. ITSAY never stopped with all the layered references!)

[WHEW! What a ride. Thanks to all y’all who held me down during my losing-it liveblogging of ITSAY. More to come when I get to Last Twilight in Phuket and I Promised You The Moon.

Next week, I’ll release my review of YYY into the wild -- listen, honestly. Yes, chaos, confusion, all of it. But I am not writing this show totally off. There was definitely stuff in it to chew on. And: POPPY RATCHAPONG. And Pee Peerawich. The acting was actually stacked on this show. There’s stuff! More soon.

And I also finished Manner of Death, so that review will drop in two weeks. I LOVE MAXTUL. UNABASHEDLY. Yes, I know I’m years late, yes, I know Tul is retired, sobs. Let me live my 2021 dreams! These guys are so good together, and MoD was fuckin’ great.

I have so much good stuff on the way: I’m fully in my ATOTS rewatch, and I’ve added 55:15 Never Too Late, very specifically its BL storyline. I may not give 55:15 a full review because I’ll fast-watch the rest of it, but: Khao, come to me, boo-boo! I have an INSANE August ahead of me as I’ll be moving in a month (GAH), but hopefully this schedule won’t fall back too much.

Status of the listy! Hit me up if you have feedback!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) (no review) 9) He’s Coming To Me (2019) (review here) 10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 11) TharnType (2019-2020) (review here) 12) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 13) Theory of Love (2019) (review here) 14) 3 Will Be Free (2019) (not a BL or an official part of the OGMMTVC watchlist, but an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 15) Dew the Movie (2019) (review here) 16) Until We Meet Again (2019-2020) (review here) 17) 2gether (2020) and Still 2gether (2020) (review here) 18) I Told Sunset About You (2020) 19) YYY (2020, out of chronological order) (review coming) 20) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review coming) 21) A Tale of Thousand Stars (2021) (review here) 22) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (watching) 23) Lovely Writer (2021) 24) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 25) I Promised You the Moon (2021) 26) Not Me (2021-2022) 27) Bad Buddy (2021-2022) (thesis here) 28) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) 29) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 30) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 31) KinnPorsche (2022) (tag here) 32) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 33) The Eclipse (2022) (tag here) 34) GAP (2022-2023) (Thailand’s first GL) 35) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 36) Moonlight Chicken (2023) (tag here) 37) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

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couchcandy · 8 months

Text

Psych x Community ??

I love psych and i love community so this vague concept of them existing in the same universe has been floating around in my head.

The key connecting factor being the references to Shawn/Britta’s similarly eclectic off-screen pasts. They're close in age so I'm like okay - it would totally be possible for them to have known eachother/dated/whatever at some point before.

psych aired from 2006 - 2014; Shawn born 1977

community aired from 2009 -2014; Britta born 1980

(Take these two quotes just as an example but it's referenced casually throughout both shows)

Britta’s Dad: I mean, every time we get too close, you run off. We sent you a birthday card to your apartment in New York, and the next week you’re setting fire to a Jamba Juice in San Jose.

Britta: How long is that gonna stick with me?

Britta’s Mom: Until arson is legal, sweetie.

Gus: Shawn, you’ve had fifty-seven jobs since we left high school.

Shawn: Yes I have. And they were all fun. But this one takes the cake.

Gus: Oh yeah? Better than the acupuncture clinic?

Shawn: I didn’t realize experience was necessary.

Gus: What about the summer you spent driving the weiner mobile?

Shawn: I did that for the hot dogs.

I think they fit somewhere in the ballpark of each other's types, both sluts(affectionate) and it makes sense for them to have crossed paths at some point during Britta's “anhercists” days.

So that establishes a link between the groups, but what would it be like if they interacted? Take the arbitrary scenario; Shawn and Gus have gotten themselves and by extension the SBPD into another whacky shenanigan somehow who cares how i'm not writing this

I imagine initially everyone in the study group has a more or less positive impression of Shawn because he's charming, (with the notable exception of…you got it! Jeff)

JEFF

In typical jeff fashion is immediately threatened by Shawn because he has to be the coolestmostlikeabledude™ in the room at all times while simultaneously has to act like he doesn't care so he's quietly seething and - hey what's this new dude doing here making all my friends laugh that's my job! i must now make it my life's mission to prove this guys a fraud and reclaim my status no matter how much a fool i make of myself in the process (a la: advanced documentary filmmaking)

BRITTA

Normal standard “hey old friend” situation, remember when we *insane thing involving multiple felonies and property destruction* haha anyway let me introduce you to my friends -

ANNIE

immediate skepticism that Shawn is able to sidestep pretty quickly by being charming/flirty (NOT in a gross way *hisses at the jeffannie shippers*) Her reaction being like when the dean “swaps bodies with jeff” or after abed’s don draper impression.

