#and there are definitely stories out there that follow this framework

[roopnavarro]

Octoboss-related ask: I know this is a big hypothetical but there is this story on Ao3 called 'Guardian of Gastown' which involves Octoboss becoming the ruler of Gastown after the negotiations go haywire and Dementus and his crew get captured.

In your mind, what kind of ruler would Octoboss be?

Hey there! Excellent question! Thank you so much for the ask! I’m going to check out the fic later, thanks for the rec! But I’m going to answer this question before I indulge in reading it, because I want to go in blind, and I don’t want to seem like I’m rebutting or trying to invalidate another author’s work. Whenever I give my takes, that’s never the case. I think it’s wonderful that we have this wellspring of creativity and a myriad of interpretations around this character who has like, five lines and two minutes of screentime! I’m also going to give you a primer on how I portray Octoboss and his decision-making process. Disclaimer time! Everything henceforth is PURELY my speculation on what makes this imaginary horned biker tick. So even if it sounds like I’m making a definitive statement on how he “should” think or behave, I’m not. I just want to put this disclaimer out front so I don’t have to constantly couch my language in terms like “I speculate…” and “I think that…” I’m only discussing my view on the character and how I choose to portray him in RP and fanfic. With that in mind, let’s dive in!

As mentioned prior, I portray the character in roleplay. Since roleplay is like a mix between improv acting and writing, I needed to come up with a way for him to make decisions that are reasonably consistent with what we see in canon AND reasonably easy to replicate consistently in on-the-fly storytelling AND fun to interact with for collaborative storytelling. Rambling time, but I PROMISE this is necessary groundwork to cook up the answer. So how do we delve into the mind of a guy that tortured a woman and then gets pissy when his subordinates are shot by an ally? My first belief is that Octoboss doesn’t use a moral code. There’s no list of rules he follows; instead, he looks at each situation, in its context, and does his best to make decisions that uphold/advance a guiding principle. So let’s figure out his guiding principle. — I think that principle is “Maximize good for the Mortiflyers.” “Maximize good” can mean “help them avoid harm/distress,” “provide more/better resources for them,” and anything else that could be argued to improve quality of life or reduce unhappiness. 

Therefore, his decision-making process most closely mirrors a wacky Wasteland version of Act Utilitarianism. To oversimplify this, Act Utilitarianism weighs the morality of an action based on the outcomes for the “greater good.” For Octoboss, the Mortiflyers (and the Horde, pre-rift) are the “greater good.” As he saw it, Mary Jabassa held the keys to the Green Place, and it was morally IMPERATIVE that he take them from her, in order to make a better future for the Horde, by any means necessary. Now, sure, we could get into the weeds and say the Green Place isn’t big enough to sustain them, but Octo doesn’t know that. This use of torture is actually a prime example of a common criticism of Act Utilitarianism — it justifies some VERY bad behavior if the potential outcome is good enough!

(Hilariously, Dementus also seemed to be using an Act Utilitarianism framework when deciding to sacrifice the Mortiflyers in the Trojan Horse ploy — their deaths produced a benefit for the Horde and the rest of the Mortiflyers. Octoboss realizes this, but the pain of betrayal and loss are mingling with his understanding of Dementus’ moral justification for the killings. This makes Octo fume like mad. Got bit in the ass by his own philosophy…) However, Octo’s moral framework doesn’t exist to justify cruelty. It also undergirds the gentleness and approachability that defines my portrayal of the character. It’s better for the greater good of the Mortiflyers for them all to cooperate and communicate openly. Their whole gimmick — two-person motorcycle-launched paragliders, two-person motorcycle crews, and two-person flyer/driver combos — involves cooperation and communication. Their actions seem very practiced and well rehearsed, and in order to achieve that, they need to be quite open regarding what works, what doesn’t, and what could be improved. They need to be able to say to each other “I need more speed to launch,” or “I need you to get me closer to the target,” or “When you took that sharp turn and I was up in the air, that hurt my shoulder, and now I can’t throw thundersticks right.” The Octoboss does all he can to facilitate this by leading through example. 

In terms of emotions, information, and guidance, he is very open with the Mortiflyers. He believes knowledge is meant to be shared.  He also doesn't shy away from critique if he notices a member of the gang doing something that would endanger another. And he's not the type to simply tear someone down. He'd work with the gang member to fix the bad habit or remedy the issue that's causing them to behave erratically. Similarly, he’s open to critique from his men, especially if they can explain how his actions are negatively impacting them. All of these positive traits are built upon a foundation of “gotta do what’s right for their greater good.” 

So now that we’ve got a glimpse into his decision-making process, let’s move on to discussing his approach to power. From what we see in canon, it doesn’t seem like Octoboss is ruling by force/coercion, or with an iron fist. A random Mortiflyer is brave enough to look DEMENTUS in the eyes, after getting a direct order, and say “I take orders from the Octoboss!” There’s so much conviction in his voice. It’s loyalty to Octoboss, not fear of him. There are SO many ways this scene could’ve gone. Imagine if the Mortiflyer said “N-n-no! The Octoboss will have my head if I disobey him!” But no. That’s not how it went. Instead, the Mortiflyer almost sounds like a kid saying to his stepdad, “You’re not my REAL father,” which indicates preference, affection, and loyalty to the OG dad. You don’t get that kind of loyalty by being a dick to your people. I don’t think he’s hoarding resources from them, keeping them in the dark about plans, and generally just being an authoritarian prick. He cares about them deeply, and they return his sentiment. Within the greater dynamics of the Horde, I think the Mortiflyers have a decent amount of soft power. They’ve practically got a uniform, they’re loyal, and they don’t even seem to have a numerical advantage over the rest of the squad. This brings us to a discussion of hard power vs. soft power. Hard power is rule through force and coercion — locking people up, killing people, taking stuff away from them. Soft power is the ability to influence rather than coerce/force. The Mortiflyers seem like they’d be among the elite troops of the Horde, and I wouldn’t be shocked if other horde members aspired to join them, or at least be in their good graces. This “soft power” approach will have to get a bit harder if tasked with ruling over the entire Horde AND Gastown. With these factors in mind, let’s run down some steps I think he’d take if he were left in charge of Gastown.

Distance himself from the actions of Dementus when dealing with Immortan Joe and the other members of Gastown’s high command. Submit to Joe’s rule, since that’s the route that’s least likely to result in casualties on his side. Make it known that he and his men WILL work within the system and improve operations at Gastown. Do his best to IMMEDIATELY ingratiate himself to Joe by discontinuing most non-essential generator usage and adding that gas to the trade deal, in exchange for more food and water. Promise to boost fuel production by fixing issues in the production chain. 

Once again, motivated by the best interest of the Mortiflyers, he crunches some numbers. According to Lachy Hulme’s interview with Empire, there are about 4,000 bikes in the Horde. We can safely say every bike has a rider, but some bikes have more than one rider (people riding backpack, Organic Mechanic with History Man on the back of his trike, and so forth).The Horde also suffered some losses during the confrontation with Scrotus and Rictus at the first Citadel meeting, but the majority of the Horde was out of Thunderstick throwing range. I don’t think their losses were in the 100s. So for quick and dirty math, let’s just say there are 4,000 people in the Horde. Now let’s look at Gastown’s population. Australia’s largest oil refinery employed about 1,100 workers. Gastown also drills oil, and I haven’t been able to find much solid data on how many people you need for the extraction portion. The closest ballpark number I’ve been able to get is 100-200, but *shrugs* that may be off. So let’s add on various others in Gastown (Sanitation workers, kitchen staff, medical staff, mechanics, War Boys/Polecats/Flamers, Imperators, resource managers, guards, repair workers,  Gastown nobility, misc staff, children of anyone listed here). I think it’s reasonable to estimate 2,000-ish people, in total, in Gastown. In light of this information, Octoboss would immediately realize that Gastown has a carrying capacity problem due to the influx of new residents and its limited amount of food, water, and space. He knows they trade guzzolene for food and water, but they won’t be able to up guzz production enough to pay for the food and water needed to support all the new residents, especially since the population has skyrocketed immediately. And would the Citadel even need that much fuel at once? Probably not, fuel has an expiration date and can’t be stored indefinitely. People WILL riot and starve unless the population is curbed quickly. So that brings us to the question — how would Octoboss reduce the population? Well, he understands that the Horde is full of hard-working and resourceful people with valuable skills. He’d want to brief them on the idea of being traded to another settlement, and take a tally of who can do what jobs. Who would be open to working in the Citadel gardens? How about the sick bay? Can you weld? Would you be up to cast bullets or reload rounds? How about swinging a pickaxe or working in a kitchen? Who wants to be a War Boy BUT FOR REAL THIS TIME? Naturally, some people would be resistant to this idea. He’d give them the option to return to nomadic life, but he’d give them a fair warning that anyone raiding the empire’s shipments WILL be met with lethal force. And of course, some people wouldn’t want to work with the leaders that killed Dementus and friends. If that erupted into a civil war, it would curb the population, albeit in a less-than-ideal way.

Familiarize himself with the operation. His ass does NAWT know anything about running a refinery or drilling operation! And he knows this! To better understand his duties, he’d need a tour through the facilities. He understands guzzolene production isn’t just wizardry, it takes skilled workers, and he’d defer to them when they explain the limitations of Gastown’s production capabilities.

Identify quality of life improvements needed to boost guz production. Go from being the Octoboss to the OSHAboss! Despite what some people will tell you, a safe (or at least safer) work environment is more productive. IRL, oil refineries work 24/7, 365 days per year. Accidents are common, and also slow down production (a machine isn’t gonna run right with some dude’s arm stuck in it!). Due to the constant flow of work, it’s likely that some health and safety aspects of Gastown’s oil refinery have fallen into disrepair, and could use outside help. A high turnover rate due to death/injury is a problem, because training new employees takes time and distracts from the guzzolene production process.  Glancing at some cursory work injury data, it looks like entrapment, getting hit by equipment, and falls from high places are the most common injury causes. Ventilation issues are also common, and can lead to workers getting sick and reducing productivity. Some of these issues can be remedied pretty quickly — the Mortiflyers have lots of experience working at heights, and would probably be able to rig up a pretty simple (but useful) clip and harness system for workers in fall-prone areas. Identify spots that need guardrails and other safety barriers. Employ some Horde members to go scavenge some materials to build the stuff, and get the Horde to work on these improvement projects. Poorly ventilated areas (likely understood as “places that’ll make you feel yucky if you hang out there too long”) would be baffling to Octo, but I feel like he could consult with someone to figure that out. And when it comes to providing ventilation, well… Which faction has access to large fans? And probably understands how to build and repair them? …That’s right! In other words — use the Horde to improve Gastown, because this helps the Horde integrate better. It proves the Horde’s worth.

Identify the criticisms of the old Guardian of Gastown. The former Guardian of Gastown seems like a bit of an ivory tower kinda guy. He’s clearly put a lot of time and effort into his hobbies and beautifying his personal surroundings. His clothes are clean and neat, which is an “accomplishment” considering he lives in a friggin oil refinery. Wait, did I say “accomplishment?” Nah. I mean “this man has never done a day of manual labor in his life.” There HAVE to be people that have beef with the guy, particularly the workers. Listen to the workers. Win over the workers, because unlike the nobility, they’re the actual backbone of the operation. The workers of Gastown become a part of Octo’s priorities, since their work and productivity is essential for keeping the Mortiflyers safe, fed, and housed. 

Woooowhee! Nearly 2,500 words in this response! No such thing as “Shut the Fuck Up Friday” for RoopNavarro. Writing about this makes me want to play it out in an RP or write a fic to really delve into these thoughts (although I might skip that, given that it’s likely redundant with the fic that already exists, and I never want to step on another author’s toes).

Regardless, I am ALWAYS open to answer any Octoboss questions you may have! Thanks again for dropping by and wanting my take!

[waitmyturtles]

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)]

[yuseirra]

A full commentary on what Oshi no Ko intends to show/the direction where it's heading/Major character motives.

This was an analysis I wrote on August 13th, back when chapter 157 was released (and the most recent chapter will be 159; wow the work has been on such a long hiatus:

I read it over again today, and I think I did a pretty good job piecing things together. Some of the things I predicted immediately came to light in the chapter that followed. I'd like to share it, before the new chapter gets released today :)

There is a lot of analysis? Commentary of how I feel about Ai. She's definitely become my fav and I hope everything she wished for will come true in the end, she IS indeed the brightest star in the sky after all!

The following has been translated in bulk with the help of chatgpt.. It's my savior these days.. It's SO convenient wow, I've been putting it to good use!!

The title and subtitle are quite grand, but I feel that if I start writing, a lot will come out, so I wrote down the title and wanted to give it a go. Everything from here on is a very personal impression.

The manga is almost coming to an end, right? Since it’s being called the final chapter. The latest chapter is either 157 or 158, right? It's 157... I’ve checked up to the point where Aqua and Ruby are spending peaceful days together. Isn’t this episode like the calm before the storm? As I watched it, I thought, "Ah, this peace is bound to be broken." Even though nothing happened, the atmosphere is so quiet that it feels more ominous than peaceful.

At this point, I thought it might be good to think about what exactly this manga wants to convey and what the central narrative is. It seemed like a fitting time.

I first learned about this manga last year when the first season of the anime aired. The impression I got was that the creators had planned the ending from the start, as it seemed to have a clear trajectory. This manga might be more suitable for readers who prefer to follow it in volumes rather than chapter by chapter. When viewed individually, some parts might make you wonder, "What is this?" but when you see them in volumes, there seems to be a flow. So, when I was reading the manga in volumes, I thought, "Oh, the structure of this manga is well-organized and solid." That was around the time when about 10 volumes had been released, and I confidently bought all the volumes to keep as a collection.

Then, when I looked at the portions being serialized afterward, I started to get a little confused and thought, "Hmm, what are they planning to do with this?" But after watching the movie arc, I thought, "Oh, this is pretty good," and I realized that I wasn’t wrong in my initial judgment, so I returned to the manga, lol.

This manga’s structure seems quite complex. Each character has their own goals, and while Aqua seems to be the main hero who strongly drives the narrative, the focus isn’t solely on Aqua; it feels somewhat dispersed. In the end, if we consider what this story wants to convey, it feels like a composition that might be somewhat confusing.

In my opinion, the overarching framework is about various stories that unfold within the entertainment industry. It’s about the impact this industry can have on various people, both the light and the darkness (not delving too deeply, just enough to get a taste and see it from an entertainment perspective, plus throwing out questions about very serious topics). But then, is it saying that the entertainment industry is full of darkness and that we should escape from it? Not really.

As I described in the first post I wrote about this manga, it seems like the main theme is the depiction of various character types trying to survive in the entertainment industry.

Being a celebrity is a job that requires one to present oneself to far more people than an average person would, and even if we assume an entirely ideal situation where only goodwill comes your way, you can’t help but constantly be conscious of the image you need to show to those watching you. It seems like a very strong persona is necessary to endure that.

The loneliness that comes from being in the crowd, the internal dilemma of wanting to be understood and truthful as a complete individual, even though you can't fully expose yourself to the public, and yet, because of the appeal of the spotlight and wanting to show something, you step forward, deciding to live there and survive there.

Whether the work perfectly expresses those aspects might differ depending on the person, but at least it seems to have made us think about those points.

So, what are the motives driving each character?

Aqua wants to avenge the person that's hurt Ai, the one precious to him, in some way.

Ruby wants to surpass Ai as an idol, following in her footsteps.

Kana wants to be Aqua’s favorite.

Akane seems to assist Aqua, and in her case, she felt like she provided many shortcuts throughout the entire story. She played a role in significantly shortening the story’s length... Honestly, it might have been better if Aqua had done the things Akane achieved himself, lol. But from the author's perspective, she’s a reliable helper who aids in condensing the narrative. She also served as a good helper to Ruby as well. What I personally feel.a bit disappointed about the character Akane is that while she supports others a lot, that seems to be her entire narrative. She succeeded as an actress, and her personal goal or story seems to have ended around the dating program arc or the tokyo blade Arc, so apart from helping the twins, it's disappointing that her individual direction and desires are less visible. However, as long as she’s not entangled with the main characters, Akane is thriving and living a smooth life. She only becomes endangered when she gets involved with them; so, to give her more story, she may need to get more entangled.

Among the other main characters, Ai is a fresh character in that she wants to properly give love to others (although she also had the desire to be loved, it was more about “giving” than “receiving,” which I found refreshing).

As for Ai's boyfriend, it seems like he has something he wants to do, but it hasn’t been clearly revealed yet, so it’s in the realm of speculation. Setting that aside, what he wants to do now is something for Ai(in his point of view).

Nino has been highlighted a bit more, and while this character seems important, it’s still not clear what their exact goal is. The clear desire that has emerged is that they can't forgive even their daughter if she surpasses Ai.

Aqua, the character who drove the plot the most (with many things revolving around him), had the motive of “avenging Ai's death,” so that was a significant focal point. Much of the story’s development seemed to revolve around that.

However, I didn’t think Aqua would go for revenge in a violent form, because it would be something that would make the character unhappy and wouldn’t fit his personality. I didn’t think this “revenge” would be the typical, satisfying sort of retribution where justice is served.

Moreover, the “revenge” Aqua seeks ultimately requires Ai’s boyfriend (the twins’ biological father) to genuinely love Ai for it to work. If he didn’t love her, it wouldn’t be effective.

When looking at the hints about the relationship between Ai and her boyfriend, I often thought they must have had a good relationship at one point. I kept wondering if this person really bears full responsibility for Ai’s death. The idea of someone they once had a good relationship with turning into a stalker who kills them... even in a manga, it’s something I really don’t want to think about. I really hate it. But if the manga were to handle such a storyline, then it is what it is, regardless of my preferences. What the boyfriend character went through in his past is quite horrible and complicated, and my intuition, based on the bits and pieces I’ve seen, is that at least when they were together, Ai and he were two young people who relied on and supported each other. And that turned out to be correct. I liked how the character was portrayed in the movie arc, and there wasn’t any chance of it being depicted very differently. The idea of pushing this character, a psychopathic serial killer, off a cliff or punishing him harshly just didn’t seem to align with the established setup. Even though you might think he twisted into that kind of person because of some bad experiences, it didn’t seem like that was the direction this manga was taking. I wouldn’t have liked it if the character had been designed to be twisted that way because of bad experiences. It feels more consistent to see the character behave as they did in the past, which makes me believe it’s a well-written character. I had the sense that the story wouldn’t take the approach of having one character be absolutely evil and then punishing that character to neatly resolve everything. That doesn’t seem like a good story to me either. I don’t think the issues tied to the themes this manga deals with can be resolved in that way. The more I think about it, the more I feel like the content related to Kamiki is actually quite solid. I don’t want that character to be a bad guy. And it seems like he’s not?

The psychological depictions of the characters in this manga are very complex and well done. Because of this, I’m still not sure what to make of Nino. I think it’s fine to consider Ryosuke as an absolute evil since there’s nothing redeeming about him. Kamiki is out if he intended to scare Ai. But I feel like it was Nino who tried to scare her... When I consider the circumstances, it’s not impossible for Kamiki to have done it, but it feels too out of sync with his behavior. It’s very confusing.

I’m not sure how they’ll wrap up this “revenge,” but I think they might bring it to a social level regarding the responsibility for what happened to Ai? That’s why Aqua chose the medium of a “movie,” something that is “shown to the public”? Ai gave love to everyone, but it wasn’t properly received, right? So, there’s a desire to convey that correctly. And seeking understanding and respect for Ai as a personal individual? In that sense, I feel like Aqua’s revenge isn’t over yet. It feels incomplete as it stands. I think it’s not finished yet. Ah, regarding Kamiki, I think he’s been properly “avenged,” as he would be truly tormented by watching the video Ai left behind. However, I'm still unsure if this character truly deserves to be on the receiving end of such revenge... I plan to criticize properly once more of his actions are revealed. Every time I think about it, based on the reactions, it seems like he genuinely loved Ai, which is really evident. It makes me wonder if the author wrote it this way for a reason. Examining these details is truly fascinating about this manga.

So, I started thinking about what the core theme that ties this entire story together might be, and what the author really wants to convey through this story. I think we need to start with Ai's story. I believe Ai is extremely important to this narrative.

When I look at how this work portrays Ai, my impression is that she was written as a character with incredibly realistic psychological depth. She wasn't just a sensational character who was simply a very pretty girl who suddenly gets murdered to create shock value. In my view, Ai is one of the top three most well-written characters in this manga. She's a key person in this story, and I believe this character is the central figure that completely penetrates the entire narrative, even though she exits the story quite early, her influence is very strong.

I wish I could express my feelings properly... Ai feels like someone who could really exist... I talk about this a lot, right? To write a character like this, I think the author must have a lot of affection for her. Although I wouldn't dare say that I fully understand other people's feelings or possess a lot of information, I do think that Ai is a character who very well expresses the psychology of a young child with a difficult family background—a runaway teenager. But even with that experience, she didn't get trapped in it, and instead, as an individual, she made various choices and lived earnestly... and that's why I like her. Because that's how real people live. Strong, extraordinary, and yet ordinary—ordinary in a way that makes you realize how truly precious and extraordinary the ordinary can be.

But the story starts with Ai dying in such a horrific way, right? This makes me think about what the story is ultimately trying to say. However, this doesn't mean that Ai's life was a failure. Ai really lived her life to the fullest. In the end, she was probably happy, which makes her story even more heartbreaking... She was such a good person. If we're talking about her nature, Ai was definitely a "good person."

What I took away from this... is that it gave me an opportunity to once again reflect on the fact that even those who are considered shining stars are still just people. Personally, it also made me more interested in the subject of child abuse. I find myself drawn to related news articles... The early Akane episode, for instance, made me reflect once again on the issue of online harassment. No matter how this manga ends, I feel like it has had quite a positive impact on me, so I'm grateful for that. Perhaps what one takes away from this work depends entirely on how they interpret it... There are certainly some valuable psychological insights in this work. I'm definitely envious of the talent of the creators.

If you look at it broadly, I think the core message of this manga is something along these lines. Aqua's revenge and Ruby's dream will somehow be realized in their own ways, and I also think Kana's goal will be achieved in some manner (but then wouldn't that mean Kana can't end up with Aqua?;; It feels like this manga is trying to say that the feelings one has for a favorite person and the love one has for a romantic partner are different things. Judging by Hikaru's words, it seems like the story is saying that love without illusions about the other person is actually the more genuine kind of love... But more than that, I think the point to focus on when watching this work is something along these lines, based on how the story is unfolding. Even celebrities are just people... Ultimately, that's it.

I understand that some people might find this annoying at certain points. You might think, "I've never done anything like that. I've never contributed to those problems, and I've never treated celebrities poorly. Doesn't the saying 'those who wear the crown must bear its weight' apply here? If they wanted to be a celebrity, shouldn't they be prepared to handle some negative reactions?"—these are thoughts that might cross your mind.

I've also never been a fan of any celebrity myself... lol. I don't think I've ever done anything particularly wrong regarding the scandals or various issues that happen to celebrities.

But still, no one deserves to go through something like that... no matter who they are. Celebrities, because of the nature of their profession, often enter the industry at a very young age.

If I had to step in front of the public at that age, would I be able to handle it so well...? Just as everyone in their own life has their own burdens to bear, celebrities too have their own challenges, and it made me realize how difficult it must be to deal with public scrutiny...

In Ai's case, she had children at a young age, and there must be a lot of things people could say about that. When I first discovered this manga, I encountered that scene in a clip, where she says she will give birth without making it public, and it made me think a lot. But even in that scene, I didn't feel like Ai was a thoughtless character. If someone is going through such an experience, they must be the one who thinks the most about it. When I heard her say that the twins would make for a jolly and happy family because she didn't have one, I immediately thought that this character must have gone through something and found it difficult to judge her actions right away. Am I overthinking? lol. It felt like there was a lot going on in her mind beyond what she was saying. It’s easy to say, "I wouldn’t do that," but everyone has different experiences, different lives, and different personalities. Of course, there are things that are undeniably wrong, things that shouldn’t happen.

From what I felt, Ai has a layer of underlying psychology beneath the surface. She always has a smiling face, and I often draw her that way in fan art, but there’s likely a lot hidden beneath. I feel a bit sorry when drawing or creating fan works about her because I can’t touch on that depth—I can't depict it well because there's not much revealed. She might have been smiling and acting beautifully even in front of her own children. This nature might be a good expression of the traits of the entertainment industry. That’s probably why they call her a true idol. But there must be times when she wants to be honest, too, right? She might feel lonely and isolated. These are the kinds of thoughts I have when thinking about her character.

I’m writing all of this without much organization... Another thing, I sometimes feel that the story has metafictional or divine elements that could potentially tie the work together.

For instance, the introduction of the Tsukuyomi character, the starry eyes, the statement at the beginning that this story is fiction, the crow leading Ruby, the starry visuals scattered throughout.

I think using the "star" motif was a smart choice, because stars are literally "stars" in the sense of celebrities, and they might actually be stars or influenced by stars in some way. We also make wishes on stars, right? I can imagine that these elements might have been integrated into the story to bring a fantasy-like aspect to it. The lyrics of the songs strongly convey this atmosphere as well. So, I think these elements might be what ties the whole work together. The lyrics constantly talk about the stage, and the overarching stage for the story might be related to stars or gods. The more I examine it, the more things seem to appear.

But this isn’t something that’s very obvious. The foreshadowing is mostly in the dialogue, and there hasn’t been much that’s directly visible... If this is something important, I wish they would make it a bit more obvious. There’s a comment about how Ruby’s success feels as if she’s being helped by the gods, and there's also talk about Aqua’s soul being fractured and breaking. I think it’s worth paying attention to these elements, but I haven’t seen many people discussing this aspect. Of course, I don’t really read other people’s interpretations! When I get into a work, I dive deep and try not to let anything come between me and the story, so I tend not to read other people’s opinions while I’m fully immersed. And it’s a field that’s really hard to predict. It’s so far-fetched. But if they've been dropping hints like this, I feel like something should come out of it by now. It’s built up too much to just be a MacGuffin.

I like stories that feel like fairy tales, so I wouldn’t mind if the story takes that turn, depending on how it’s done... I don’t know if it will happen, but if it doesn’t, why are the lyrics like that? I’d like to see something that explains this before the story ends.

The starry eyes are important. There’s a kind of will in those "stars." There’s a "god" in this manga too. But will it be explained before the story ends...?

If they want to address it, I’m sure they’ll do it well! And if they don’t... Well, it’s all up to the creators.

Am I understanding this story correctly? Suddenly, I started to wonder, so I wrote down whatever came to mind.

If you can accurately grasp the individual characters' goals and the core theme that the work aims to convey, then following the story shouldn't be too difficult. It's always helpful to have a good understanding of those aspects, no matter what story you're watching. As for the motivations and objectives of the characters mentioned above, I believe they will all be achieved in one way or another (except for Nino's, since Ruby will surpass Ai... Now that I think about it, since their goals are opposites, there will likely be a clash between them).

LOL, but when it comes to plot development... Even though I've managed to predict the characters' psychology, I haven't been very successful in predicting the events themselves.

So, we'll just have to wait and see!

[an-sceal]

I just want to point out that every "Ted Lasso has lost it's way" crit article has been completely ignoring two things established within the framework of the show itself:

Ted Lasso works on romcom rules. I'm not saying it IS a romcom, but I'm saying it follows the patterns and story beats set up in most of them.

If you're in the dark forest, the story isn't over. And Ted Lasso is telling a goddamn story. It's been telling a story for three seasons, about a man learning that he can't give everything of himself unless he's willing to actually accept that all those dark parts exist- every wound, every fear, every vulnerable and broken piece of himself. (Which leads us to Mom City...)

LOSING HIS WAY WAS THE POINT. From the beginning of the third season, Ted has been slowly pulling away from who he was. He WAS a little lost, maybe for the first time in his life, because he didn't have anyone left to pretend for but Henry, and he knew that pretending to be okay wasn't going to do his son any favours. His friends knew he wasn't okay. EVERYONE knew he wasn't okay. The contrast of last season's reveal of the panic attack article-- Ted walking down the street feeling every eye on him, every person aware of his weakness and coming for it-- with this episode-- where he ran into literally all the same people and they greeted him as a member of their community-- was proof that Ted's path through the dark forest was coming to an end. Not because he's fixed, or because he doesn't have panic attacks anymore, but because those are just things that happen. They are parts of Ted now, parts he recognizes and has integrated into his reality. Which in turn let him be closer to the people in his life, and allow them to show genuine care and concern for him that he can actually accept. He DID lose his way, because he wasn't able to be the main character anymore (an interesting narrative on a show named after the guy)-- the guy who was always okay. Instead, he found his way around to being the guy who has to be okay with... not being okay. And I think he might be there.

I'm wired on tv thoughts, and this probably makes a million points everyone else has already made, as well as no sense whatsoever.

In conclusion, Roy/Jamie/Keeley threesome definitely happened, y/y?

[queer-ragnelle]

Hi there, you don't have to post this on the blog, but I wanted to thank you for your earlier post with regard to different interpretations and iterations of Arthuriana. I really admire your work in/thoughts on all things Arthurian, and seeing you say "Each iteration is it's own self-contained world and anything is possible within that framework" was such a freeing thing. I'm currently writing an Arthurian thing where Lancelot falls for/ends up with someone who isn't Guinevere, and I often wrestle with the doubt of "if he isn't in love with Guinevere, am I really being true to the stories and the canon?" But each iteration is its own self-contained world, and I can honor the stories in other ways while still doing my own thing in this particular story/world. Anyway, all this to say, I'm sure it wasn't your intention, but I appreciate your insight and the encouragement it brings. Take care!

Hi there! Sorry for the delay in responding, but I wanted to think about this a bit beforehand. In writing my own Arthurian series, as well as reading and watching absolutely everything I can get ahold of, historical, medieval, and modern, I’ve developed a whole philosophy about it. So my reply got long hehe. Here’s what I think…

In the ask you referenced, I talked about how Arthurian legend lacks a true "canon," and how the stories all build off each other. The inconsistency from text to text and even chapter to chapter within the same story affords us endless opportunities for creative reinterpretation. I can basically be sold on any concept. I’ve read a lot of retellings at this point and I’m not married to any specific “canon.” If the writer can convince me that, in this version of the story, things played out differently, then I’m happy to get invested. For example, in Exiled From Camelot by Cherith Baldry, she develops Lyonors, Gareth’s wife, and makes her into a likable character the reader can easily ship with Gareth. On the other hand, I definitely see why people prefer Lynette with Gareth, as Tennyson did, and the majority of other retellings follow suit. Even so, I think Lynette and Gaheris made an adorable pair in Squire’s Tales #3, and it was a satisfying reveal in Squire’s Tales #7 that the pov character was their daughter, Lunette. It’s indicated through context clues who her parents are when they arrive at the end referring to each other by pet names. In the same vein, while I favor Ragnelle, Gawain can have any number of partners so long as the author writes the chemistry well. And while I still firmly believe Agravaine is gay in essentially every retelling, I do love Sarah Zettel’s romance Camelot’s Blood that she wrote between him and Laurel. I’m an Orkney Wives fan first and an Orkney Bros fan second haha!

That being said, Orkney Bros have always been inconsistent, so changing their love interests isn’t actually that drastic. In the case of Lancelot and Guinevere, severing their romantic connection is a huge departure from the norm. Undoubtedly, some people won’t “get it” or say it’s out of character. But the thing to remember is, there is no singular source for Arthuriana, so how can they ever be out of character? Let’s get into it.

Firstly, you don’t need to rationalize your narrative choices. To anybody. So long as you’re writing something for the sake of authenticity and good storytelling (rather than simply to be contrarian or edgy or quirky etc) it will resonate with your audience. That said, there’s medieval precedence for your concept. In Alliterative Morte Arthure, Lancelot is listed many times as one of Arthur’s knights. He’s there. Yet it is Mordred who adulterously marries Guinevere. In the romance retelling Lancelot by Gwen Rowley, Guinevere is not the love interest, but Elaine. Another similar angle is explored in Port Eternity by CJ Cherryh, which takes place entirely from Elaine’s point of view. Guinevere isn’t even truly in it and her stand in doesn’t fulfill the same role. In The Adventures of Sir Lancelot (1956), Lancelot definitely has A Thing with both the King and Queen, but a potential affair is not explored or even hinted at. He’s their bestie, their confidant, their most trusted person apart from each other. The key here is Lancelot still loves Guinevere (or her stand in), however that manifests. There’s no active dislike or hatred between them. In that circumstance, I don’t think the character would feel like Lancelot anymore. But changing the nature of his love for Guinevere from romantic to something else does not diminish its narrative value, as the above examples prove. Their friendship is the core of their relationship, as the Vulgate proves, and maintaining that is important.

It’s not so much about asking yourself, “Is [narrative choice] true to the ‘canon?’” as asking, “How do I tell a good story containing [narrative choice]?” There are examples of this done poorly, in my opinion. I’ve elaborated many many many times about David Lowery’s fumbling of The Green Knight (2021) and how that particular iteration falls short of a true adaptation (which I don’t think he set out to do anyway, to be fair) but also proved an unsuccessful reimagining of the poem due to mismanaged references and motifs. I didn’t like Once & Future by Cori McCarthy and Amy Rose Capetta or The Winter Knight by Jes Battis for the same reasons—both books felt like shallow, meandering stories lacking narrative integrity with a veneer of Arthuriana over it. Reincarnation AUs are not an excuse to flanderaize characters. Battis writes Wayne (Gawain) acknowledging how drastically he differs from his medieval counterpart, but awareness of it doesn’t negate the facts: the story suffers for it. On the contrary, Camelot 3000 gives an entire character arc surrounding this premise to Tristan, who has reincarnated AFAB and struggles with his gender identity and with accepting Isolde’s love for him, changed though he is. First Knight (1995) really screws up by making Lancelot a misogynistic creeper who relentlessly pursues Guinevere and even forces a kiss on her. King Arthur: Legend of The Sword (2017) is insultingly bad by showcasing just how stupid it thinks its audience is, brutalizing and killing women left and right, giving unnecessary screen time to obnoxious OCs, and bastardizing every aspect of the legend it drew from. Meanwhile the Fate Grand Order anime cuts out Guinevere entirely. Her role exists as a void. It makes no sense, then, that Lancelot and Agravaine clash as “fellow traitors,” because the woman at the center of the conflict is literally never present. Seven Deadly Sins anime has finally gotten around to Lancelot and Guinevere meeting, and she’s a clingy girl Lancelot is disinterested in, trying to flip the script on their roles, and only exacerbating the misogyny problem in shounen in the process.

Fear not! Loving Arthurian legend automatically enshrines anything you create in a glittering anti-garbage shield! So many versions exist that draw on the elements just because they can with no respect for the material nor their audience. You literally can’t do worse than what’s already out there and there are no original ideas! Published retellings love crackships, they love mixing it up, changing the expected, surprising us! So long as Guinevere isn’t made worse to make Lancelot’s alternative love interest better, and Lancelot himself isn’t turned inside out until he’s unrecognizable, you’re golden. Follow your gut and write something you would enjoy, develop it well within your own universe, and there will be an audience for it. I’m certainly among them!

Thanks for the ask. Have a lovely day! :^)

[agentnico]

Challengers (2024) review

That’s one way of engaging me in sport I guess.

Plot: Tashi, a tennis player turned coach, has transformed her husband from a mediocre player into a world-famous grand slam champion. To jolt him out of his recent losing streak, she makes him play a challenger event -- close to the lowest level of tournament on the pro tour. Tensions soon run high when he finds himself standing across the net from the once-promising, now burnt-out Patrick, his former best friend and Tashi's former boyfriend.