ABED

Knows Shawn isn't really psychic but goes along with it/doesn’t point out that Shawn’s hyper observant because he's invested in watching the psychic/cop show formula play out. He would! and I would too!

(quote from 5x03 Basic Intergluteal Numismatics):

Abed Nadir: [Pretending to read the crime scenes as a psychic] I see a man... using a social disorder as a procedural device. Wait, wait, wait, I see another man. Mildly autistic super detectives everywhere.

TROY

Obligatory: “you’re wrinkling my brain right now” and just general fascination, awe, and wonderment. Asks Shawn to tell him his future

SHIRLEY

Immediate judgment on Shawn's practices not being christian enough for her standards, but easily swayed to liking him once he picks up on something and comments on her ex husband being an idiot to lose her or something

PEIRCE

Does his peirce thing and tries to seem impressive and fails, something level five laser lotus blah blah - u get it thats enough on him

THE DEAN

Is facilitating the psych crew being there because it might bring in good press for greendale and he def does the hand on shoulder thing when he meets him you know the one - omg and totally is into Lassiter furrowed brows “im packing heat” Carlton, please. – lassie is Not Amused™

CHANG

This depends on what point in community canon this interaction takes place because season 1 chang would prob be normal(for him), but like season 5 Chang would do/say something so insane and so chang that i can't even come up with it

As for our psych guys, Gus points out how weird and fucked up and bizarre Greendale is meanwhile Shawn is LIVING for it - signs them up for the Dean’s PA announcements class, and “Gus! buddy! I hope you don't mind. I used your credit card to sign us up for The History of Ice Cream. Come on, it starts in 20 minutes ! :D” Gus: “Shawn! >:0”

Lassie would just nonstop point out all the health and safety violations- he doesn't want to be here- calls a lot of people hippies, generally grumpy demeanor and we love him for it.

Starburns terribly hits on Jules - gets rejected, proceeds to try and sell her drugs - gets arrested.

#community tv #psych tv #community x psych crossover #community nbc #psych usa #shawn spencer #burton gus guster #britta perry #the study group #crossover #community show #insane ramblings of a tv obsessed loser #if i had any ability to write entertaining comedic fiction i would #shawn solves the mystery and saves the day #he finds russell borchert years before Basic Sandwich

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lpsotd · 2 months

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you like community omg!!!!! do you have any fav episodes? that show is so funny

YES I LOVE COMMUNITY ... i was introduced to it in the middle(?) of 2023 and i am so in love with it <3<3<3 i re-binged it recently on netflix in honor of it leaving the service (which was today i think? TRAGIC)

my favorite episodes are messianic myths and ancient peoples, physical education, remedial chaos theory, contempoary american poultry, advanced documentary filmmaking, queer studies and advanced waxing, basic rv repair and palmistry, advanced gay, and foosball and nocturnal vigilantism ...

#i'm normal (lie)#🍭.asks #🎭.misc

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homomenhommes · 7 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … November 24

1632 – Baruch Spinoza, the Dutch philosopher was born on this date (d. 1677). One of the great rationalists of 17th century philosophy, he laid the groundwork for the 18th century Enlightenment and modern biblical criticism. By virtue of his magnum opus, the posthumous Ethics, Spinoza is also considered one of Western philosophy's definitive ethicists. He was raised and educated in the Orthodox Jewish fashion, also studying Latin and was thoroughly familiar with European humanism.

What exactly is it that caused him to be excommunicated from the synagogue when he was only 24 years old? Many scholars have speculated that the horror Spinoza inspired in the Jewish community may have come not only from his espousal of advanced economic theories, but from his espousal, as well, of Greek love among impressionable students in the liberal circle where he taught. A Dutch physician, J. Roderpoort, wrote at The Hague in 1897: "Spinoza excites the youth to respect women not at all and to give themselves to debauchery." Was Spinoza merely teaching the Greek and Roman classics, with their inevitable passages on pederasty? What were Roderpoort's motives for discrediting the Jewish philosopher? Was Spinoza, in fact a pederast? It's all open to speculation.

1930 – Albert Wolsky is an American costume designer. He has worked both on stage shows as well as for film, and has received two Academy Awards, for his work on the films All That Jazz and Bugsy.

Wolsky was born in Paris, France, but during World War II, he and the rest of his family fled to the United States to escape the German occupation. After graduating from the City College of New York, he served in the army from 1953–56, spending most of his enlistment in Japan. Once he returned to the United States, he began working in his father's travel agency. However, he decided to change careers and took an assistant's job with notable costume maker Helene Pons.

Wolsky became a well-regarded costume designer, working both on Broadway and in the motion picture industry.

His longtime partner was actor James Mitchell.

1940 – Arthur Tress, American photographer, born. The uncompromising, poetic imagery of American photographer Arthur Tress is the stuff of dreams, called forth from the artist's reckoning with the world and his place in it.