It’s safe to say this movie has blew up the internet. Zendaya with her major fan-base starring in a threesome tennis flick that’s brought to you by the director who revealed Timothee Chalamet to the world in that queer flick that featured the infamous peach scene? Now that’s quite the selling pitch. Naturally the result is a box office success and a movie that is already taking the top spot for the most memeable motion picture of the year. And I get it, this movie is definitely provocative enough and has enough sexual tension in it to excite any viewer. I’ll refer to my friend’s Letterboxd review for this movie with him saying the following: “I’ve found recently that hormones in films plays a factor in how much I like the film and this film is very horny”. Right, let’s not delve too deep into my friend’s evident sexual frustration, but he is not wrong that this movie reaches peak horny levels. Every scene is imbued with the steamy appetites of its central trio of characters. Like damn to these people want to f*ck hard big time! This should not come as a surprise though, as this follows a very similar formula to Luca Guadagnino’s other films, stoking the appetite of the youth to provide an open forum for unbridled desire to let loose. Call Me by Your Name, Suspiria, Bones and All, A Bigger Splash - every single one of these features tackles themes of sensuality and elegance. You know exactly what you’re getting into with a Guadagnino movie and Challengers is no exception.

That being said, with Challengers the actual narrative serves itself perfectly for a trashy B-movie experience, however it is thanks to Guadagnino’s directorial prowess that the film rises above that and becomes a truly cinematic experience. This thing looks great, and I don’t mean due to the lovely actors present, but the camerawork and the scene framework. The way the sweat drops off people’s faces in slow motion and the camera lingers on their stoic yet thoughtful facial expressions to the impressive tennis match scenes with a particular impressive sequence involving the scene being shown for, the perspective of the tennis ball which….I don’t know how the hell they managed it but that was awesome! Also need to mention the great techno score from Trent Reznor and Atticus Ross that creates an unlikely pairing in electronic dance music and classical, with the result really amping up the energy of every moment. Honestly from a technical standpoint this movie is a marvel.

In regards to the narrative that is where we start running into some trouble. For starters this movie did not need to be over 2 hours. The story was simple enough to shrink down to a 100 min max run-time, but instead the film opts to really dial in on extended pointless shots that linger way too long, so much so that I noted multiple audience members looking at their mobile phones to check the time. Secondly those excessive time jumps. Telling a story in a non-linear fashion can be a useful story-telling device, but here it was used way too much that it became distracting. Like there was a time jump back and forth every 5 minutes, with some jumps sprawling 13 years, which made it really difficult to get engaged in certain moments. Speaking of the 13 years, bless Zendaya’s heart but as much as they tried to age and de-age her through hair and make-up, she never looked older than 19 years regardless of the time era. For all of the film’s technical achievements you’d think they’d put more effort in the make-up department.

As for the actors, whilst I admire Zendaya for tackling such a meaty and, dare I say, challenging role, I feel like she’s too young in her acting career to be able to fully perform a weathered, jaded, cynical, ruthless and calculating character like Tashi. It seemed for the most part she relied on having a resting scowl face, but otherwise I found it actually hard to believe any of her chemistry with her male co-stars. As for the male co-stars, out of this love triangle it was in fact the queer relationship that really popped. Props to Mike Faist (who was a highlight for me in the recent West Side Story remake) and Josh O’Connor whose chemistry was through the roof! The way they looked at one another, to the churros to the way O’Connor smoothly moved Faist’s stool closer to his with his foot…… they can say they are best friends all they want but we just know they are both aching for those benefits! Again it’s how strong of performances these two give that hinders Zendaya who is nowhere close to their level.

Challengers overall is an entertaining enough youthful erotic crowd -pleaser that from a filmmaking standpoint looks fantastic, however due to the narrative structure and Zendaya’s arguable miscast this movie falters. That being said to Tom Holland, dude, I’ve seen your social media posts about being excited to support your girlfriend and going to see this movie, but dude, I bet your cried your eyes out after. Spider-Man - she ain’t coming home!

Overall score: 6/10

[findmeinthefallair]

A Look at Hunter’s Complex PTSD (Part 2)

I forgot to add in the first post last weekend that I am taking excerpts from Parts 2, 4 and 5 of the book ("What My Bones Know" by Stephanie Foo), in case anyone plans to get a copy of it.

I didn’t use anything from Parts 1 and 3, since 1 involves the author recounting her own childhood trauma while 3 is about the cultural and historical events that are tied to the generational trauma in her family and community, which she researched to find answers.

Also..with two of the Owl House specials remaining, which would definitely give us more major Hunter moments…any additions from those two episodes that relate to the book excerpts will be added as new posts, e.g. if any scenes from For The Future are relevant to this Part 2 post, I will be making a post titled A Look at Hunter’s Complex PTSD (Part 2B).

Anyhow if all this sounds confusing now, there will ultimately be one grand masterpost listing every single part. As usual, take care with the warnings of mentions of abuse and trauma ahead. Here goes, for Part 2:

Hunter’s history differs only slightly from the above. He also played a caretaker role to Belos during the latter’s rage episodes:

which shows the failure on Belos’s part, especially since he’s in the guardian/caretaker role, to own, regulate or seek his own help for his difficult emotions, but it imbued Hunter with that sense of feeling “special”. The Golden Guard role was his, and his alone. Belos could then reinforce the whole “wild magic is bad” narrative, exploit how Hunter loved to feel special and wanted, and continue abusing the boy.

But as Hunter tried harder and harder to get Belos to love him the way he wanted, he too experienced a growing vigilance and desperation that was destroying him more and more, as he was worn down further over time.

I’d say it was like this for Hunter too. No matter how hard he tried, he couldn’t please Belos enough. It wasn't fixing things and it felt as if he was a ship slowly sinking. As his desperation grew, you could say he ventured out further beyond established boundaries, and Hollow Mind was the culmination of the courage and support he spent the previous episodes building up.

He, just like how it’s stated in the book page above, ended up woven more into the world, sewn emotionally and professionally into a network of lives. He made trusted friends and healthier company at last. Ultimately, all those actions he took nudged him along the path meant for him, and it even ended up with him being brave enough to say this in Hollow Mind:

To ask the ultimate question, "What did you do to the other guards?". The question that got Belos to decide “Okay, time to off this Grimwalker and then make another”.

Following that heart-stopping moment, Luz saving his life, both of them escaping, and then the panic attack scene that we all remember, Hunter’s story isn’t over yet. 

With where he is now, in the middle of S3, he might be mentally and emotionally operating in a way that I can deconstruct while we wait for the next episode.

I am inclined to agree with these.

It’s just…so likely for Hunter. It was the case for me, since the first 5 years out of my 7 years of seeing therapists (2014-2020) were either just talk therapy or with ineffective therapists that I didn't trust enough. It felt more like just maintaining healthy enough functioning in my daily life, rather than having what felt like proper breakthroughs.

What Hunter needs first and foremost is to just continue experiencing the precious trust and presence of the good people he has formed good relationships with. Everyone is now in survival mode and would need the same manner of support.

Frankly, almost everyone in the show needs that too. The Isles will be going through some form of collective grief, if not already.

Processing all that has happened to him, in his young mind, will be hell of a lot of work. He can’t nicely fit all of that horror into a framework of cold logic, and I doubt the mess can be solved just by “talking things out”. After all, he has Complex PTSD: and being entangled in damaged formative relationships (Belos and the Emperor's Coven, basically) - not necessarily involving just people, or his relationship with himself, but also himself with the world - is the centerpiece of Complex PTSD.

Cold logic can't exactly help you make sense of why you lacked warmth in your formative relationships (the more technical term is "primary relationships" where your primary caregiver(s), a parent/guardian, is supposed to supply you with security and warmth in their relationship(s) with you).

The clearest analogy I can think of for how he’d need some time before talk therapy could ever benefit him, is when a computer does that thing where it shuts down outside of your control, in order to prevent further damage. When you switch it back on by pressing the power button, it usually acts as if nothing happened before that. This numbing and calmness has been essential in the short-term for Hunter to function, one example being from Hollow Mind:

because his emotions being almost completely shut down here were crucial for survival: for his legs to carry him, with Luz’s help, to escape Belos’s mind. If he didn’t have such a shutdown, he may have frozen in place due to being too overwhelmed, making it harder for Luz to shake him into being lucid to follow her, and Belos would’ve been able to apprehend and capture him all over again in the mindscape.

Survive first, fear later.

There is the possibility that with Flapjack’s death in particular, he might swing towards more dissociation than ever before. The reason why dissociation happens in the first place is because the brain, like the computer, would be overwhelmed if it stayed online any further. It’s a protective built-in mechanism to numb intense psychological pain. That computer can still work overall for some time, but boy oh boy..it would need some repair shop work at some point to even perform basic functions.

If his best friend’s death, by his hands, shocked us in the audience as much as it did, it goes without saying: he himself is carrying a massive amount of shock. The thing is..for the time being his attention is diverted to fighting back and going after Belos, making sure everyone else is safe. But we shall see how his mental state will be after the fighting is over.

This pattern of shutting down/short-circuiting and then coming back online without proper deep healing, would be detrimental long-term if it keeps happening and if it continues past the point where things start to be truly safe for him. It can sadly go on for years if e.g. a child is trapped until they move out as an adult, which would mean the road to healing is having to thaw out of several years’ worth of survival mode and hypervigilance.

To remain isolated would be the biggest obstacle in any stage of his recovery. Thankfully he is now the furthest thing from isolated, where the story left off. Check out how different the screenshots are below omg…the effects of Belos isolating him versus where he is now:

A consistent theme has been an ongoing tension between his fears and what he chooses to do anyway. It ain't just great storytelling, it also feels damn real because I'm willing to bet many of us experience the same tension in our day-to-day living.

E.g. in Labyrinth Runners, the panic attack he had:

is what made the later moment so much more powerful, when he decides to run towards fear to help Gus:

Over time, he has repeatedly made decisions where he prioritizes care for others, the desire for connection and wanting to do what is truly right, over the fear of being hurt and rejected. My personal fave example of how he worries for others’ safety is this seemingly smaller moment, but it’s honestly heartbreaking and reveals hell of a lot about who he is:

He is so terrified that Belos is back, quivering and exasperated, yet he doesn’t want Luz to call anyone else to help them: and in no way does he do this to show off or anything, he wants to protect his loved ones. But this tenacity that exists alongside his gentle spirit is what got him to rebel more and more throughout Season 2, leading him into greater danger and well..unfortunately all of that plot was also building up to what Belos did to him in Thanks to Them.

…yeah. Talk therapy is not what I think this kid needs right now, not till there is restored peace all around him. Because talk therapy requires quite a bit of usage of the brain’s prefrontal cortex - the part responsible for reasoning and logic - and it is activated when we are in conscious control of our thinking. And facts such as “My ‘uncle’ chose to lie to me my whole life” can’t be understood and analyzed in the same way as a math problem can be deciphered :’) How does one make sense of something like that?

Poor Hunter can only accept the reality that Belos chose to do all that, and a key part of this acceptance is to affirm his own strengths and believe he can accept such hard truths. To achieve such acceptance, treating his condition would most likely require subconscious work that is experiential in nature (involving deeper parts of the mind than just the prefrontal cortex) as opposed to just analyzing and taking things apart. Because I don't think simply talking about this:

on top of a childhood of being manipulated, will get this poor kid to where he'd like to be.

My former supervisor calls experiential subconscious work “heart work”, not “head work”...i.e. experiencing one’s feelings and relationships in a safe space. All of Hunter’s military training and duties are most definitely “head work”, all about strategy and withholding trust, which means “heart work” - building trust and finding authenticity in his relationships - has been a new journey for him. His network of relationships and perceptions need a major, positive reframing. And there are so many emotional wounds, oh Titan, so many from Belos.

Hunter is likely to benefit from experiential subconscious work such as the increasingly popular Eye Movement Desensitization and Reprocessing (EMDR) modality for therapy, because EMDR can be an effective treatment if a client experiences discomfort in the form of physical bodily sensations whenever their trauma is triggered, though it is not necessarily for everyone who suffers from trauma. A Boiling Isles version of EMDR might involve Illusion magic...if a therapist from that Coven can draw out mental images of clients to project into the therapy room, that would be a cool simulation and cool parallel of how therapy works in our world.

EMDR was the biggest, most revelatory thing for me in my own recovery but a coursemate of mine found it to be too much and too direct: instead, she benefited from the Emotion Freedom Technique (EFT) approach which was more physical in nature and relied on tapping acupressure points on the body. Idk, maybe I matched better with EMDR because I have an innate curiosity about things, even if it has gotten me in trouble many times in life (this sounds like Hunter as well) :S Whereas EFT was the better fit for my coursemate because she wanted a sense of attachment and connection with herself via the specific sense of touch.

Disclaimer: I am not yet certified in EMDR, god it will be years before I can afford the training fees but I have been on the receiving end of it as a client in many sessions. So I am no trained expert in it at all.

We see Hunter experiencing physical distress related to his trauma, which is why the EMDR technique, that aims to reduce trauma-related distress experienced in the physical body, could be the right match for him. Since he loves the Ruler’s Reach and Cosmic Frontier, he might like how EMDR is like letting your subconscious re-tell your story as a heroic triumphant story, and the treatment feels like rewriting your painful memories while still acknowledging how they actually happened. Because the treatment helped me learn that it is possible to hold both of those in your mind.

To sum up EMDR the best I can, the client replays their difficult memories in their subconscious imagination. It relies on a phenomenon called bilateral stimulation (BLS) which is related to how making left-and-right motions (e.g. going for walks, or swimming) while holding upsetting thoughts in our heads, helps to reduce the intensity of such thoughts.

The general process involves:

Helping the client prepare an imagined safe place to go to (Hunter might choose his fave location from Cosmic Frontier, since clients can choose fictional places if they like) and if needed, a safe person (he might choose Camila) to come rescue them in their mind, in case revisiting the bad memories becomes too distressing. The therapist gets the client to experience the safe place and person, then describe to the therapist what they see, hear, touch etc with as much detail as possible. There will be several practice rounds in those safe spaces, before the client is supposed to do the same imagination thing with their scary traumatic memories in later sessions: once they are experienced with visiting their safe places.

Desensitizing the pain and distress of traumatic memories, working through only one memory at a time, where the therapist gets the client to hold the painful memory in mind while also performing left-and-right physical movements e.g. client moves their eyes left and right, following the therapist's hand motions. The therapist regularly checks in with how the client feels and also measures 1. the intensity of the client’s distress (using the Subjective Units of Disturbance or SUD scale, on a scale of 1 to 10 where 10 is the highest distress level imaginable to the client) and 2. The strength of the client’s positive belief about themselves (using the VOC or Validity of Cognition scale, on a scale of 1 to 7, with 7 being complete trust in the positive belief). The aim is to reduce the SUD score to 0 or 1, and increase the VoC score to 7, per memory that the client decides to process with the therapist. This would definitely take at least 3 sessions per memory, based on my experience.

The desensitizing step takes multiple sessions (estimated to be 8-12 sessions for simpler traumas, and many more sessions for complex traumas) helps to make room for new positive beliefs about oneself e.g. “I am worthy of love” to take up more space in the client’s mind, while the emotional space taken up by negative beliefs like “I am unlovable” gets smaller and smaller.

In my experience as an EMDR client, you are just supposed to let your subconscious flow and alter each memory during the desensitizing, because it isn’t about how realistic the memory was, it’s about what meanings you’d like to put into the storyline of the memory e.g. going from “I deserved that abuse” to “You know what, I’m gonna try protect myself”. This means Hunter could incorporate his fave fictional scenes and elements into his own story. I found that my brain went from accurately replaying my traumatic memories, to adding in new things or replacing original parts of each memory. And best of all, I wasn’t actively choosing all these changes - I just let my subconscious run on its own, since it is outside my conscious control anyway. E.g. in a memory where my own abusive mother was yelling at me during a car ride, I saw a tall red tree (red is my fave colour and I feel strength whenever I see it) rapidly growing out of the road directly in front of us. It could cause my mother to lose control of the steering and brake hard, and I could quickly unlock the front passenger door to exit the car and run to my own safety. The most real thing about this was that I now got a taste of how it would feel to use strong boundaries with my mother in real life, and the coolest thing was seeing how my own brain went off on its own to write an encouraging story, which is what mattered and allowed my positive beliefs about myself to start taking root. It all started in my imagination, guided by the therapist.

The best way of putting it is..I realized that when the original traumatic events happened in my life, the bad events happened which then installed negative beliefs about myself (and the world) into my brain's programming, breaking my trust in almost everything except my escape spaces like gaming and art. With EMDR, after feeling the safety of trusting my therapist and my safe place, I had to let my brain create the positive version of the above: letting improved versions of those traumatic events be written by my subconscious: which helped to usher in the positive opposites of those negative beliefs.

It would be too lengthy to go into more detail here about how EMDR could help our boi, so I will instead cover that in my future case formulation post that is separate from this series. But EMDR is not the only way to reach a point of having positive beliefs about oneself. Some people may be able to reach that stage without therapy, using resources like a strong support network and doing meaningful work and activities, which is completely valid and fine as well.

EMDR was the tool that helped the book author reach her first ever breakthrough in her mental health journey. It helped her realize that stuff from so long ago, which she thought she had gotten over, needed to be revisited in order for her to start feeling love for her inner child and younger self. Feeling love for yourself and understanding self-love is very hard work, and it’s not the same as shrugging “Yeah, I guess it’s good to love yourself” and knowing it in theory as an observer.

That section of the book is sort of like how Hunter becomes more and more able to draw strength and other positive qualities e.g. courage, trust, etc, from himself, on his own. The rest of the Hexsquad and Camila came in to help and save Hunter first, which gently reinforced a healthy narrative over time that he is in fact deserving of love, getting him to believe along the lines of “You know what, I don’t want to try being useful to Belos anymore, because what he did to me and what he does as the Emperor is wrong”. This understand was further reinforced when he was the one to extend help to Gus towards the end of Labyrinth Runners.

Perhaps the biggest takeaway from this post is how Hunter’s friends helped to positively reshape the way he saw himself, when they modeled how healthy relationships should be for him. Many posts have already made in the fandom about how this was the case in every episode that Hunter was featured in (from Hunting Palismen onwards), so I’ll only show the recent examples from Thanks to Them below:

I like how during all of his screentime, it wasn’t obvious to us whether he had good beliefs about himself, right up until we see him at his happiest, in his cosplay outfit and secondly when he expresses his desires out loud to Belos while being possessed.

Learning healthy behaviours from positive influences outside of himself (sometimes, in therapy speak we call this “introducing a foreign element” outside of the client’s own familiar world, to introduce real change), because he had no reference points to draw upon from his own knowledge, is what got him to begin understanding and believing he deserves better. Such recovery work can’t happen within a vacuum, since no man is an island. Some form of connection is needed as a catalyst.

And ajhdhkjkljdfd I am so so proud of him that he could already practice these modeled behaviours himself at least a couple of times, supported by Flapjack's love, after being equipped with the love he needed:

Now, without Flapjack, I am on the edge of my seat wondering how he sees himself, and while he will never be the same again..I wonder how he will find his way back to liking who he is. I hope to see a more in-depth, layered and raw version of these where he has to face himself...and Flapjack is not going to be there this time..:

Especially since his “I like who I am right now” has been so greatly challenged by Flapjack dying by his own hands.

The author's breakthrough after meeting her younger self in her imagination, during her own EMDR sessions, was that she now understood in her heart, not just knowing in her rational head, that her parents did not provide her with healthy love. With that, it became clear what it was that she needed.

This is crazy important. Gradually, Hunter made his way from merely knowing (suspecting that the 'love' provided for him by Belos was not right) to fully understanding (feeling what love is supposed to be, through his friends and Camila). This concept references what I said very early on in this post about “heart work” vs “head work”. Head knowledge is the knowing part that looks for facts and can be reached quickly, but heart knowledge - trusting, believing, seeing the meaningful significance of something - can be tough to find without the aid of a support network, therapists and any form of meaningful inspiration.

The following life-changing truths that the author found in the challenging parts of her EMDR therapy sessions, are truths that were also revealed to Hunter in his character arc through difficult experiences:

I'm sure there will be amazing upcoming dialogue where his support network and found family help to further reaffirm the positive beliefs that he has began to trust about himself.

And that’s that for Part 2!

I wonder if any of the above was helpful, and feel free to comment and discuss in the notes.

Importantly, to put up a word of caution here: please do not try any EMDR on yourself under any circumstances, of course xD

Which stuff did you guys find the most interesting from this part? If anything above is pretty complex for you, feel free to DM me or comment to ask further questions~~

Part 3 will be posted next weekend.

[the-eeveekins]

25 Days of G-Witch Reflection

This was my 4th time watching G-Witch, but really the first time I've watched it start-to-finish since the show ended in July (I watched the Japanese version twice a week when it was airing and was also watching the English dub simultaneously, which ended a few weeks later). The idea to watch an episode a day starting December 1st and ending on Christmas Day didn't come to me until very late in November, when I was thinking about wanting to make sure I watched it again before the year ended. It was challenging at times and stressful at others, but I looked forward to watching an episode every day and writing down my thoughts on each one, and those thoughts slowly grew with each episode.

My thoughts? Well I still love this show, and honestly the pacing felt better this time around, but maybe that's just me getting used to it. That's not to say it's pacing is amazing, but now that I don't have the burden of certain expectations going in, the pacing and the speed at which the ending happened feel more natural. In addition, a lot of big problems I had before really feel like it might be a case of me overthinking things once I started writing them out everyday, but there's still the issue of the show being ambiguous enough that those things aren't clear in the first place.

I think G-Witch's biggest problem is the expectations people have going into it, some due to it being a Gundam series and some being how well it executes it's background themes. There is an expectation that the show will seriously tackle the conflict between Earth and Space, the corporate corruption, the co-opting of medical technology for warfare and the transhumanist questions raised in the prologue and ending. I personally believe that those were never meant to be a focus, that the point of this story was the relationship between Suletta & Miorine and the conflict of their families (with The Tempest serving as the framework for the story) and everything else was a background detail meant to move that story forward. So maybe the reason I love it so much and many of it's "flaws" don't bother me is I never expected it to (nor really wanted it to) tackle those issues, and focus on that family drama instead.

I remember being in the minority when the 2nd season was airing that didn't want a 3rd and 4th season, especially one that would turn G-Witch into a traditional war story. I liked that G-Witch seemed to be aiming for a smaller, tighter focus around Suletta & Miorine's family, and I could tell midway through S2 that that story was barreling towards it's conclusion and anymore would've just been another Gundam war story unless they continued to take this AU further and further away from the core Gundam experience.

Unfortunately, for one reason or another, the show itself seemed to forget that in parts of S2, and tried to be more like a traditional Gundam series for a moment. Watching it day-to-day makes episode 15 really stand out for how egregiously out of place it is, and the series ties too hard to keep Guel relevant during it's finale, to the detriment of more important things. We may never know what happened behind the scenes, but I still firmly believe that this was a result of executive meddling. My biggest complaint after this 4th viewing is that S2 spent too much time on the Jeturk family and not enough time with the Rembran family (Delling and Notrette are almost an afterthought), and instead of building the SAL as the final antagonistic faction, we wasted time following the Dawn of Fold for an episode that didn't impact the story. Definitely still think they needed to introduce the Demi-Barding & Gundam Schwarzette earlier and do a little more with them.

I definitely wish Suletta & Miorine spent more time together in S2, but I don't know that I'd change anything significant enough in S2 to make them spend significantly more time together. I would just give them more time in the wake of their reunion to see them talk afterwards before Suletta boarded the Calibarn. And even if the number of scenes they physically shared was small, they constantly thought about each other and motivated each other through the entirety of the season. Everything Miorine did was for Suletta's sake. Miorine was constantly in Suletta's thoughts, even after the divorce, and she never gave up on that relationship.

It's been 6 months since the series finished airing, and I still think about it daily. I still have a lot of emotions regarding the series. I cry pretty much the entire 2nd half of the final episode still, I still can't listen to Houseki no Hibi without breaking into tears, and it even hits me sometimes when listening to The Blessing or looking at various pieces of art. Much to my surprise, and my immense relief and happiness, not a day goes by where I don't see a new piece of Sulemio artwork, and seeing them together still brings me great joy and happiness. Suletta is my favorite fictional character ever, and Miorine is right next to her, and they're both incredibly important to me for a number of reasons. I love them so much that it actually got me to write fiction about characters that aren't my OCs, and even post my writing publicly for the first time. This show and it's ending makes me incredibly happy, but I also felt an incredibly strong melancholy when it ended that took me over a week to get over, and those feelings have strongly returned in the wake of finishing it again.

I don't know how long this hyperfixation will last. I've never loved a piece of media or characters as strongly as I love G-Witch and Sulemio, and I'm definitely in uncharted territory when it comes to that. But until I stop thinking about this show and these girls on a daily basis, I'm going to keep talking about it and showing it my love.

[subwaytostardew]

Would you ask Emmet and Ingo out the same way as the other residents of the Valley or would we have to ask them out/ask to marry a different way? Since they don't come from the Valley themselves.

With how Stardew Valley is coded I believe it follows the same formula as any other resident. (Would have to double check with my Co-Conductor on this. But I believe it is lock behind hardcode - aka - can’t use or change anything within the Framework of the game itself - with how you approach the residents in terms of asking out and marriage)

Tho Ingo story wise has dedicated his time in-between the railroad and running daily errands to learn about the culture of Stardew Valley. Or in this case the culture of the Ferngill Republic.

He just dragged a begrudge Emmet along to also learn about the valley.

They are of course being open minded about the customs and culture.

Ingo a bit more than Emmet but thats because Emmet has trust issues with the residents due to first introductions behind the scenes/off screen - not going as planned or well. But that doesn’t mean he is outright ignoring or disrespecting there views. He just doesn’t agree with some. Like their behavior towards Pokémon. Or how the Flower Dance is preformed.

But things like giving flowers and mermaid pendants. They really do try and understand and you will most definitely see this play out in Emmet’s upcoming heart event.

Though that is still being drafted and refined and the assets are currently in the process of being made.

- ◁ Station Stewardess Kade

[boyfridged]

if you got complete control over DC and got to write a Jason solo comic, how would you go about it? or like what would be the story??

you're indulging me!

well, my first preference would probably be writing a jason-never-died elseworld and this is what i'm doing with my series robin vol 2. or something like 80s retroactive but longer, so essentially a robin jay series that we were robbed of.

but i'm presuming you are asking about what i would do with the main timeline... i guess if you've been following me for a while, nothing on this list will come as a surprise, because it's simply a combination of my own meta dressed in plot points... i'm just not sure how i would organise it, since i mostly think about these in terms of fanfiction, so it's a bit fragmented in my head. but i think it would be doable to combine those:

addressing the current mess in canon: unavoidable. i always imagined (and by always i mean i've had that image in my head for at least 5 years now) if i were to write a comicbook script for jay i would start with the classic simple layout showcasing the more sunny (early days robin jay's) version of gotham but with panels shaped like shattered glass imposing on it, displaying different contradicting pieces of canon and culminating with the question of who *the real* jason todd is, as a nod to countdown asking the same. dc actually attempted to do something like that when the infinite frontier was first introduced, it just wasn't very well executed... (btw. and as far as i know the hypertime is still supposed to be relevant so it would work...)

since i already started talking about countdown it could also contain some multiversal insight into all the other worlds in which jason todd is alive.

or maybe an idea i once dropped here, with the mystical serpentine of magical fog (the one from the lost days and the end of the utrh when jason presumably is brought back to life once again) traveling through the scenes of flashbacks of other characters (perhaps even just a reflections of retcons!) tarnishing jason's memory when he's dead, cut to kid jay literally stirring in the coffin, and finally an adult jason waking up with a jolt in the final scene. so many options.

you get the image. i wish that dc utilised the weirdness of the meta in a serious way, and that the talk of the past was a talk of the history of comics in a sense... as i previously expressed here.

as you all know by now my reading of jason (and batman in general even) is mostly based on the 80s... and so it would be a love letter to this era. i would definitely want to include some robin jay stories there as well, maybe make jason investigate cases that date back to his childhood and are somehow interconnected, creating a bridge between the narratives and reconciling them.

ending what i call the long funeral - jason's era of remaining dead both socially and to the narrative. what i have in mind is an arc in which he is working on a case that seems to have to do with magic/ghosts, but that ultimately turns out to be a case of corruption and plain police brutality. two things here: i would want him to fuck up spectacularly so that he starts questioning his modus operandi and dedication to vigilantism in general. and it would set up the ground for the introduction of abolitionism and link the story to his early ethical framework.

a retirement arc. jason's proper come back to the crime alley and reintroduction to the land of living (the alley might be a graveyard to bruce but it's a home to jason...) and very importantly, a cast of civilians! leslie is definitely back. i would also love to use dana & denise, and maybe even some pre-crisis characters.

i would fridge bruce. put him out of commission basically, death or not. and i'm not saying batman jay era but actually i am saying batman jay era. (i once again can't find a link to the post explaining my bat jay agenda but if it's of your interest i can elaborate.)

a two-face story. about forgiveness or rather about the fact that it never quite passed. and about willis.

the themes... the motifs... you know me. ouroboros and self-mythologization and the sacrifice and catholicism (probably not in a way you think) and family duty. and politics. here you can also guess what i'm thinking about, and it's a revolutionary abolitionist turn.

and to conclude: big words but i would use jason to bring love back to the gotham lore and batman titles in general. he is a character that has always stood in the centre of both values and challenges that the story faced. if he's not treated with consideration and not taken seriously, nothing in it is.

[ecruvian]

Here's my new story idea:

There's two characters who meet. Character 1 is super weird in how they interact with basically everything and everybody, causing destruction seemingly at random and picking up only the weirdest and most pointless objects - this is a person who has no credit card or driver's license, but does have a sack full of shaved-down pencils or something. Most people in society object to Character 1's existence, constantly yelling at them and protesting their behavior. This isn't without reason; they're usually harmless, but will just break a hole in the hallway wall of a hotel for no reason and then leave. Character 1 more or less ignores people.

Character 2 is just a normal, average joe who's fascinated by this behavior and starts hanging out with Character 1. Character 1's nature becomes more mysterious over time: they can't eat most food, they can't enter most elevators or use stairs that are the wrong size, they can only open certain doors, etc. Character 2 is definitely curious, but takes it all in stride. Character 2 is used to dealing with such odd behavior - maybe they're a disability rep at a school, or maybe they have a loved one with OCPD, but they adapt almost seamlessly to Character 1's "rules." Character 1 is ecstatic and they become the best of friends.

If you're getting video game vibes from this, you're correct! It turns out that, years ago, an indie game dev died and ascended to godhood, and with nothing better to do with these newfound powers, started to build a videogame framework on top of the real world in the form of hitboxes and assets. This young god is having a lovely time being a god. When Character 1 died in a freak accident, their soul was snatched from destruction by the video game dev god, who wanted to give them a second chance... but only had one way to do it.

Character 1 is living with some very severe limitations, but is definitely glad to be alive at all. However, since they are operating on an entirely different set of natural laws compared to the entire rest of society, they started to tune people out as a survival instinct: when people offer them food it's usually inedible, when people tell them to stay out of that "employees only" area they're limiting access to the only regen point in this part of the city, et cetera. Character 1 had to learn not to feel shame or awkwardness because they were going to have to walk in on a lecture happening at a random university if they wanted to get the random item drop that they need to proceed to the next quest location, and if they don't go to the next quest location, they'll be forced to wander into parts of the map that are incomplete. The dev god tries to incorporate feedback from Character 1 in the world's design, but first of all, dev god is a limited being who can only build so much at a time, and second of all, Character 1 knows that the amount and quality of resources will be much better if dev god is allowed to pursue dev god's own special interests and aesthetic preferences. So, Character 1 just abides.

Character 2 ends up having a great time following Character 1 on quests, and dev god, ecstatic to have an audience, starts to tailor make levels that are accessible to both characters - which has the side-effect of improving Character 1's lifestyle.

Anyway it's a heavy-handed metaphor but I think it's fun

[waitmyturtles]

Turtles Catches Up With Old GMMTV: Love of Siam, The Intersectionality of Expectations and Demands, and the Tentacles of Influence On the BL Genre 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 cover the pre-BL film Love of Siam, and its tremendous influence on today's Thai television BL genre.]

As we recover from the first weekend of Only Friends...now for something a little different, ha.

I mentioned a few weeks ago that while I was on the chronological journey through my Old GMMTV Challenge watchlist, that I jacked up my watch schedule to roll back in time to add two pre-television-BL movies in Love of Siam (2007) and My Bromance (2014). My review of My Bromance will drop later this week, but I want to give more attention at the moment to Love of Siam, a seminal film for queer media in Thailand, and a definite influence and harbinger on the development of the future genre of television BL in Thailand after the film's release. Considering our beloved Thai BL auteurs who have been knowingly influenced by LoS: it's a must-add for the list.

Now that I've watched Love of Siam: while I know I'm reviewing it in my 2023 watch schedule out of order, I am tremendously glad that this review will sit on top of the enduring list as the first of the Old GMMTV Challenge syllabus, as I think it contains a number of themes that get explored in the future of television Thai BLs from 2014 on. As well, the film also opens a door into how Thai, pan-Asian, and international audiences of various demographics receive and have received the film over the last 16 years since the film's release.

Most importantly for this piece: I'd like to address Love of Siam in an intersectional analysis, specifically analyzing the film from the queer lens/perspective and the Asian lens/perspective. What I'd like to address about LoS is as follows:

1) A summary of the movie, why Love of Siam was remarkable when it was released, and a quick overview of who has been influenced by it in Thai BL auteur circles, 2) How the ending of the movie (spoiler alert) has been received and understood by specific audiences, 3) An intersectional overview of those potentially differing expectations and opinions, and what that intersection means for how the global television BL fandom watches and understands Thai television BLs today, 4) What we see today, theme-wise, by what works and artists I think were influenced by Love of Siam,

and other floating points as I come to them.

It was the inimitable @bengiyo who recommended -- nay, insisted -- that I watch Love of Siam, not only for the OGMMTVC syllabus, but also as a means of analyzing I Told Sunset About You by way of its story structure and resolution, which I'll get into in a few moments. (I actually had the very great pleasure of joining @bengiyo and @shortpplfedup, along with a few other clowns, to talk about ITSAY on an upcoming The Conversation podcast, in which Love of Siam came up as a topic -- thank you, Ben and NiNi, for the honor! I'll talk more about the conversation that took place in the podcast in a few moments.)

Love of Siam focuses on Mew and Tong, two young schoolboys who were separated by a family tragedy in Tong's family. After Tong's sister disappears and is presumed dead, Tong's father turns to alcoholism, and the family moves away. Tong's mother takes up the mantle of breadwinner and the glue that keeps the rest of the family together. When Mew and Tong reach high-school age, they reconnect in Bangkok's Siam Square mall. I'll try to not give too much more away, because there's a tremendous follow-up to Tong's sister's legacy within the film, but the movie is perhaps best known for its ending, in which Mew and Tong do not get together. The two had spent the film negotiating their attraction to each other in the face of the intervention of Tong's mother, who worked on keeping them apart, and reconnected with the help of a mutual friend in Ying, who originally had a crush on Mew before discovering he was gay. The ending echoes the common endings of the majority of queer media at the time, in which couples did not get together, and/or were forcibly separated, and/or were tragically eliminated. (Brokeback Mountain was released two years earlier in 2005, and André Aciman's original novel, Call Me By Your Name, comes out in the same year as LoS, in 2007.)

For broad cinematic context, Love of Siam was Thailand's entry in the 2009 Academy Awards for Best Foreign Language Film (now called Best International Film). To compare LoS to television BLs on the OGMMTVC list, only the Nadao Bangkok works (I Told Sunset About You, etc.) come at all close to the quality of LoS's filming. The acting, the cinematography, the pacing, and the story structure of this movie were all superb. I enjoyed every minute of it, despite the ending. (We had our first instance of Kob Songsit playing a father named Korn, which -- was it a coincidence that he did the same in KinnPorsche? Especially considering KinnPorsche's happy ending -- it's a high likelihood. More on this in a bit.)