A New Yorker, he began his photographic career at age twelve, making snapshots of dilapidated mansions and Coney Island decay. An introverted child of divorce, Tress moved between two worlds--his lower-class mother's neighborhoods and his nouveau riche, remarried father's more prosperous one, observing and eventually photographing both milieus.

As he recalls, from a very young age he was already aware that his sexuality was different from most of his classmates and he was drawn to subject matter that was similarly marginalized and different.

During his studies at Bard College, Tress explored painting and filmmaking but was ultimately committed to still photography. Although he worked in a documentary style, from the beginning his imagery was characterized by a surrealist sensibility.

After graduation Tress traveled the world, in part financed by his father and also supporting himself by making ethnographic and documentary images. During his travels he became increasingly influenced by his experience of other cultures, particularly in matters of spirituality and consciousness.

Tress's first book, The Dream Collector (1972), was an attempt to visualize children's dreams, often featuring children whom Tress had interviewed as models. His second book, Shadow: A Novel in Photographs (1975), showed "portraits" of the photographer's shadow and explored the idea that the shadow literally and metaphorically represented one's dark side.

Theater of the Mind (1976), which included an essay by his friend and mentor, gay photographer Duane Michals, explored adult fantasies and marked the introduction in Tress's work of overtly erotic imagery. As Tress explained, he sought to make "photographs [that] attempt to make explicit . . . sexual passions and ironies."

"Superman Fantasy"

Around 1972 Tress consciously began to include what he called "the more intimate spheres of a gay sexuality and homoerotic fantasy life." Facing Up (1977-1980), alternately titled Phallic Phantasy, was Tress's first explicitly conscious exploration of his sexuality in which he exclusively photographed male nudes.

"Groom with White Arabian"

Many of these images were included in Tress's homoerotic homage, Male of the Species: Four Decades of Photography of Arthur Tress (1999), which culls imagery from Tress's forty-year career of exploring the male body and sexuality. The sensual photographs, sequenced in a loose narrative of experience from youth to death, matter-of-factly infuse male sexuality with humor and irony.

In contrast, Tress's obsessive constructions made and photographed for the Hospital series (1984-1987) are a garish, nightmarish reckoning with health-related issues and death in the era of AIDS.

1954 – James Lecesne is an American actor, author, screenwriter, and LGBT rights activist best known for his screenplay of the Academy-award winning short film Trevor. He has written several books including Absolute Brightness and Virgin Territory, and is also active in the entertainment industry as an actor and producer.

Lecesne wrote the 1995 short film Trevor, which won the Academy Award for Best Live Action Short Film. He based the screenplay for Trevor on a character from his one-man show Word of Mouth. Also in 1995, Word of Mouth won the Drama Desk Award for Outstanding One-Person Show. Word of Mouth was directed by Eve Ensler.

In 1998, on the night Ellen DeGeneres hosted the television debut of Trevor on HBO, Lecesne co-founded and launched The Trevor Project as the first nationwide 24-hour crisis intervention lifeline for lesbian, gay, bisexual, transgender and questioning youth, including phone, in-person and online life-affirming resources such as Trevor Lifeline, TrevorChat, TrevorSpace, Ask Trevor and Trevor Education Workshops. The Trevor Project has been supported by a wide variety of celebrities, including Daniel Radcliffe, Neil Patrick Harris, James Marsden, Kim Kardashian, George Takei, and Anderson Cooper.

1984 – Wolf Hudson is a Dominican American film director, street dancer and pornographic actor of heterosexual, homosexual, and bisexual films.

Hudson started his adult film career in 2006 at age 22 in New York when he was cast by Michael Lucas in the Lucas Entertainment project Michael Lucas' Auditions Vol. 22. He moved to San Francisco in early 2007 to focus on his career in the pornographic film industry full-time and to work for gay pornographic film studio Factory Videos.

In August 2008, he co-starred in the GayVN Award-winning bisexual film Shifting Gears , directed by Chi Chi LaRue. The film stirred up controversy when the term "Straight-for-pay" (a play on word for Gay-for-pay) was coined to reference performer Blake Riley's first encounter with a woman (Shy Love) and liking it. Riley received most of the criticism, but so did Hudson and LaRue.

Hudson appeared in the third season of the Canadian TV show Webdreams , which followed Jet Set Men directors Chris Steele and Chad Donovan.

Hudson turned down an offer to appear on a January 22, 2009, episode of The Tyra Banks Show concerning Gay-for-pay performers. He expressed his reservations about appearing because of how the show could twist things around to make the guys look bad.

Hudson identifies himself as heterosexual, even going as far as to call himself a "sexualist" instead of gay-for-pay. He is quoted as saying, "I am not conventional. I am not fully straight because I do gay porn, but I'm not bi because I don't date men in my personal life. I define myself as a 'sexualist'. I think Chi Chi LaRue came up with that term and it works for me."