The movie received a fair share of controversy upon its release, as it had been originally marketed as a love story between two heterosexual teen couples. The "surprise," as it were, of finding out that Mew and Tong were the main romantic protagonists, caught Thai audiences by surprise. The filmmakers reported that they were unaware of the modern extent, at that point, of Thailand's common homophobia, but @bengiyo also let me know that at the same time, fans of the film were devastated to not see Mew and Tong get together in the end. Despite the competing controversies, the film was the most successful film in Thailand in 2007.

It's well known that many of our favorite Thai television BL auteurs, like Backaof Noppharnach, Jojo Tichakorn, New Siwaj, and others, watched and were influenced by the film -- they've talked about it previously in interviews in Soonvijarn and other arenas. I haven't seen My Only 12%, but @bengiyo tells me that New Siwaj directly tackles Love of Siam in that series. I'll come back to talk more specific works by these auteurs, and how I think some of these auteurs responded to the influence of Love of Siam in their works, in a bit.

As I mentioned previously: the ending of Love of Siam is controversial. Tong's mother intervened with Mew to tell him to stay away from Tong. She equates Tong being with Mew romantically to "losing her son" (a notion that is repeated in the 2019 film, Dew), which she clearly doesn't want after losing her daughter. Tong's mother is later shown as seeming to accept Tong's sexuality -- but it's not clear if she will ever accept him being in an actual relationship. That's not addressed. Separately, Mew's and Tong's friend, Ying, gives up on her romantic hopes towards Mew to help Tong reconnect with Mew after their brief separation.

Ying helps Tong find a meaningful token of his past with Mew. After gifting him the token, Tong says to Mew:

"I can't be your boyfriend. But it doesn't mean that I don't love you."

And Mew, smiling, says: "Thank you."

The end of the movie shows Ying sobbing heavily among her group of friends, and Mew sitting and crying in a room, saying "thank you" once more.

Jumping ahead a bit: during my participation in The Conversation podcast, the topic came up of whether or not ITSAY was an "apology" for Love of Siam. I think this question is a great way to enter what I briefly want to analyze intersectionally by way of how various audiences can interpret LoS's ending.

In conversation with the wonderful @bengiyo and @so-much-yet-to-learn (thank you both!), I understand that international queer audiences were severely disappointed in LoS's ending, for obvious reason. There was a lot in this movie that seemed to otherwise indicate acceptance of queer relationships and queer love, including by Tong's mother. That a relationship itself could not be confirmed was painful to watch.

When I was watching this film, I knew that the ending wasn't going to be good -- I just didn't know how it would play out exactly. I've had this experience before, where I'm aware that an ending of a thing I'm watching is going to be questionable, and when I get to the actual ending, I'm like -- OHHHH. Wait. I get why this ending is the way it is. The last time I felt like that was when I watched 2gether. In 2G, the ending/lack of intimacy immediately gave me a holistic understanding of why the show performed so well in Asia.

I watch Asian shows first and foremost with an Asian lens -- because I am an Asian. (I'm also a cishet woman.) My expectations of media coming from Asia are different than the expectations of non-Asian audiences. Maybe even as a cishet Asian woman -- my expectations of Asian media might be different from other Asian demographics, like Thai or pan-Asian queer audiences.

Generally speaking, the ending of LoS did not surprise me in the least, especially for being a piece from 2007. When Mew said "thank you," I was like, yep. Of course this was going to be how the movie ended.

Going back to the point I made earlier about queer media, globally, of this moment in 2007 having expected bad endings -- we come to an intersectional interpretive crossroads for Love of Siam's ending. Queer audiences were disappointed to be let down. I'm going to guess that the majority of Asian audiences, like myself, had a less surprised reaction (although again, to @bengiyo's point, it seems like some Thai fans protested the ending).

Non-happy, open-ended, and/or "bad" endings proliferate more in Asian media than in Western media. I've written about this before in a Big Meta on pain and suffering in Asian dramas. As an Asian consumer of Asian media, I've been conditioned all of life to not expect for the best of the characters I'm watching. Many of the Indian movies from the 1940s, '50s, and '60s that my parents showed me in my childhood had sad or politically-driven endings. Love being yanked right away for the sake of a "moral" or "ethical" lesson -- I'm conditioned to expect it. Most memorably for me, when I was a young lass, my parents showed me and my siblings Chemmeen, a 1965 film about a married woman nursing a long-lived lost-love with a man outside of her marriage. They had been separated all of their lives for various social status reasons. At the end of the film, when they finally embraced, they are wiped out by a storm. After the "WTF, mom and dad?!" outbursts from me and my siblings, my parents simply said -- this is the moral of a story that was important when we were growing up. You don't fall in love with someone you are not supposed to fall in love with. (Probably the saddest ending I've ever experienced in Asian media is Yoshimura Akira's Shipwrecks. I recommend it highly, but it's a bruiser.) (And MANY THANKS to my dear friend and fellow desi-homey, @neuroticbookworm, for tracking down Chemmeen based only on my hazy childhood memories!)

I've talked at length with @neuroticbookworm about our instinctual expectations of Asian media and when Asian media either toes the line of predictability (sad endings) or when it pushes the paradigm to, for us, new results (happy endings). (And this is in spite of Bollywood, which of course often has happy endings, but even Kuch Kuch Hota Hai, one of the biggest Indian movies of all time, was laced with sadness.)

LoS did something different than the media I grew up with, which I appreciated in the film. It was subtle, but as @bengiyo noted to me -- it was there. A whiff of acceptance was in the movie. This was the Thai film industry's way of beginning to play around with queer acceptance. I personally think that while the ending statements of "thank you" were stark, they did not indicate anything by way of emotional conclusion for Mew. When I saw Mew crying during his last "thank you," and Ying bawling at the end of the movie -- I took from that their acceptance of the devastation of a socially and culturally-based decision that needed to be made by Tong and his family.

Mew and Tong could acknowledge their love to each other. But for 2007 Thai cinema, they could not go further than that. To flirt with the idea that a Thai family would, in fiction, accept a gay relationship, was likely too progressive. Censors, the government, even Thai audiences, all may have balked.

The intersectional crossroads of this decision are important for me to root myself in. On the one hand, there's the disappointment of Thai, pan-Asian, and international queer audiences that Mew and Tong could not come together.

(I want to note that specifically for Western/non-Asian audiences of all demographics, there is a reality that a DEMAND that Asian filmmakers create happy endings — like Mew and Tong coming together — might be coming from a colonialist point of view, one that may ignore or not consider common Asian media practices and cultures. I unfortunately see this often in shipper culture emanating from the West, and I'm heartened that some Thai content makers are beginning to call international fans out on it. I note down below that market expectations of these endings have certainly changed in today's age, but checking privileges upon demanding something specific of Asian content is something that is always worth doing.)

On the other hand, there are Thai and pan-Asian audiences that interpret Mew and Tong not coming together as a matter of timing (the market not being ready for a confirmed queer relationship on screen), and as well, a matter of expectation that what we'd HOPE for -- Mew and Tong being together -- could AND would not happen, because conversationally, that kind of happiness would be culturally and socially impossible both in art and in real life. For instance, for Mew and Tong to negotiate their relationship with their respective families, on screen, in 2007? Talking to their parents about how they could get together? Damn. I can't.... for that time period, I cannot imagine Asian media, Thai or otherwise, going there. To involve families talking about acceptance -- I don't believe the market, Asian-based audiences, and even international Asian-diaspora audiences being ready for that. (And that's not to say that people of my generation wouldn't have welcomed it. But, for instance -- my parents' generation would have been in protest for movies depicting that kind of conflict, resolution, and outcome playing out in any sort of positive way.)

Remember, again, this is 2007. Let's jump WAY ahead for a second -- to the now, when we can have a show like My School President in 2022. A show, like LoS, that depicts two high school boys navigating attraction and love. A show that actually features a high school band (Mew being a lead singer in a band is a main plot point of LoS). And a show that includes young men falling in love and navigating their families. And Gun and Tinn end up together.

How far we've come from 2007 to now. As I noted above, the expectations of audiences outside of queer circles among Asian and international audiences for positive endings have changed drastically. I haven't even watched MSP yet, but imagine if Gun and Tinn DIDN'T get together. Think about it for a moment. Even as someone who hasn't watched the show yet -- even I know how crazy that sounds, from what we've been habituated to expect out of Thai television BLs, since the rise of the genre from Love Sick in 2014 -- a full seven years after the release of LoS. Thai, pan-Asian, and international audiences of all demographics would have been up in arms.

We know now -- again, seven years after the release of LoS -- how seminal Love Sick was for Thai television BLs, in including the Phun x Noh storyline in the context of an ensemble drama. And now, I feel like I have even more context for how UTTERLY seminal the ending of Love Sick was -- for Phun and Noh to consciously decide to BE TOGETHER, and to end the show that way, in the face of the line of previous expectations that LoS had originally had to toe. It fills my heart that so much progress could have been made in such a short time. Seven years doesn't seem short. But this is where I often drop a comparative point -- that it took 50 years for gay marriage to be legalized in America. Change sometimes seems long, but in hindsight -- change can also happen fast in context.

I think the intersectional conclusion to this is that Thai filmmakers didn’t give up in pushing to experiment with positive endings in a genre — queer media — that didn’t commonly have them. By having Phun and Noh confirm their relationship in Love Sick; by having TeeFuse and FrameBook CELEBRATE their relationships in the early BL series, Make It Right/MIR 2 — these shows began to change an expectedly doomed paradigm of sadness and heartbreak. And — AMAZINGLY! — these early shows that took such risks found accepting audiences. And the market has since responded.

Now — with these shows also came the rise of toxic shipper culture and continued homophobia of actors who are actually out and gay. That’s the gray side to all of this. But Thai BL auteurs then and now still play in this sandbox. As akin to the legislation of gay marriage in America, the progress of LGBTQ+ acceptance in Thai media and Thai society is rocky. (Remember this: Barack Obama did not outright support gay marriage when he first ran for office. He was already president when he permanently changed his public tune.) But that road is continually being paved as audiences in Thailand and globally grow ever more accepting of equal rights for all. While queer audiences celebrate this with bells on — I also am beyond thrilled that Asian audiences can take away learnings about LGBTQ+ equality, especially in countries where homosexuality is banned (Malaysia), where same-sex marriage is legal (Taiwan), and in everywhere in between, where there may be outward social practices of acceptance and internal practices of continued familial or even social homophobia. The general consistency of moving the dial forward on Thai BL media showing equality is good for ALL audiences, no matter how you cut it.

I want to take a moment to talk about the clear and enduring influence that LoS had had on present-day Thai BLs. Like I said earlier, many of our favorite Thai BL auteurs have stated that they were influenced by LoS, and I want to just do a little nerdy comparative analysis out of admiration for those creators that I simp on.

As I wrote previously, I thought LoS was brilliantly written and filmed -- it was a gorgeous movie, even at a 2.5-hour run time. LoS was rooted in a few major themes (but there are more within the film) that I see cropping up in present-day Thai BLs.

The first is the use of religion and spirituality as a means of indicating cultural mores around queer acceptance. Tong's family is Catholic. Catholic imagery peppers the film -- most notably for me, towards the end of the movie, when Tong flops on his bed with a huge poster of the cross pasted on the wall above him. Like I wrote earlier, Tong's mother has said to Mew -- if you two get together, I will lose my son. Tong being in a queer relationship is clearly against the family's Catholic practices -- the cross hovers in Tong's most intimate space.

On the flip side, Mew's family is Buddhist, and clearly demonstrated as so. I would also argue that Tong's Catholic family benefits from Buddhist beliefs, in a reincarnation plot that includes Tong's sister. As we know from the many Thai BLs that incorporate depictions of Buddhist practices -- Buddhism does not generally speak to a condemnation of the LGBTQ+ community, although local expressions and practices may differ. He's Coming To Me, Until We Meet Again, and Big Dragon are three shows that, to me, include Buddhist frameworks most distinctly, but of course -- our beloved BL guys are going to temples all the time and making merit. Even Gay OK Bangkok has multiple temple scenes -- and that's an overtly queer, non-BL drama. A temple is often a common locale that we see our beloved queer couples able to be together safely, outside the privacy of a home.

The second theme of note emanating out of LoS is filial piety. When Tong says to Mew, "I can't be your boyfriend," part of what he's saying is -- I can't do this to my family. Filial piety is SUCH a presence in many BLs -- to me, most notably in I Told Sunset About You, as I reflect on Teh's hugely emotional reaction in giving up his university admission for Oh-aew, and the fall-out vis à vis his mother that results from that decision (and Oh-aew has his own filial piety storyline as well). (I want to note that the ITSAY links include a phenomenal reblog from @bengiyo that talks in part about how ITSAY speaks to LoS -- a must-read.) Part of the presumed danger of coming out in Thai BLs, to me, stems from not only fearing rejection of one's own sexuality by a character's family -- but in also disappointing one's family in the public and private Asian family construct, especially considering that we're witnessing mostly young men coming out, who carry their own load of gender-based expectations from their families.

This harkens back for me Thun's coming-out conversation with his mother in episode six of He's Coming To Me. In episode five, Thun asks, famously, on a rainy rooftop -- "I have this feeling, but I don't know what to call it" (which, I think, is an Aof callback to Tong asking Ying in LoS -- "what am I, Ying?"). In episode six, Thun, a young man who has already lost his father, clearly sits with concern that he might lose his mother. And, of course, Thun's mother comes back with the most empathetic response to a coming-out that I've ever seen in a Thai BL. Maybe Thun's mom is also a response to Tong's mom.

Finally, I want to go back to the theme and the idea of sad endings vs. happy endings. When I first began to get OBSESSED with Thai BLs was when I watched Bad Buddy for the first time. Bad Buddy, to me, encapsulated a feeling I had that what I was watching was DISTINCTLY, PROGRESSIVELY Asian by the many themes it included that I relate to as an Asian, from filial piety, to intergenerational trauma, to keeping secrets from family and friends, and so much more.

I think, for my interpretative stance at this point of the OGMMTVC, that it's clear that Aof Noppharnach has most commonly addressed themes and influences from LoS in his work (again acknowledging that New Siwaj did something similar in My Only 12%). I think I admire the endings of He's Coming To Me and Bad Buddy in particular because Aof did something that I think is really hard to pull off. As I said to @so-much-yet-to-learn, Aof pulled off not-necessarily-happy, open-ended resolutions to those two shows that hewed far more to real-life-level conclusions about queerness than overtly happy endings in the face of other tenuous influences, such as family rejections. At the end of He's Coming To Me, Thun is in love with a ghost that may be reborn at any point in time — Thun could lose Med without a moment’s notice. At the end of Bad Buddy, Pran and Pat are not out to their families and are separated by distance. But -- à la Love of Siam -- there are subtle indications that acceptance may be on the horizon on the part of Pran's and Pat's families.

To me, Aof negotiating these endings is just so brilliant, and hews authentically to the journey, to the path that Asian audiences, like myself, can once again relate to from the media we grew up with. If we as Asians grew up not expecting happy endings, how does that change our experience of watching shows that end happily now? By watching media with inconclusive or pointedly unhappy endings, Asian audiences are led to think that life is more complicated and gray than a happy ending would lead one to believe. From a queer lens — if the MAJORITY of queer media ends badly, then it seems that the underlying message is that the community ITSELF doesn’t DESERVE happiness. I will always appreciate the majority of Thai BLs changing this paradigm.

Many of Aof’s work sit in the middle of this, either by ending or by journey. Moonlight Chicken indicates a painful growth and acceptance process of internalized homophobia for Jim, the chicken rice vendor. Same for Phupha, from A Tale of Thousand Stars to Our Skyy 2. Pat and Pran are physically separated and mostly closeted. Thun is dating a ghost. Even Type and Man in Still 2gether are almost permanently separated by Type’s job. Aof doesn’t shy away from loose ends. He’s not giving devastation. He’s balancing, I think, the history of what was expected, with what real life often gives by way of what actually happens in imperfect situations.

And this isn’t entirely universal in Aof's works. In the two previously existent series that Aof "took over" in Kiss Me Again and 2gether: Pete and Kao are solid at the end of Dark Blue Kiss. Sarawat and Tine end nice and heaty in Still 2gether. But what I think is particularly brilliant about Aof’s overall oeuvre is that balance and appreciation he clearly has for art that questionable, open-ended endings gave to pieces back when he and I were younger folks. Aof doesn’t devastate us, or his characters. But he certainly makes all of us — his characters and his audiences — contemplate the meaning of our existences and our roles in society by way of the obstacles and inequities we all face, by the time a show of his is concluded. Those searing examinations are what I live for in his repertoire in particular, and they are what remind me the most about the Asian media I grew up with vis à vis Aof’s modern works.

I have to thank him for that. Maybe as an older viewer of Thai BLs (I'm close in age to Aof), I sometimes need a bridge to the robust happy endings that shows like Make It Right, Dark Blue Kiss, Still 2gether, and more have. Love of Siam reminded me of where we once stood. Aof's works are the bridge to a kind of 180-degree turn-of-perspective, towards a happiness in fiction that, as a child of Asian media, I never knew I could enjoy. And I'm glad, in today's age as I continue to robustly enjoy the genre that is Thai BL, that I can experience that kind of satisfaction in Thai art now.

[So all of this is happening while we're getting early into Only Friends, and Dangerous Romance premieres this week. The riches! So much going on!

Later this week, I'll publish a (hopefully short-ish) review of another film, My Bromance (2014) to talk about the Flukes and yaoi influences on BL. Then, FINALLY (!!!) will come my Manner of Death review, my A Tale of Thousand Stars rewatch review, my Lovely Writer review (LOVED THIS SHOW), and somewhere in-between, a non-OGMMTVC review of Jojo Tichakorn's The Warp Effect, which I'm HOUSING for the sake of Only Friends.

Hit list below! Hit me with feedback! (Tumblr's new web editor is jacking with this list below and not letting me strikethrough those shows that I've watched. For the most updated list, check this link right here.)