1991 – Freddie Mercury, lead singer for Queen, died of complications from AIDS. It was only the day before that he acknowledged that he had the disease. He left most of his estate to a former girlfriend, Mary Austen, who cared for him during his final months

2015 – The Vietnamese National Assembly passes a law that allows those who have undergone sex reassignment surgery to register under their preferred sex. However, sex reassignment surgery is illegal in Vietnam. The law comes into effect in 2017.

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denisearef · 6 months

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District 9

youtube

"District 9" is set in an alternate version of Johannesburg, where a massive alien spacecraft hovers above the city. The extraterrestrial occupants, known derogatorily as "Prawns," are resettled into a government-controlled district. The narrative centers around Wikus, a bureaucratic functionary assigned to oversee the forced relocation of the aliens. When a mysterious alien substance alters Wikus's biology, he becomes a target for both the government and the aliens. Fleeing to the district he once oversaw, Wikus forms an uneasy alliance with an intelligent alien named Christopher Johnson.

How does the film use human technologies and/or imagined alienness to establish different identities?

The film employs a pseudo-documentary style, blending real-world news footage with filmmaking. The human technologies, such as military weaponry and surveillance equipment, highlight the power dynamics between humans and aliens. The alien technology, on the other hand, is portrayed as highly advanced and mysterious, emphasizing the contrast between the two species.

The imagined alienness is crucial in shaping the narrative's socio-political commentary. The physical appearance of the aliens, resembling insect-like creatures, contributes to their dehumanization. This visual otherness reinforces the xenophobic attitudes prevalent in the film's fictional world, drawing parallels to real-world issues of racism and discrimination.

How does film de-individualize and/or biologically reify alien characters that mimic racial prejudicial and discriminatory practices?

The film de-individualizes the alien characters through various means. Firstly, the aliens are collectively labeled as "Prawns," stripping them of individual identities and reducing them to a derogatory, dehumanizing term. Secondly, their living conditions in the segregated district contribute to their de-individualization, as they are confined to shantytowns, reinforcing a sense of collective suffering.

In what ways does the film depict home for the characters?

For the humans, Johannesburg represents their home, and the arrival of the aliens disrupts this sense of familiarity. The district where the aliens are confined becomes a physical manifestation of their displacement, a makeshift home reflecting their marginalized status.

How does technology inform definitions of home/land, indigenes, and aliens?

The powerful human military technology reinforces the idea of humans as the dominant kind, asserting control over the land. The alien ship, initially a symbol of hope for the aliens' return home, becomes a source of conflict as they all vie for control.

The film suggests that technology, whether human or alien, is a double-edged sword that can be both a tool for empowerment and a catalyst for conflict. The question of who controls the technology becomes central to the characters' struggles for autonomy and a sense of home.

In what ways do the character relations reflect anxieties of racial identity, racial mixing and/or passing, migration, and invasion and/or colonization?

The segregation of the aliens in a specific district echoes the forced segregation of racial groups in apartheid-era South Africa. The relationship between the human protagonist, Wikus Van De Merwe, and the alien Christopher Johnson challenges preconceived notions about racial identity and cooperation.

Wikus undergoes a physical transformation that blurs the lines between human and alien, reflecting the film's exploration of the fluidity and constructed nature of racial identities. The tensions between humans and aliens also mirror historical anxieties about invasion, colonization, and the fear of the unknown "other."

#oxyfilmidentity #Youtube

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sadquickchristmassnowman · 5 months

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hi! what do you think are the best/most tolerable episodes in season 4 of community? it’s widely regarded as the worst season and I never know which episodes to watch each time I go through a community rewatch binge lol. so, I figured I would consult the encyclopedia! (this is my first time using the ask feature so I apologize if I am not using it correctly)

heyo! this is a great question. I actually have an abbreviated season 4 watchlist that cuts out the worst episodes (in my opinion), while staying comprehensible and making sure you're still able to follow the season's overarching plots:

4x01: history 101

4x03: conventions of space and time*

4x05: cooperative escapism in familial relations*

4x06: advanced documentary filmmaking

4x08: herstory of dance

4x11: basic human anatomy*

4x12: heroic origins*

4x13: advanced introduction to finality

the episodes with asterisks* are the ones I actually really enjoy watching. the others on the list are pretty mid, but are, in my opinion, important enough to the overarching plot and character development to be worth watching. when I'm showing other people season 4 for the first time, I adhere to this watchlist lol.