1) The Love of Siam (2007) (movie) 2) My Bromance (2014) (movie) (review coming) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) 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) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (review coming) 27) Lovely Writer (2021) (review coming) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 29) I Promised You the Moon (2021) 30) Not Me (2021-2022) 31) Bad Buddy (2021-2022) (thesis here) 32) 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) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 34) 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)] 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 37) The Eclipse (2022) (tag here) 38) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults) 42) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 43) Only Friends (2023)]

[mariacallous]

Why did a popular, effective, and by nearly all accounts benign English and Language Arts curriculum called Wit & Wisdom, which has been used across the country, spark organized backlash in a thriving school district in suburban Nashville, drawing accusations that it promoted “gender fluidity,” an obsession with skin-color differences, and even cannibalism? In exploring this question, Paige Williams investigates the rising influence of a new activist group called Moms for Liberty, with shadowy origins and the ability to “accept unlimited dark money,” which describes itself as standing up “for parental rights at all levels of government.” Much of that fight has been taking place at the school-board level, where the concept of critical race theory—“a complex academic framework that examines the systemic ways in which racism has shaped American society,” as Williams describes it, which is “explored at the university level or higher”—has become a rallying cry for angry parents, and an umbrella definition for every seeming progressive affront to cultural conservatism both in and out of the classroom. Williams’s story is deeply reported, nuanced, and essential reading for understanding how we’ve reached this fraught and escalating political battle inside American education.

In August, 2020, Williamson County Schools, which serves more than forty thousand students in suburban Nashville, started using an English and Language Arts curriculum called Wit & Wisdom. The program, which is published by Great Minds, a company based in Washington, D.C., wasn’t a renegade choice: hundreds of school districts nationwide had adopted it. Both Massachusetts and Louisiana—states with sharply different political profiles—gave Wit & Wisdom high approval ratings.

The decision had followed a strict process. The Tennessee State Board of Education governs academic standards and updates them every five or six years, providing school districts with an opportunity to switch curricula. Williamson County Schools assembled a selection committee—twenty-six parents, twenty-eight elementary-school teachers of English and Language Arts. The committee presented four options to teachers, who voted on them in February, 2020. Wit & Wisdom was the overwhelming favorite. After the selection committee ratified the teachers’ choice, the school board, which has twelve members, unanimously adopted Wit & Wisdom, along with a traditional phonics program, for K-5 students.

Great Minds’s promotional materials explain that Wit & Wisdom is designed to let students “read books they love while building knowledge of important topics” in literature, science, history, and art. By immersing students in “content-rich” topics that spark lively discussion, the curriculum prepares them to tackle more complicated texts. The materials are challenging by design: studies have shown that students read better sooner when confronted with complex sentences and advanced vocabulary. Wit & Wisdom’s hundred and eighteen “core” texts, which range from picture books to nonfiction, emphasize diversity, but not in a strident way. They provide “mirrors and windows,” allowing readers both to see themselves in the stories and to learn about other people’s lives. The curriculum assigns or recommends portraits of heralded pioneers: Leonardo da Vinci, Sacagawea, Clara Barton, Duke Ellington, Ada Lovelace. The lessons revolve around readings, augmented with paintings, poetry, speeches, interviews, films, and music: in the module “A Hero’s Journey,” students explore an illustrated retelling of the Odyssey alongside the Ramayana, a Sanskrit epic, while also discussing “Star Wars.” A section on “Wordplay” pairs “The Phantom Tollbooth” with Abbott and Costello’s “Who’s on First” routine.

Elsewhere in Tennessee, teachers were saying that Wit & Wisdom improved literacy. The superintendent of Lauderdale County, a rural area where nearly a quarter of the population lives below the poverty line, published an essay reporting that his district’s teachers had noticed “an enormous difference in students’ writing” after implementing the curriculum. Wit & Wisdom encourages students to discuss readings with their families—a father in Sumner County, northeast of Nashville, was pleased that his daughters now talked about civil rights and the American Revolution at dinner.

Then, seemingly out of nowhere, Wit & Wisdom became the target of intense criticism. At first, the campaign in Williamson County was cryptic: stray e-mails, phone calls, public-information requests. Eric Welch, who was first elected to the school board in 2010, told me that the complainers “wouldn’t just e-mail us—they would copy the county commission, our state legislative delegation, and state representatives in other counties.” He said, “It was obviously an attempt to intimidate.”

The school board is an American institution whose members, until recently, enjoyed visibility on a par with that of the county tax collector. “There’s no glory in being a school-board member—and there shouldn’t be,” Anne McGraw, a former Williamson County Schools board member, said on a local podcast last year. Normally, the district’s public meetings were sedate affairs featuring polite exchanges among civic-minded locals. The system’s slogan was: “Be nice.”

In May, 2021, as the district finished its first academic year with Wit & Wisdom, women wearing “Moms for Liberty” T-shirts began appearing at school-board meetings. They brought large placards that contained images and text from thirty-one books that they didn’t want students to read. In public comments and in written complaints, the women claimed that Wit & Wisdom was teaching children to hate themselves, one another, their families, and America. “Rap a Tap Tap,” an illustrated story about the vaudeville-era tap dancer Bill (Bojangles) Robinson, by the Caldecott medalists Leo and Diane Dillon, harped on “skin color differences.” A picture book about seahorses, which touched on everything from their ability to change color to the independent movement of their eyes, threatened to “normalize that males can get pregnant” by explaining that male seahorses give birth; the Moms suspected a covert endorsement of “gender fluidity.” Greco-Roman myths: nudity, cannibalism. (Venus emerges naked from the sea; Tantalus cooks his son.)

The Moms kept attending school-board meetings and issuing complaints. Curiously, though they positioned themselves as traditionalists, they often borrowed “woke” rhetoric about the dangers of triggering vulnerable students. Readings about Ruby Bridges—who, in 1961, became the first Black child to attend an all-white school in New Orleans—exposed students to “psychological distress” because they described an angry white mob. (Bridges, in a memoir designed for young readers, wrote, “They yelled at me to go away.”) The Moms also declared that, though they admired Martin Luther King, Jr.,’s iconic line about judging others “on the content of their character,” the book “Martin Luther King, Jr. and the March on Washington” was unacceptable, because it contained historical photographs—segregated drinking fountains, firefighters blasting Black Americans with hoses—that might make kids feel bad. The Moms considered it divisive for Wit & Wisdom to urge instructors to remind students that racial slurs are “words people use to show disrespect and hatred towards people of different races.”

At one meeting, Welch watched, stunned, as a Moms member said, “You are poisoning our children,” and “Wit & Wisdom must go!” Welch told me, “They went from zero to a hundred. Everything from them was aggressive, and threatening in nature.” He said, “It was not ‘Let’s have a dialogue.’ It was ‘Here are our demands.’ ”

When the women in T-shirts first showed up, Welch had never heard of Moms for Liberty, and he didn’t recognize its members. The group’s leader, Robin Steenman, was in her early forties, with shoulder-length blond hair; in coloring and build, she resembled Marjorie Taylor Greene. Board of Education members struggled to understand why she’d inserted herself into a matter that didn’t concern her: Steenman had no children in the public schools.

Moms for Liberty members soon escalated the conflict, publicly asserting that Williamson County Schools had adopted Wit & Wisdom hurriedly, and in violation of state rules. The school board still wasn’t sure what Moms for Liberty was—who founded it, who funded it. Nevertheless, the district assembled a reassessment team to review the curriculum and the adoption process. At a public “work session” in June, 2021, the team announced that, after a preliminary review, it hadn’t found any violations of protocol. Teachers had spent a full workday familiarizing themselves with Wit & Wisdom before implementing it. As Jenny Lopez, the district’s curriculum director, explained, “Teachers actually had more time than they’ve ever had to look at materials.”

The superintendent, Jason Golden, urged his colleagues to take parental feedback seriously, including worries that certain Wit & Wisdom content was too mature for young kids. For example, there were gruesome details in books about shark attacks and about war. Golden told the board, “These are real concerns.” Yet Golden also recalled telling a Moms for Liberty representative how much he trusted the district’s processes for evaluating curricula.

The review committee ultimately concluded that Wit & Wisdom had been an over-all success; still, administrators decided to survey teachers quarterly about how the curriculum was working. They limited access to the gorier images in one Civil War book and imposed similar “guardrails” involving “Hatchet,” a popular young-adult novel in which a character attempts suicide. “Walk Two Moons,” a novel by the Newbery Medal winner Sharon Creech, about a daughter’s quest to find her missing mother, was eventually removed from the Williamson version of the program, not because its content was deemed objectionable but, rather, to adjust the pacing of one fourth-grade module. Golden, who is tall and genial, told the board members, “The overwhelming feedback that we got was: ‘Man, can’t we just read something uplifting in fourth grade?’ And we felt the same way!”

At the work session, Golden shared one end of a conference table with Nancy Garrett, the board’s chair. Garrett, who has rectangular glasses and a blond bob, is from a family that has attended or worked in Williamson County Schools for three generations. She had won the chairmanship, by unanimous vote, the previous August. At one point, she asked an assistant superintendent who had overseen the selection and review of Wit & Wisdom whether “the concept of critical race theory” had come up during the process. No, the assistant superintendent said.

Moms for Liberty members were portraying Wit & Wisdom as “critical race theory” in disguise. Garrett found this baffling. C.R.T., a complex academic framework that examines the systemic ways in which racism has shaped American society, is explored at the university level or higher. As far as the board knew, Williamson County Schools had never introduced the concept. Yet there had been such a deluge of references to it that Garrett had delved into her old e-mails, in an unsuccessful attempt to identify the origins of the outrage. She told her colleagues, “I guess I’m wondering what happened.”

In September, 2020—four months after the murder of George Floyd, two months before the Presidential election, and a month into Williamson County Schools’ use of Wit & Wisdom—Christopher Rufo, a conservative activist, appeared on Tucker Carlson’s show, on Fox News, and called critical race theory “an existential threat to the United States.” Rufo capitalized on the fact that, given C.R.T.’s academic provenance, few Americans had heard of the concept. He argued that liberal educators, under the bland banner of “diversity,” were manipulating students into thinking of America not as a vibrant champion of democracy but as a shameful embodiment of white supremacy. (As he framed things, there were no in-between positions.) Rufo later called C.R.T. “the perfect villain”—a term that “connotes hostile, academic, divisive, race-obsessed, poisonous, elitist, anti-American views.”

Rufo found a receptive ear in President Donald Trump, who was already ranting about “The 1619 Project,” the collection of Times Magazine essays in which slavery is placed at the heart of the nation’s founding. On Twitter, Trump had warned that the Department of Education would defund any school whose classroom taught material from the project. Trump conferred with Rufo and banned federal agencies from conducting “un-American propaganda training sessions” involving “critical race theory” or “white privilege.” Trump said that Black Lives Matter protests were proliferating not because of anger over police abuses but because of “decades of left-wing indoctrination in our schools.” Establishing a “1776 Commission,” he urged “patriotic moms and dads” to demand that schools stop feeding children “hateful lies about this country.” (The American Historical Association condemned the Administration’s eventual “1776 Report,” highlighting its many inaccuracies and arguing that it attempted to airbrush history and “elevate ignorance about the past to a civic virtue.”)

Nearly nine hundred school districts nationwide were soon targeted by anti-C.R.T. campaigns, many of which adopted language that closely echoed Trump’s order not to teach material that made others “feel discomfort, guilt, anguish, or any other form of psychological distress on account of his or her race or sex.” In some red states, the vague wording was enshrined as law. Republicans filed what became known as “anti-C.R.T.” bills; they were seemingly cut and pasted from templates, with similarly phrased references to such terms as “divisive concepts” and “indoctrination.”

Williamson County Schools was uneventfully wrapping up its first term with Wit & Wisdom when, in early December, 2020, the American Legislative Exchange Council, which generates model legislation for right-leaning lawmakers, hosted a Webinar about “reclaiming education and the American dream.” A representative of the Heritage Foundation, the conservative think tank, warned that elements of a “Black Lives Matter curriculum” were “now in our schools.” Rufo—correctly predicting that Joe Biden, then the President-elect, would abolish Trump’s executive order—urged state legislators and governors to take up the fight.

Continuing the agitation wasn’t just an act of fealty to Trump; it was cunning politics. The fear that C.R.T. would cause children to become fixated on race has resonated with enough voters to help tip important elections. Last November, Glenn Youngkin, a candidate for the governorship of Virginia, won an upset victory after repeatedly warning that the “curriculum has gone haywire”—and promising to sign an executive order banning C.R.T. from schools. Jatia Wrighten, a political scientist at Virginia Commonwealth University, told the Washington Post that Youngkin had “activated white women to vote in a very specific way that they feel like is protecting their children.”

Days after the alec Webinar on “reclaiming education,” three women in Florida filed incorporation papers for Moms for Liberty, Inc., later declaring that their “sole purpose” was to “fight for parental rights” to choose what sort of education was best for their kids. One of the organization’s founders, Tina Descovich—who had recently lost reëlection to the school board of Brevard County, Florida, after opposing pandemic safety protocols—soon appeared on Rush Limbaugh’s show. Declaring plans to “start with school boards and move on from there,” she said of like-minded parents, “It sounds a little melodramatic, but there is evil working against us on a daily basis.” maga media—“Tucker Carlson Tonight,” Breitbart—showcased Moms for Liberty. Media Matters, the liberal watchdog, argued that influential right-wing media figures were essentially “recruiting their eager audience” for the Moms’ campaign.

Moms for Liberty, which is sometimes referred to as M4L or MFL, is so new that it is hard to parse, from public documents, what its leaders are getting paid. (The founders say that the chairs of local chapters are volunteers.) The group describes itself as a “grassroots” organization, yet its instant absorption by the conservative mediasphere has led some critics to suspect it of being an Astroturf group—an operation secretly funded by moneyed interests. Moms for Liberty registered with the I.R.S. as the kind of social-welfare nonprofit that can accept unlimited dark money.

The leaders had deep G.O.P. connections. One, Marie Rogerson, was a successful Republican political strategist. The other, Bridget Ziegler, a school-board member in Sarasota County, is married to the vice-chair of the Florida G.O.P., Christian Ziegler, who told the Washington Post, “I have been trying for a dozen years to get twenty- and thirty-year-old females involved with the Republican Party, and it was a heavy lift to get that demographic. . . . But now Moms for Liberty has done it for me.” Moms for Liberty worked with the office of Florida’s governor, Ron DeSantis, to help craft the state’s infamous “Don’t Say Gay” legislation, which DeSantis signed into law this past March; it forbids instruction on “sexual orientation or gender identity” in “kindergarten through grade 3 or in a manner that is not age-appropriate.”

A national phalanx of interconnected organizations—including the Manhattan Institute, where Rufo is a fellow, and a group called Moms for America—supported the suite of talking points about C.R.T. According to NBC News, in a single week last year Breitbart alone published seven hundred and fifty posts or articles in which the theory was mentioned. Glenn Beck, the right-wing pundit, declared that C.R.T. is a “poison,” urging his audience, “Stand up in your community and fire the teachers. Fire them!”

On March 15, 2021, Rufo, in a tweet thread, overtly described a key element of the far right’s evolving strategy: “We have successfully frozen their brand—‘critical race theory’—into the public conversation and are steadily driving up negative perceptions. We will eventually turn it toxic, as we put all of the various cultural insanities under that brand category.” He added, “The goal is to have the public read something crazy in the newspaper and immediately think ‘critical race theory.’ ”

Williamson County has some of Tennessee’s top-ranked schools. “That’s why people move here,” Eric Welch, the longtime school-board member, told me. He describes the school system as an economic “asset that pays off.” Williamson County has the state’s second-lowest unemployment rate and the highest property values: the median home value exceeds eight hundred thousand dollars.

It is not a diverse place. Eighty-eight per cent of residents are white. Ninety-five per cent of the school district’s teachers are white. Until September, all twelve school-board members and the superintendent were white. A Confederate monument anchors the town square of the county seat, Franklin. The square was publicly marked as a former slave market only three years ago. The Confederate flag still flies prominently in some areas. When the white father of Black children recently complained about this at a school-board meeting, a man in the audience sneered, “We’re in the South! ”

In 2018, several parents joined forces to point out that schools in Williamson County could work harder to be welcoming to children of color. The group, which became known as the Cultural Competency Council, included Black, Asian American, Jewish, and L.G.B.T.Q.+ residents. A school-district official who served as a liaison to the council created videos for teacher training and development, including one about privilege. That video’s language had clearly been calibrated to preëmpt defensive reactions: a narrator underscored that the concept of privilege was “not meant to suggest that someone has never struggled or that success is unearned.” Even so, the conservative media pounced: the Tennessee Star said that the video took viewers on a guilt trip about “the perks white males supposedly have that others do not, America’s supposed dysfunctional history, and how unfair it all is.” Such views have played well in a county that Trump carried twice, both times by more than twenty points. (The Cultural Competency Council has been disbanded.)

In 2020, Revida Rahman and another parent co-founded an anti-racism group, One WillCo, after Black parents chaperoning field trips to local plantations were astonished to see slavery depicted as benign. Rahman told me that some presentations suggested that “the slaves didn’t really have it that bad—they lived better than we do, they had their food provided, they had housing.” She added, “I beg to differ.” At a school that one of Rahman’s sons attended, some white classmates had mockingly linked arms as if to represent Trump’s border wall.

One WillCo especially wanted the school system to address the fact that it had a record of disproportionately punishing students of color—a recent revelation. Moreover, some teachers used racially insensitive materials in their classrooms: in an assignment about the antebellum economy, students were instructed to imagine that their family “owns slaves,” and to “create a list of expectations for your family’s slaves.”

On February 15, 2021, the school board hired a mother-and-son team of diversity consultants to gauge the depth of the district’s problems with racism, bullying, and harassment, and to recommend solutions. A conservative board member, Jay Galbreath, forwarded information about the consultants to influential local Republicans, including Gregg Lawrence, a county commissioner, and Bev Burger, a longtime alderman in Franklin. In an e-mail, Lawrence complained to Galbreath that hiring the consultants was the type of thing that would lead to “the politicization of teaching in America where every subject is taught through the lens of race.” He wrote, “These young people who have been protesting, looting and burning down our cities in America are doing so because they don’t see anything about America worth preserving. And why is that? Because our public schools and universities taught them that America is a systemically racist nation founded by a bunch of bigoted slave owning colonizers.”