I’m going to do some (hopefully quick) explanations of how I came up with this list, but you don't have to read it if you don't want to lol:

✅ history 101: it's the first episode of the season, so it really does set the tone and establish some important details (jeff wants to graduate early, troy and britta are dating, this is their last year at greendale, etc.) as with most of season 4, the weirdness seems really contrived and unnatural, but it does have its moments of being genuinely funny. it's also a pretty abed-centric episode, which is always a bonus lol

❌ paranormal parentage: I don’t hate this episode, but it's just kind of boring and doesn't really add anything to the season. I love megan ganz but... yeah. a lot of the jokes seem forced, and there's way too much pierce for my liking. there are a couple good one liners ("you should probably tell your boyfriend's boyfriend" "I remember when this show was about community college") and it does help set up jeff finally contacting his dad, but imo it doesn't quite make the episode worth watching

✅ conventions of space and time: I’ve heard that some people hate this episode? couldn't be me. way too much trobed for me to hate it lmao. there is a lot of jeffannie in it too, but that resolves with the conclusion that annie is just a romantic who loves to fantasize, and doesn't actually have real feelings for jeff. it actually fuels my lesbiannie agenda tbh, because she is evidently just in love with the idea of a man but doesn't actually put that into practice. but that's another post lmao. we have some great one-liners, we have britta helping troy through his jealousy, we have "troy will find me :)" we have some more inspector spacetime lore, etc etc. I love this episode and rewatch it frequently.

❌ alternative history of the german invasion: for me, this episode has almost zero redeeming qualities. the jokes are lame, I hate professor cornwallis, there is so much discontinuity, it has zero importance in the bigger picture of the season and the show, it's out of character, etc. the one thing I like is the end tag.

✅ cooperative escapism in familial relations: this is a big one for me. I never see people talking about it, but to me this episode is one of season 4's saviors. we have HUGE jeff development, jeffbritta moments, some much needed shirley screentime and development, some great jokes ("-to eat garbage dip WHY DID I HAVE TO GO THIRD), classic trobedison shenanigans, and the shawshank redemption homage is very funny to me. plus! adam devine cameo! I like this episode more every time I watch it. unsung hero fr.

✅ advanced documentary filmmaking: okay so I won’t lie, I fucking HATE the changnesia arc. I think it is so incredibly stupid and uncreative. there are a million different and better ways they could have brought him back. but, this episode is just too important in the season's development to skip. and, honestly, if I ignore the whole premise, there are a lot of funny bits and jokes in this one. troy constantly smiling at the camera (read: smiling at abed), troy and annie being the silliest ever, jeff's trust issues, and ken jeong is truly very funny, I just hate this arc so much. but ultimately it's too important to cut. imo.

❌ economics of marine biology: I basically feel the same about this one as I do about alternative history of the german invasion. it's boring, the premise is stupid, it's out of character, it's unfunny, the guest character is lame, and it's pointless to the overall plot. abed and the delta cubes is a little bit funny? and I guess you could argue that the jeff and pierce development is important? but I’d refute that very quickly. it's pierce, who cares. not. worth. it.

✅ herstory of dance: this episode is honestly the upper end of mid, but it has enough good jokes and development to make it worth it. it is also Very abed-centric, which we've established is always a plus imo, and his whole bit with going on two dates at once is very in character. he also meets rachel, who comes back in season 5, so that's important. it also has some great jeff & britta development!!! which is sort of few and far between in the later seasons!!! yippee!!!

❌ intro to felt surrogacy: tied for my least favorite community episode of all time. it's clear they tried to do something similar to what they did with abed's uncontrollable christmas, but it is so incredibly contrived that it is physically painful to watch. I hate the puppets. the hot air balloon story is so stupid and out of character. the songs are bad. how dare they sully the legacy of my third favorite episode (lmao). the only redeeming qualities are troy as a whole (all of his lines are good, and that moment when he pretends his puppet is falling asleep is very funny), and the fact that pierce is not physically in it. but those do not make up for how horrific the rest of it is. in my opinion. haha.

❌ intro to knots: once again! Tied For My Least Favorite Community Episode! they're right next to each other, how convenient. and again: bad jokes, bad premise, I fucking hate professor cornwallis, the changnesia shit is back, the plot is ALL over the place, there is little to no actual character development, the dialogue just goes in circles, and it ends with a random litter of kittens that are never mentioned again??? I guess the only mildly important thing is the end tag with the evil study group, which comes back during the season finale. but yeah. not worth it. disgusting.

✅ basic human anatomy: and here we have a HUGE jump from the last one. this is my favorite season 4 episode, and is probably in my top 15 from the entire show. I could talk about this episode for hours. the troy development alone is so so so good and important. add abed into the mix and Oh Boy!!! britta is great in this one, jeff and the dean's whole thing is so fucking funny, shirley and annie competing against leonard for valedictorian on a technicality is very in character and silly, danny and donald's acting in this one is commendable, etc etc etc. there really isn't much, if anything, I dislike about this episode. jim rash being the credited writer makes me love him even more. legendary. outstanding.

✅ heroic origins: I actually really like this episode. it does still have that sort of unnatural and off-putting vibe that the majority of season 4 has, but I think it holds up. it's in character, it has some great jokes and one-liners, and although it does have its moments of discontinuity, it does a surprisingly good job of staying compliant with what has already been established. certainly much better than alternative history of the german invasion. abed's whole bit with the star wars prequels makes me laugh, the annie's boobs lore, footage of annie and troy in high school (surprisingly well done if you ignore the discontinuity of troy's injury), etc. it's also massively important for the overarching season plot, and we finally get to the conclusion of the stupid changnesia arc. I could go on and on, there's just a ton of really cool callbacks (including one to the pilot, which I only noticed a few months ago and am obsessed with), and I just. wasn't expecting this one to work out as well as it did. pleasantly surprised, all in all.

✅ advanced introduction to finality: this one is not great tbh, but it's too important plot-wise to skip. and, I mean, it does have some good moments. abed immediately recognizing evil jeff, the whole thing being in jeff's head a la remedial chaos all being in abed's head (insert something about how this being yet another demonstration of how fundamentally jeff and abed understand each other, which I could expand way more on but won't in this particular post), season 2 of the cape, "one of us is out of bullets" "is it you" "...yeah" "why would you tell me that," and more. overall, yeah, worth watching imo.

I do also want to say that I think season 4 is a bit overhated. I do agree that it is the worst season, I think most of us can agree that that is an objective truth, but it does have its moments and I do get slightly frustrated when people write the entire season off.

I’m also happy to hear anyone else's opinions on what you think is/isn't worth watching in season 4, especially if you really strongly disagree with me. I’m curious to what your reasoning is lmao.

okay! this is definitely way more elaboration than you needed, but I hope this was helpful 💯💯💯

#sorry again for the long wait on a response #thank you for your patience :)#community #nbc community #community nbc #media analysis #community encyclopedia

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werewolfenthusiast · 7 months

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how do you feel about Basic Lupine Urology and Basic Intergluteal Numismatics?

i love both of those episodes the dramatics are fantastic they do a really good job of parodying detective shows while still having the chaotic goofiness of greendale.

of the two i prefer ‘basic lupine urology’ troy and abed look incredible in this episode and all the detective antics are hilarious. many many great bits in this episode, i could list them but i fear that would make this post far too long so i will just say the one that lives in my head is “you don’t order ketchup it’s a condiment!!” “WALK IT OFF TROY WALK IT OFF”

but ‘basic intergluteal numismatics’ is good too. the ass crack bandit is an iconic greendale fixture and i love trobeds antics. my favourite bit from the episode is abed continually giving troy cups and blankets

like this is funny and adorable and i love it.

another detectivey episode i love is ‘advanced documentary filmmaking’ mostly because it’s just such a great episode for troy and annie as a duo and i love troy making jokes for abed behind the camera.

talk to me about community

#quinn talks community #nbc community #trobed #basic lupin urology #basic intergluteal numismatics

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blackswaneuroparedux · 1 year

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You only heard the statement of the loss. You did not see the father fall as Pilar made him see the fascists die in that story she had told by the stream. You knew the father died in some courtyard, or against some wall, or in some field or orchard, or at night, in the lights of a truck, beside some road. You had seen the lights of the car from down the hills and heard the shooting and afterwards you had come down to the road and found the bodies. You did not see the mother shot, nor the sister, nor the brother. You heard about it; you heard the shots; and you saw the bodies.

- Ernest Hemingway, For Whom the Bell Tolls

The 1937 film The Spanish Earth, was an important visual document of the Spanish Civil War and a rare record of the famous writer's voice. Hemingway went to Spain in the spring of 1937 to report on the war for the North American Newspaper Alliance (NANA), but spent a good deal of time working on the film.

Before leaving America, he and a group of artists that included Archibald MacLeish, John Dos Passos and Lillian Hellman banded together to form Contemporary Historians, Inc., to produce a film to raise awareness and money for the Spanish Republican cause. The group came up with $18,000 in production money - $5,000 of it from Hemingway - and hired the Dutch documentary filmmaker Joris Ivens, a passionate leftist, to make the movie.

MacLeish and Ivens drafted a short outline for the story, with a theme of agrarian reform. It was MacLeish who came up with the title. The film, as they envisioned it, would tell the story of Spain's revolutionary struggle through the experience of a single village. To do that, Ivens planned to stage a number of scenes. When he and cameraman John Fernhout (known as "Ferno") arrived in Spain they decided to focus on the tiny hamlet of Fuentedueña de Tajo, southeast of Madrid, but they soon realised it would be impossible to set up elaborate historical re-enactments in a country at war. They kept the theme of agrarian struggle as a counterpoint to the war.