This exchange was eventually made public through an open-records request, which also revealed that Burger had helped edit what has been called the foundational complaint against Wit & Wisdom: a month after the diversity consultants were hired, the parents of a biracial second grader e-mailed school officials to complain that the curriculum had caused their son to be “ashamed of his white half.” Burger wrote of her edits, “See what you think.” She cc’d Lawrence, who forwarded the communications to Galbreath and another school-board member, Dan Cash, a fellow-conservative who had won his seat in 2014, during a Tea Party wave. The county commissioner told the school-board members, “Here is more evidence that we are teaching critical race theory,” and urged them to “get rid of” Wit & Wisdom.

A few weeks later, on March 22nd, the school board’s monthly meeting took place on Zoom, because of the pandemic. Robin Steenman appeared before the board for the first time. Wearing a cream-colored sweater and dangly earrings, she presented herself simply as a concerned resident who wanted school officials to reject any diversity proposal that involved “The 1619 Project, critical race training, intersectionality.” She worried aloud that a recent proposal in California to mandate a semester of ethnic studies would be “paraded as a blueprint for the rest of the country.”

Steenman, who appeared to be reading from notes, asserted that parents in Virginia were being blacklisted for “speaking out.” In Pennsylvania, an elementary school had “forced fifth graders to celebrate Black communism and host a Black Power rally.” In North Carolina, a teacher had described parents as “an impediment to social justice.” In Ohio, C.R.T. “had to be removed from the curriculum, because the students were literally turning on each other.” Steenman cited no sources. She said, “If you give them an inch”—then changed course. Dropping the “them,” she declared, “If you give one inch to this kind of teaching, then you’re gonna subject yourself to the whole spectrum.”

Several weeks later, Steenman started the Williamson County chapter of Moms for Liberty, building on the e-mail sent by the parents of the biracial child and harnessing the furious energy of families who were already accusing the school board of “medical tyranny” for requiring students to wear masks. This vocal minority had been particularly incensed at one school-board member, Brad Fiscus, a former science teacher whose wife, Michelle, a pediatrician, was Tennessee’s chief vaccine officer. Williamson County is a Republican pipeline to state and national office: the governor, Bill Lee, is from there; Marsha Blackburn, the maga senator, began her political career as a county commissioner there. In July, 2021, the state fired Michelle Fiscus after conservative lawmakers objected to her “messaging” in support of covid-19 vaccinations; afterward, Brad Fiscus resigned from the school board and the family moved to the East Coast. For right-wing extremists, the obvious lesson was that rage tactics worked. That August, one school-board meeting nearly ended in violence when two enraged men followed a proponent of masks to his vehicle, screaming, “We can find you!”

Moms for Liberty emphasizes the importance of being “joyful warriors”—relatable women who can rally their communities. A founder once explained, “This fight has to be fought in their own backyard.” The organization may have seen Steenman as particularly well suited to winning over Williamson County residents: she was a former B-1-bomber pilot now raising three small children. Her husband, Matt, was also ex-Air Force—fighter jets. They moved to Williamson County five years ago, from Texas.

Another member of their fraternity was John Ragan, a former Air Force fighter pilot who’d been elected as a Republican to the Tennessee General Assembly in 2010. Ragan, a former business consultant from the city of Oak Ridge, had been listed as an alternate on alec’s education task force. (He says that he does not recall attending any meetings.) He’d once crafted legislation to ban K-8 teachers from using materials “inconsistent with natural human reproduction” in the classroom. (It failed.)

Early last year, as Moms for Liberty was receiving its first wave of national media attention, Ragan introduced “anti-C.R.T.” legislation. He wanted to ban teaching about white privilege or any other concepts that might cause students “discomfort or other psychological distress” because of their race or sex. The wording parroted talking points from Moms for Liberty, which parroted Trump, who parroted Rufo. Around the time that Moms for Liberty members began showing up at Williamson County school-board meetings, Steve Bannon, the former Trump adviser, said on his video podcast that “the path to save the nation is very simple—it’s going to go through the school boards.” Calling mothers “patriots,” he urged a “revolt.”

At a committee meeting of Tennessee House members, Ragan promoted his legislation by claiming that he’d heard about a seven-year-old Williamson County girl who had had suicidal thoughts, and was now in therapy, because she was ashamed of being white. (No such family has ever publicly come forward.) Two Black Democrats sharply challenged Ragan. Harold Love, a congressman from Nashville, asked him whether the proposed legislation would make it illegal for teachers to even mention “The 1619 Project.” When Ragan replied that instructors could talk about it as long as they taught “both for and against,” Love said, “It’s kind of hard to be ‘for or against’ slavery.” G. A. Hardaway, a congressman from Memphis, argued on the House floor that a law limiting discussion of race, ethnicity, discrimination, and bias contradicted “the very principles that our country was formed on.”

Ragan pushed ahead, arguing that “subversive factions,” “seditious charlatans,” and “misguided souls” were creating “artificial divisions” in a “shameless pursuit of political power.” His bill passed. Senator Raumesh Akbari, who chairs the Tennessee Senate Democratic Caucus, said, “This offensive legislation pretends skin color has never mattered in our country,” adding that “our children deserve to learn the full story.”

Once the Governor signed the bill into law, Moms for Liberty would be able to devise complaints arguing that certain elements of public instruction violated a Tennessee statute. Violators could be fined hundreds of thousands of dollars, potentially draining resources. Steenman, appearing on Blackburn’s video podcast, “Unmuted with Marsha,” let slip a tactical detail: the moment Tennessee’s new law took effect, Moms for Liberty would have a complaint against Wit & Wisdom “ready to go” to the state. Blackburn praised Steenman as “the point of the spear.”

Steenman also appeared on Glenn Beck’s show. As if speaking directly to Governor Lee, she said, “Stop serving the woke-left lobby!” Beck said, “Bill Lee, shame on you!” Lee signed the bill into law on the eve of the anniversary of George Floyd’s murder.

Steenman raised Moms for Liberty’s visibility by putting on events—rented plants, live music, charcuterie. One of them, C.R.T. 101, took place in May, 2021, before a large audience at Liberty Hall, a Franklin auditorium in a renovated stove factory filled with shops and restaurants. A clinical psychologist from Utah, Gary Thompson, came onstage and declared that C.R.T. engenders shame, which can trigger depression, which could “be pushing your kids to suicide.” Thompson, who is Black, showed photographs of his multiracial family: he and his wife, a white pediatric neuropsychologist, have six children. Thompson joked, awkwardly, that the overwhelmingly white audience sure didn’t look like members of the K.K.K. He noted that he’d voted for Barack Obama, and said that he approved of Williamson County Schools’ hiring of diversity consultants to assess such problems as racial bullying. He opposed C.R.T., though, because it framed people of color as “victims.” Choking up, Thompson said, “That is not the legacy that my parents left me.”

Moms for Liberty often advances its cause by enlisting Black conservatives, or by borrowing snippets from their public comments. The organization has posted a video clip of Condoleezza Rice saying that white kids shouldn’t have to “feel bad” in order for Black children to feel empowered. Steenman has collaborated with Carol Swain, a political scientist at Vanderbilt, who vocally opposes same-sex marriage and once described Islam as “dangerous to our society.” This past January, Moms for Liberty sponsored a conference organized by Swain, American Dream, whose branding heavily featured images of Martin Luther King, Jr. Before the event, King’s daughter Bernice tweeted an admonition about those who took her father’s “words out of context to promote ideas that oppose his teachings,” adding that Steenman’s chapter, having “sought to erase him,” was now “using him to make money.”

At the C.R.T. 101 gathering, the author of the original complaint against Wit & Wisdom revealed herself onstage to be Chara Dixon, a mom in her forties. Nervously holding a copy of her speech, she introduced herself as a naturalized citizen. (She had emigrated, decades earlier, from Thailand.) Dixon, whose husband, Brian, is white, recalled helping their seven-year-old son with a Wit & Wisdom assignment about a “lonely little yellow leaf.” The audience laughed when she declared, “It was boring.” A book about a chameleon: “Another boring story!” Her son had also read about King’s “I Have a Dream” speech, which was “beautiful and uplifting”; but the tale of Ruby Bridges and the “angry white mob” was depressing. Dixon said that in her son’s childhood world “there’s no color.” (She soon became Moms for Liberty’s treasurer.)

Dixon seemed to conflate Wit & Wisdom and C.R.T. Steenman, in an official complaint to the Tennessee Department of Education, wrote, “There does not have to be a textbook labeled ‘Critical Race Theory’ for its harmful tenets to be present in a curriculum.” At the C.R.T. 101 event, she took the stage and told the audience that the threat of “Marxist” indoctrination at school could be vanquished by opposing “activist” teachers, curricula, and diversity-driven policy. An m.c. cheerily ended the evening by reminding everyone that “today’s kids are tomorrow’s voters.”

The Williamson County chapter of M4L held its next big event, Let’s Talk Wit & Wisdom, at a Harley-Davidson franchise in Franklin. Steenman had been having trouble finding a venue when the dealership’s owner offered his showroom. Calling the man a “true patriot,” Steenman presented him with a folded and framed American flag that, she said, had accompanied her on a bombing mission in Afghanistan.

Moms for Liberty had invited the entire school board to the event, but the only members who showed up were the group’s three clear allies. One, a former kindergarten teacher who opposed masking, liked to hug people during breaks at school-board meetings. The other two were Cash and Galbreath, both of whom were up for reëlection on August 4, 2022.

Steenman, gesturing toward a large screen behind her, showed the “findings” of a Moms for Liberty “deep dive” into Wit & Wisdom. She elicited gasps from the audience by saying that the curriculum contained books that depicted “graphic murder,” “rape,” “promiscuity,” “torture,” “adultery,” “stillbirth,” and “scalping and skinning,” along with content that her organization considered to be “anti-police,” “anti-church,” and “anti-nuclear family.” Rhetoric about “empowering the students” was suddenly “everywhere,” she complained. Without presenting any evidence, she claimed that elementary-school students now needed counsellors to help them “overcome the emotional trauma” caused by Wit & Wisdom.

Steenman’s events often strayed far from the particulars of Williamson County Schools. At one of them, the proceedings were interrupted when someone walked onstage and breathlessly announced news from Virginia: Glenn Youngkin, the candidate for governor who’d crusaded against C.R.T., had won. The audience cheered as if Youngkin were one of their own.

Steenman’s claims about Wit & Wisdom were so tendentious that several ardent supporters of the public schools looked her up on social media. Among other things, they discovered a Twitter account, @robin_steenman. On August 9, 2020, Matt Walsh—a columnist for the Daily Wire, the conservative media site co-founded by the pundit Ben Shapiro—had shared a thread by a Philadelphia teacher who expressed concern that meddlesome parents might overhear classroom conversations during online learning and undermine “honest conversations about gender/sexuality.” (The Daily Wire is headquartered in Nashville, and Shapiro has propagated Moms for Liberty’s messaging.) In a retweet of Walsh, @robin_steenman had posted, “You little brainwashing assholes will never get hold of my kids!” After Eric Welch and others publicly challenged Steenman about the tweet—and another one declaring that her children would never attend public schools—the account vanished. (Steenman agreed to an interview, but did not keep the appointment. A Moms for Liberty spokesperson, calling my questions “personal in nature,” largely declined to provide answers.)

Privately, certain defenders of Wit & Wisdom referred to Moms for Liberty members as the Antis. In a sly move, some adopted the seahorse as a symbol of what one parent described to me as “the resistance.” This summer in Williamson County, I saw seahorse stickers on cars and laptops. When I met Rahman for lunch, she was wearing seahorse earrings. At a school-board campaign event for a candidate who opposed Moms for Liberty, a volunteer wore a seahorse pendant on a necklace, alongside a gold cross. At least one person connected to Moms for Liberty had become concerned about the group’s motives and tactics, and was secretly monitoring them from the inside. This person told me, “I’m the one in the trench, and I don’t want to get caught.”

Many Moms and like-minded parents wanted both Wit & Wisdom and Superintendent Golden gone. Golden’s contract was up for annual review before the 2021-22 school year began. (One Moms for Liberty opponent recently tweeted, “The m.o. nationwide is to fire Supt’s and hire ideologues.”) At a meeting where the board planned to vote on Golden’s future, one of the superintendent’s many supporters implored the elected officials to “hold the line” against the “steady attack on our public schools.” The Antis were louder. A man wearing an American-flag-themed shirt shouted, “We, the parents, are awake, we’re organized, and we’re extremely pissed off.” He declared, “We’re gonna replace every board member in here with people just like me. Nothing would make us happier than to surround you with a roomful of American patriots who believe in the Constitution of the United States and Jesus Christ above!”

The Antis jeered at speakers who expressed support for Golden or the district’s diversity efforts. They mocked a woman whose daughters had experienced anti-Asian slurs at school. The mom told the board, “I’ve heard people say that teaching these parts of our history is ‘racist’ or ‘traumatic.’ What’s traumatic is Black, Latino, Asian, and L.G.B.T.Q. kids going to schools where they face discrimination and don’t feel safe.” A local psychologist, Alanna Truss, said, “I’m yet to see a child in my practice who’s been traumatized by our county’s curriculum choices. I have, however, seen many students experiencing trauma due to being discriminated against and bullied within our schools, related to race, religion, gender, and sexuality.”

Six of the school-board members, who serve four-year terms, were coming up for reëlection in August of 2022. (The other six will finish their terms in 2024.) As the Wit & Wisdom furor grew, another component of the right-wing assault on schools locked into place: last fall, state lawmakers passed a bill legalizing partisan school-board elections. Moms for Liberty called the change “a HUGE step forward.”

Educators and policymakers have long believed that public education should operate independently of political ideology. As the magazine Governing put it last year, “The goal of having nonpartisan elections is not to remove all politics” but “to remove a conflict point that keeps the school board from doing its job.” For people who target school boards, conflict has become a tool. In Texas, a PAC linked to a cell-phone company which recently funded the maga takeover of several school boards paid for an inflammatory mail campaign blaming a classroom shooting on administrators who had “stopped disciplining students according to Critical Race Theory principles.” In August, during a panel at cpac, the gathering of conservatives, the former Trump official Mercedes Schlapp warned that, though Republicans were focussed on federal and state elections, “school board elections are critical.” The panel’s title, “We Are All Domestic Terrorists,” derisively referred to recent instructions from Attorney General Merrick Garland to the F.B.I. for devising a plan to protect school employees and board members from threats of violence.

Joining Schlapp onstage was Ryan Girdusky, the founder of the 1776 Project pac, which funnels money to G.O.P. candidates in partisan school-board races. Girdusky boasted that, in 2021, his pac “did fifty-eight elections in seven states and we won forty-two.” Girdusky said that his goal this year is to boost at least five hundred school-board candidates nationwide. He urged the audience to “vote from the bottom up—go from school board and then go all the way up to governor and senator, and we’ll have conservative majorities across the entire electorate.”

Last November, mere weeks after Tennessee lawmakers voted to allow partisan school-board races, Steenman launched a pac, Williamson Families. Its approach was markedly similar to that of Southlake Families, a Texas pac whose orchestrated takeover of a school board in that state has led to attempted book bans. Both pacs have worked with Axiom Strategies, a political-consulting firm that has helped seat high-profile Republicans, including maga figures. Allen West, the chair of the Texas G.O.P., has urged Southlake Families to export its takeover blueprint to suburbs nationwide. Wealthy suburbs are some of America’s purplest districts, and winning them may be key to controlling the House, the Senate, and the Presidency. Anne McGraw, the former Williamson County Schools board member, told me that the advent of Moms for Liberty “shows how hyperlocal the national machine is going with their tactics.” She observed, “Moms for Liberty is not in Podunk, America. They’re going into hyper-educated, wealthy counties like this, and trying to get those people to doubt the school system that brought us here.”

Steenman’s pac quickly took in about a hundred and seventy-five thousand dollars—an unusually large amount for local politics in Tennessee. The pac held an inaugural event featuring John Rich, a country singer who had appeared with Trump on “The Celebrity Apprentice.” Rich, who has no apparent connection to Williamson County, has contributed at least five thousand dollars to Steenman’s pac.

Progressives and policy experts have long suspected that right-wing attacks on school boards are less about changing curricula than about undermining the entire public-school system, in the hope of privatizing education. During the alec Webinar about “reclaiming education,” the Heritage Foundation representative declared that “school choice” would become “very important in the next couple of years”; controversies about curricula, he said, were “opening up opportunity for policymakers at the state level” to consider options like charter schools.

This isn’t the first time that the culture wars have taken aim at public education. But Rebecca Jacobsen, a professor of education policy at Michigan State University, believes that this era is different, because social media has made it easy for national operatives to stage “a coördinated, concrete” scare campaign designed to drive parents toward alternatives to public schools: “The message, at its core, is: ‘Beware of your public-education system. Make sure your kid’s teachers aren’t up to something.’ ”

The timing of “anti-C.R.T.” legislation is no coincidence. Instead of putting forth a platform, the Republican Party has tried to maintain power by demonizing its opponents and critics as sinister and un-American. In the lead-up to the midterms, the G.O.P.’s alarmism about critical race theory has accompanied fear-mongering about L.G.B.T.Q.+ teachers being “groomers.” Conservative media aggressively promote both campaigns. From Fox News to the Twitter account Libs of TikTok, the messaging has been consistent: many public-school teachers are dangerous.

Lee, the Tennessee governor, has leveraged this discord while trying to reformulate school funding: in January, he announced plans to create fifty new charter schools in partnership with Hillsdale College, a private Christian school in Michigan, whose president, Larry Arnn, headed Trump’s 1776 Commission. The plan partially collapsed after a Tennessee television station aired footage of Arnn, during a private appearance in Williamson County, comparing public education to “the plague” and arguing that teachers are educated in “the dumbest parts of the dumbest colleges in the country.” J. C. Bowman, the executive director and C.E.O. of Professional Educators of Tennessee, called Arnn’s comments “reprehensible and irresponsible.” Even Republican politicians backed away. The speaker of the Tennessee House, Cameron Sexton, acknowledged that Arnn had “insulted generations of teachers who have made a difference for countless students.”