When Dos Passos arrived in Fuentedueña, he encouraged that approach. "Our Dutch director," wrote Dos Passos, "did agree with me that, instead of making the film purely a blood and guts picture we ought to find something being built for the future amid all the misery and massacre."

That changed when Hemingway arrived.

The friendship between the two writers was disintegrating at the time, so they didn't work together on the project. It was agreed upon in advance that Hemingway would write the commentary for the film, but while in Spain he also helped Ivens and Fernhout navigate the dangers of the war zone. Hemingway was a great help to the film crew. With a flask of whisky and raw onions in his pockets, he lugged equipment and arranged transport. Ivens generally wore battle dress and a black beret. Hemingway went as far as a beret but otherwise stuck to civvies. Although he rarely wore glasses, he almost never took them off in Spain, clear evidence of the seriousness of their task."

In Night Before Battle, a short story based partially on his experience making the movie, Hemingway describes what it's like filming in a place where the glint from your camera lens draws fire from enemy snipers:

“At this time we were working in a shell-smashed house that overlooked the Casa del Campo in Madrid. Below us a battle was being fought. You could see it spread out below you and over the hills, could smell it, could taste the dust of it, and the noise of it was one great slithering sheet of rifle and automatic rifle fire rising and dropping, and in it came the crack of the guns and the bubbly rumbling of the outgoing shells fired from the batteries behind us, the thud of their bursts, and then the rolling yellow clouds of dust. But it was just too far to film well. We had tried working closer but they kept sniping at the camera and you could not work.”

The big camera was the most expensive thing we had and if it was smashed we were through. We were making the film on almost nothing and all the money was in the cans of film and the cameras. We could not afford to waste film and you had to be awfully careful of the cameras.

The day before we had been sniped out of a good place to film from and I had to crawl back holding the small camera to my belly, trying to keep my head lower than my shoulders, hitching along on my elbows, the bullets whocking into the brick wall over my back and twice spurting dirt over me.

The Western front at Casa de Campo on the outskirts of Madrid was just a few minutes' walk from the Florida Hotel, where the filmmakers were staying. Any doubt about whether the passage from "Night Before Battle" is autobiographical are dispelled in the following excerpt from one of Hemingway's NANA dispatches, quoted by Schoots:

“Just as we were congratulating ourselves on having such a splendid observation post and the non-existent danger, a bullet smacked against a corner of brick wall beside Ivens's head. Thinking it was a stray, we moved over a little and, as I watched the action with glasses, shading them carefully, another came by my head. We changed our position to a spot where it was not so good observing and were shot at twice more. Joris thought Ferno had left his camera at our first post, and as I went back for it a bullet whacked into the wall above. I crawled back on my hands and knees, and another bullet came by as I crossed the exposed corner. We decided to set up the big telephoto camera. Ferno had gone back to find a healthier situation and chose the third floor of a ruined house where, in the shade of a balcony and with the camera camouflaged with old clothes we found in the house, we worked all afternoon and watched the battle.”

In May, Ivens returned to New York to oversee the work of editor Helen van Dongen. Hemingway soon followed. When Ivens asked Hemingway to clarify the theme of the picture, according to Kenneth Lynn in his erudite biography Hemingway (1987), the writer supplied three sentences: "We gained the right to cultivate our land by democratic elections. Now the military cliques and absentee landlords attack to take our land from us again. But we fight for the right to irrigate and cultivate this Spanish Earth which the nobles kept idle for their own amusement."

There were tense moments when Hemingway handed in his first draft of the commentary. Ivens felt it was too verbose, and asked him to make some cuts. Hemingway didn't like being told to shorten his work, but he eventually agreed. There was more tension when MacLeish asked Orson Welles to deliver the narration. Even though Hemingway had already shortened it, Welles thought the commentary was too long, and he told him so.

"Arriving at the studio," Welles said in a 1964 interview with Cahiers du Cinema, "I came upon Hemingway, who was in the process of drinking a bottle of whiskey; I had been handed a set of lines that were too long, dull, had nothing to do with his style, which is always so concise and so economical. There were lines as pompous and complicated as this: 'Here are the faces of men who are close to death,' and this was to be read at a moment when one saw faces on the screen that were so much more eloquent. I said to him, 'Mr. Hemingway, it would be better if one saw the faces all alone, without commentary.'"

Hemingway growled at him in the dark studio, according to Welles, and said, "You effeminate boys of the theatre, what do you know about real war?" Welles continues the story:

“Well, taking the bull by the horns, I began to make effeminate gestures and I said to him, "Mister Hemingway, how strong you are and how big you are!" That enraged him and he picked up a chair; I picked up another and, right there, in front of the images of the Spanish Civil War, as they marched across the screen, we had a terrible scuffle. It was something marvelous: two guys like us in front of these images representing people in the act of struggling and dying...We ended up toasting each other over a bottle of whisky.”