Moms for Liberty’s role in the broader war on public schools became ever clearer in July, at the group’s inaugural national summit, in Tampa. DeSantis, who delivered a key address, was presented with a “liberty sword.” Another headliner was Trump’s former Education Secretary, Betsy DeVos, whose family has connections to Hillsdale. To an enthusiastic crowd that included Steenman, DeVos declared that the U.S. Department of Education—the agency that she once oversaw—should not exist.

Early this year, Eric Welch, the school-board member, was leaning against seeking reëlection. Both of his sons had graduated—he was the one who handed them their high-school diplomas when they crossed the stage. His wife, Andrea, wanted him to take it easy for a while.

School-board service, which is time-consuming and can be tedious, requires diplomacy, a breadth of knowledge, and the ability to make complex, well-informed decisions. At meetings, Welch, who considered ideologues and bullies a threat to public education, often rebutted misinformation about covid-19 and Wit & Wisdom. At one meeting, he’d pointedly read aloud from a title that he found on a Moms for Liberty site: the book, written by a follower of the John Birch Society, referred to Black people as “pickaninnies.” Rahman, the co-founder of One WillCo, the anti-racism organization, told me, “He came with all the receipts.” Welch’s detractors had declared him arrogant and rude; Rahman called him “a strong advocate for what’s right.”

For Welch’s seat, Steenman’s pac backed William (Doc) Holladay, an optometrist who, like Steenman, had no children in Williamson County Schools. Holladay had shown up at school-board meetings to denounce C.R.T. as “racist.” On Facebook, where he’d railed against pandemic protocols, his posts were routinely flagged or removed because they contained misinformation. His top “news” sources included the Epoch Times, which regularly promotes right-wing falsehoods.

Last year, Charlie Wilson, the president of the National School Boards Association, characterized local school-board members as fundamental guardians “of democracy, of liberty, of equality, of civility and community, and of the Constitution and the rule of law.” Holladay, a felon who believes the conspiracy theory that Trump is still the “legitimate President,” seemed more like an opportunist. In 2008, he’d pleaded guilty to multiple counts of prescription fraud and forgery; the Tennessee Department of Health had put him on probation for “immoral, unprofessional or dishonorable conduct,” noting that he had also worked “while impaired.” The state licensure board later added five more years of probation upon discovering that he’d made “untruthful” claims about “professional excellence or abilities.” (Holladay told me that he has turned his life around.)

When Welch heard that Holladay and other figures he considered to be unsuitable were seeking authority over the schools, he tweeted, “I’m running.” He told his wife, “I don’t know that I can walk away and let these people be in charge.” The “Tennessee School Board Candidate Guide” notes that, for the office of school board, “the best, most capable and most farsighted citizens of each community should be drafted.”

During the campaign, Holladay tried to frame Welch, a lifelong Republican, as a “liberal” for having supported masking and Wit & Wisdom. Welch publicly noted that he had interned for Senator John Warner, of Virginia, and attended the Inauguration of George W. Bush. Holladay, who had no military service, bragged about being a patriot; Welch is an Army veteran.

In a Q. & A. published by One WillCo, candidates were asked to describe their involvement with Williamson County Schools. Welch explained that, in addition to serving on the executive board of the district’s parent-teacher association, he had “run wrestling tournaments as a booster fundraiser, spray painted end zones, worked concessions, volunteered for holiday shows setup/breakdown, built theatre sets, cleaned bleachers, mopped floors.” Holladay’s answers: “Speaking out at school board meetings”; “Helping to lead activist groups in order to effect needed changes.” When asked why he was running, he said that “the school board has largely been operating in a manner that runs counter to the conservative principles that most people who live here hold dear.” This and other answers betrayed profound ignorance of what a school board does.

Moms for Liberty had been broadening its campaign against Wit & Wisdom and was now targeting reading materials available in school libraries, which provided access to the Epic app, a repository of nearly fifty thousand children’s books. In a local news segment, Steenman read aloud, “I-is-for-intersex,” from a book called “The GayBCs,” which was available on Epic, and said, “What parent wants to explain ‘intersex’ to their child that, at this point, doesn’t even understand sex?”

Holladay tried a similar maneuver. During a live-streamed candidate forum, he handed his interviewer a passage from “Push,” the acclaimed novel by Sapphire, and asked him to read it aloud. (If this was the same passage that Holladay later showed me on his cell phone, it began, “Daddy sick me, disgust me, but he sex me up.”) The interviewer was Tom Lawrence, a gentlemanly fixture on AM radio who has been called “the voice of Williamson County.” Lawrence scanned the text and declined to share it with viewers, saying, “It has words like ‘orgasm’ in it.” Holladay, noting that the book could be found in one of the local high schools, declared, “Whoever is responsible for putting that book in the library should be arrested.” (In a tweet, Welch expressed astonishment that a school-board candidate would “call for the arrest of a WCS librarian.”)

As Holladay campaigned, he repeatedly invoked the nationwide partisan divide. In an interview that appeared on YouTube, he declared that conservatives were fleeing blue states for places like Williamson County because the left was trying to “destroy the last remaining refuges of conservatism and patriotism.” If Williamson County “goes blue,” he said, the rest of the state would follow, and if Tennessee “doesn’t stay red” it will be “a huge blow to the country.”

On Election Day, Welch, a wiry ex-wrestler, erected a pole tent outside Hunters Bend Elementary School, a voting precinct. Holladay’s supporters set up nearby. I arrived to find Welch, wearing khaki shorts and a “re-elect eric welch” T-shirt, squaring off in the parking lot with a Holladay supporter who was saying, angrily, “I’ve laid people out for less than that!”

The man, Brian Russell, described Welch as the aggressor—“He shoulder-checked me”—but multiple witnesses characterized the altercation differently. Meghan Guffee, a Republican running for reëlection to the county commission, told me that Russell had demanded to know why Welch had blocked him on social media. Welch, trying to walk away, had responded, “I’m ending this conversation. You’re an ass.”

In a public Facebook post, Russell had declared Welch to be “as bad as a pedophile.” Guffee said that she’d heard Russell, in the parking lot, accuse Welch of having “voted to teach third graders how to masturbate.” (Russell denies this.) Guffee was particularly appalled that her six-year-old daughter, who was with her at the voting site, had witnessed Russell’s hostility. She told me, “That is not how this community does things.”

Before leaving the school grounds, Russell, a painting contractor in his early fifties, told me that he was angry about Wit & Wisdom: “When my daughter comes home and her best friend is Black, and she’s wondering why ‘I’m bad because I’m white. . . . ’ ” This and other comments suggested that his children attended local schools. In fact, Russell’s three children lived in his native state of Ohio.

Throughout America, maga types were targeting education officials. In Maine, a man plastered a school-board member’s photograph on a sign and surrounded it with rat traps, telling NBC News, “This is a war with the left,” and “In war, tactics and strategy can become blurry.” A member of the Proud Boys ran for a school-board seat in California. On September 27th, the American Libraries Association sent an open letter to the F.B.I. director, Chris Wray, asking for help: in the previous two weeks alone, “bombing or shooting threats” had forced the temporary closing of libraries in five states. Tennessee was one of them.

In Williamson County, Moms for Liberty members couldn’t claim ignorance of the beliefs of some of the candidates they and Steenman’s pac supported. Williamson Families donated a thousand dollars to the campaign of an ex-marine who was running for county commissioner, and who had publicly warned the school board, “In the past, you dealt with sheep. Now prepare yourselves to deal with lions! I swore an oath to protect this country from all enemies—foreign and domestic. You harm my children, you become a domestic enemy.”

That guy lost. So did Holladay. Welch beat him by five hundred and fifty-nine votes. Welch was surprised that anybody had voted for Holladay, later telling me, “If you had to design a candidate who is unqualified and should not be on a board of education, that’s what he’d look like.”

Candidates backed by Moms for Liberty members won, however, in two other districts. A Republican who appeared to have no connection to the public schools beat Ken Chilton, who ran as an independent and who, the day after the election, tweeted that Tennessee lawmakers’ decision to allow partisan school-board elections had “created a monster.”

Jay Galbreath, the board member who had forwarded the e-mails about diversity consultants to other conservative politicians, had found himself challenged from the right flank—by a M4L-affiliated candidate whose campaign signs said “reject crt.” As if to prove his opposition to Wit & Wisdom, Galbreath had posted publicly, on Facebook, that progressives were “constantly looking at ways to inject and normalize things like gender identity, the black lives matter movement, and LGBTQ by weaving it into curriculum.” Williamson Strong, a pac composed of local progressives who have long defended the public schools, called for Galbreath’s resignation, noting, “This is pure hate speech, and it has NO place in a position of influence or power over 40,000+ children and their education. It has no place in Williamson County, period.” The group, whose leaders include Anne McGraw, the former school-board member, observed, “All filters have apparently been obliterated now that he’s competing for votes against an MFL-endorsed candidate.” Despite the controversy, Galbreath won reëlection.

A month before the vote, a civil action was filed against Wit & Wisdom: the parents of an elementary-school student sued the school board and various administrators in the district on behalf of a conservative nonprofit that they had just launched, Parents’ Choice Tennessee. The lawsuit’s complaint echoed Moms for Liberty’s assertions that the curriculum’s “harmful, unlawful and age-inappropriate content” represented a “clear violation of Tennessee code.” If the lawsuit succeeds, Williamson County Schools may have to find a new curriculum and pay fines. (Citing the litigation, Williamson County Schools officials declined to comment for this article.)

The lawsuit may have been designed, in part, to give the impression that there was more local opposition to Wit & Wisdom than actually existed. There are eighteen thousand students in the district’s elementary schools, but according to a district report only thirty-seven people had complained about the new curriculum. Fourteen of the complainants had no children in the system.

Rebecca Jacobsen, the Michigan scholar, looks for clues in such data. She said, of the vitriol toward school boards, “Is this a blip, and we’ll rebound? Or are we chipping away at our largest public institution and the system that has been at the center of our democracy since the founding of this country?” She noted that some Americans “don’t trust their schools and teachers anymore,” adding, “That’s radical.”

Moms for Liberty’s campaign, meanwhile, continues to widen. The organization now claims two hundred and forty chapters in forty-two states, and more than a hundred thousand members. It has thrown a fund-raising gala, featuring Megyn Kelly, in which the top ticket cost twenty thousand dollars. In late October, a spokesperson for the Moms told me that the organization—ostensibly a charity—is a “media company.”

The slick rollout of Moms for Liberty has made it seem less like a good-faith collective of informed parents and more like a well-funded operation vying to sway American voters in a pivotal election year. Steenman’s chapter recently announced a slate of upcoming talks: “Gender Ideology,” “Restorative Justice,” “Comprehensive Sex Ed,” “History of Marxism in Education.” I asked Jacobsen whether she thinks that Moms for Liberty members actually believe that a curriculum like Wit & Wisdom damages children. “I don’t know what anybody believes anymore,” she replied. “We seem to have lost a sense of honesty. It may just be about power and money.” ♦

[krirebr]

6, 13, 18

also, do you have any recommendations for new fics you’ve read recently? I’m in desperate need of a new series to start

Hello, dear! Sorry there was a little bit of a delay on this. Thank you for sending these!!

6. Are there any fics from others you reread all the time? I don't know about all the time, cause there's always so much great new stuff coming out! But there are definitely ones I've reread. Honey Not Vinegar by @biteofcherry is the first that came to mind for this. That just scratches all my dark Alpha Steve itches in the best way.

13. How much planning do you do before writing? Almost none! 😂 I definitely write by the seat of my pants. The first part in a series especially. For IKISKB, sometime between chapters 2 & 3, I kind of figured out the broad framework for the rest of the story and how many parts there would be. For More Than This, I sort of know what's happening through part 9ish, in the broadest strokes but after that 🤷‍♀️ I really like letting the characters lead me if the story goes along, if that makes any sense. I so admire the people who can sit down and outline the whole thing. I think that's incredible. My brain just can't deal with that kind of structure.

18. What’s one of your favorite lines you’ve written in a fic? Oooohhhh, that's so hard! I don't feel like I'm a very poetic writer, so sometimes it's hard for me to pinpoint individual lines that I like. But I am particularly proud of Part 2 of IKISKB and there are lots of lines in that that I like. Like this one:

You tried to think of him as just the wall of muscles that protected you from the world, but it was getting harder every day to ignore the ineffable Curtis-ness of him. He was so much, too much.

Fan Fic Writer Asks

Ok, now for some recs!

The Root of All Ransom by @ronearoundblindly - Have you read this??? It is so so good. If you want an angsty Ransom forced to confront his shortcomings while falling in love in spite of himself, you really can't get much better than this. It is seriously so, so good. I read it a few months ago and I still think about it all the time.

Pound Town by @stargazingfangirl18 - I can't imagine you follow me and don't already follow Siri, but if you haven't already checked out her incredible take on omegaverse, do it now! It will take over your brain.

Garbage Men AU by @thezombieprostitute - This is such a fun take on a mafia AU. Plus, it's got plenty of my beloved, underrated Mace. Really fun and lots to swoon over here. Highly recommend!

Thank you for the ask nonnie! 💜💜

[alpaca-clouds]

Comparative Mythology - Or Why I Hate Campbell

Talking so much about Comparative Mythology in the last few weeks, I thought this was the perfect time to talk about my hatred of Joseph Campbell.

Even if you have never heard of Campbell, you probably know the graphic above. The Hero's Journey. Because you probably have seen that thing regurgitated on somebody's blog on writing, in some media analysis or maybe in school.

And it is an example of comparative mythology. But also it is wrong and I hate it and I hate even more what modern writing school has made out of it and if anyone tells me "actually it is all myths" I am gonna burn a book. Argh!

Yes, this is comparative mythology. The themes and motifs that Campbell defines within the Hero's Journey definitely show up a lot - especially in mythologies steming from the Proto-Indo-European one. Due to the prevalence especially in European mythology these motifs also show up a ton in modern western media (and medieval western media and everything in between), because that is just how storytelling works. We all kinda learn story structures from the stories we consume and automatically kinda mimic them when we tell stories. Even if you do not outright try to tell the stories that way.

BUT... I have two issues with this:

Campbell's idea of the monomyth and the male-centricness of it all.

The fact that people at some point had the great idea to sell that stuff as prescriptive, rather than descriptive.

Let me explain:

We cannot know whether Campbell did, what he did, on purpose. But... he definitely focused his analysis on those myths that indeed fit his idea, but outright ignored those that did not. That most clearly shows in the fact that he focuses his analysis basically exclusively on patriarchal mythologies, ignoring that there are matriarchal cultures with different kinds of stories. And, again, mostly just going through indo-european stuff, which obviously has parallels, because it all stems from the same original mythology.

As such it absolutely has value as a comparative framework for Indo-European stuff, but... it is not the MONOmyth that Campbell wants it to be. Heck, even within the Indo-European stuff you will find enough myths that do not follow this framework.

But also... I have read too many writing advice books that went ahead and said: "All good stories have that. You HAVE TO DO IT LIKE THIS." Or in some cases in media criticism went there and went: "This story is good, because it follows the Hero's Journey." Which is... No. That was not even what Campbell was after. He just described parallels he said. It was never a "and everything has to be like this".

Aaaargh. I just hate it so much.

*burns book*

[pochapal]

I've been following your Umineko readthrough and been interested in a lot of the ways of reading you're employing - I think you've had a lot of insight relatively early into the story. I'm also very drawn to the fannish taxonomic Mode Of Engagement that is classpecting, and wanted to question a little of your classpecting of George - one of the things about him that jumped out from very early on was the ways in which his superficial presentation as a Nice Guy belies the strongest inheritance of Ushiromiya Family Values among the cousins - he looks up to Hideyoshi and Kinzo as businessmen, he defends Rosa's parental rights over Maria, he has dynastic aspirations of his own through homemaking and going out to make his fortune. Given the western fascistic overtones of Kinzo's occult fascination, obsession with the image of western beauty in Beatrice, and the prioritisation of a regimented, patriarchal power structure maintained through violence and fear, this has implications for George's character - and the aspect most closely associated with the charismatic cult of personality in business and empire through homestuck strikes me as Life, not Space - see the condesce, see Jane-as-white-suburbanite in homestuck and of course see anything to do with Jane in postcanon.

that's interesting! i do think there are a lot of george/jane overlaps and i did entertain life!george for a while since a lot of his character shtick is Emulation Of Kinzo's Ideals (kinzo himself is definitely Life by every measurable metric) but the thing that gave me pause is that this version of george clearly isn't real and is a version of himself he struggles to maintain convincingly enough to give himself any real benefits. George The Adult, to use the frameworks from my writeups, is almost certainly a Life player but George The Adult is a paper-thin mask that has no connection to his inner self.

behind the mask we have George The Kid who is much more concerned with establishing his own selfhood/"empire" rather than merely inheriting the ushiromiya system. his primary interest when not playing the cringe heir part is in wooing shannon and a strange jealousy towards the idea that battler is more successful at establishing and forming relationships with he is. i think this bitterness and loneliness extends beyond the Life framework and has more in common with jade harley's Space-esque desperate isolation. in homestuck postcanon we see jade throw herself into forming unhealthy doomed relationships and families with both the davekat and yiffy situations. both george and jade want something that is truly and unconditionally their own more than anything else, even if this desire is expressed in radically different ways. that said, i can very easily see george ending up with a yiffy of his own if shannon had survived lol (failchild with a poor imitation of the ushiromiya ideal supplanted on them abandoned by george when it becomes apparent a lot of his relationship with shannon is an illusory farce).

so much of homestuck's classpect stuff is rooted in the conflict of people emulating the aspects of those they look up to even when they shouldn't (rose's void-esque affinity motivated in part by her relationship with roxy, dirk acting knight-like to emulate his bro, the Rage influence over all the trolls and their aspirations) and i think you can apply that framework to george. the Life stuff is there and is shaping him but less in the sense that this is speaking to Who He Is than it actually is speaking to Who He Thinks He Should Be. my current reading of george is Space (also works as a fun contrast to my read of battler as a Time player) but even if that's not true i do think he's something else wrapped up in a Life player's clothing.