Skeptics have questioned the truthfulness of Welles's account, suggesting that he may have been trying to compensate for his own moment of humiliation, which followed soon after the recording session. MacLeish and Ivens liked Welles's performance, but Hellman and several other members of the Contemporary Historians group didn't. They thought Welles had been too theatrical, and suggested Hemingway read the narration himself.

The director eventually agreed. "When Ivens informed Welles that his own recording was going to be junked," writes Lynn, "Welles was miffed, especially since he had waived his right to a fee."

On July 8, 1937, Ivens, Hemingway and Martha Gellhorn, a journalist who had been with Hemingway in Spain and who would later become his wife, traveled to the White House to show the film to President Franklin Delano Roosevelt. The visit had been arranged by Gellhorn, who was a friend of first lady Eleanor Roosevelt.

A few days later Hemingway and Ivens traveled to Los Angeles to show the film to Hollywood moguls and movie stars. F. Scott Fitzgerald attended the screening, and the party afterward. It was the last time Hemingway and Fitzgerald saw each other. When Hemingway was back on the East Coast, Fitzgerald sent him a telegram: "THE PICTURE WAS BEYOND PRAISE AND SO WAS YOUR ATTITUDE."

The press reviews for The Spanish Earth tended to be a bit more equivocal. Some felt the film descended into out-and-out propaganda, to which Ivens later replied, "on issues of life and death, democracy or fascism, the true artist cannot be objective." But the writer of a 1938 article in Time magazine saw the film in a positive light:

“Not since the silent French film, The Passion of Joan of Arc, has such dramatic use been made of the human face. As face after face looks out from the screen the picture becomes a sort of portfolio of portraits of the human soul in the presence of disaster and distress. There are the earnest faces of speakers at meetings and in the village talking war, exhorting the defense. There are faces of old women moving from their homes in Madrid for safety's sake, staring at a bleak, uncertain future, faces in terror after a bombing, faces of men going into battle and the faces of men who will never return from battle, faces full of grief and determination and fear.”

In the end, with its mix of documentary and re-constructed elements, The Spanish Earth is at once a less elaborate but more complex film than that first conceived by Ivens. One critic aptly describes it as "an improvised hybrid of many filmic modes." This gives the film a curiously contemporary feel, but what really marks it out as a landmark of documentary filmmaking is its directness, its sense of immediacy, and its refusal to have any truck with spurious notions of "objectivity."

Ivens himself states that "My unit had really become part of the fighting forces," and again, "We never forgot that we were in a hurry. Our job was not to make the best of all films, but to make a good film for exhibition in the United States, in order to collect money to send ambulances to Spain. When we started shooting we didn't always wait for the best conditions to get the best shot. We just tried to get good, useful shots."

When asked why he hadn't tried to be more "objective" Ivens retorted that "a documentary film maker has to have an opinion on such vital issues as fascism or anti-fascism - he has to have feelings about these issues, if his work is to have any dramatic, emotional or art value," adding that "after informing and moving audiences, a militant documentary film should agitate - mobilise them to become active in connection with the problems shown in the film." Ivens would later justify his beliefs by stating, "on issues of life and death, democracy or fascism, the true artist cannot be objective."

Not that The Spanish Earth is in any sense strident - indeed, quite the reverse. Ivens understood fully the power of restraint and suggestion, quoting approvingly, à propos his film, John Steinbeck's observation of the London blitz that "In all of the little stories it is the ordinary, the commonplace thing or incident against the background of the bombing that leaves the indelible picture."

Ivens's visual restraint is matched by that of the commentary. The original commentary by Orson Welles did feel out of place and I would agree with Ivens sentiment that, "There was something in the quality of Welles’ voice that separated it from the film, from Spain, from the actuality of the film." Hemingway's manner of speaking, however, perfectly matched the pared-down quality of his writing. Ivens saw the function of the commentary as being "to provide sharp little guiding arrows to the key points of the film" and as serving as "a base on which the spectator was stimulated to form his own conclusions." He described Hemingway's mode of delivery as sounding like that of "a sensitive reporter who has been on the spot and wants to tell you about it. The lack of a professional commentator's smoothness helped you to believe intensely in the experiences on the screen."

Overall the film's avoidance of overt propagandising reflected not only Ivens' conception of the documentary aesthetic - it was also hoped that this might help The Spanish Earth achieve a wide theatrical release. However, as in Britain, there was thought to be no cinema audience for documentary films, and the plan failed. Nor did it help the film to escape the watchful eye of the British Board of Film Censors (who had previously attacked Ivens' New Earth) , who insisted that all references to Italian and German intervention were cut from the commentary, those countries being regarded as "friendly powers" at the time.

Photo (above): Ernest Hemingway and director Joris Ivens During the shooting of "The Spanish Earth" (1937).

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