#because there are a few more scenes that give me major wong kar-wai vibes

[autumnsxxangel]

SandRay are an homage to Wong Kar-Wai's Happy Together and in this essay I will..

...actually explain it because I see people catching his homage's to Western queer media, but not really his shout outs to Eastern queer media.

I assumed there would be allusions to Happy Together when I first saw the trailer, but this last episode centered around Ray really cemented it for me. After all, why would P'Jojo reference all these Western queer shows and not talk about what is probably the most iconic piece of Eastern queer media ever?

Wong Kar-Wai & Happy Together

For some background information, Wong Kar-Wai is a famous and insanely influential Hong Kong filmmaker. If you're a film nerd, you probably know who he is and recognize his style. If you like film and metas, I would recommend watching some of his stuff because afterwards, you'll realize just how much influence he still has on modern media, especially in Asia. Stylistically, he's known for rich color grading; thematic usage of music; an unending sense of nostalgia, heartbreak, and missed opportunities; and dialogue that mean nothing on the surface because everything meaningful is boiling just under, left unsaid (If you've watched Everything Everywhere, All At Once, the entire actress universe sequence was an homage to Wong Kar-Wai). His actors always do a phenomenal job because so much of what they need to portray can't be communicated through words. It makes sense why SandRay, aka FirstKhao, were chosen to represent Happy Together as they are the strongest actors out of the group.

Happy Together, simply summarized, is about two men, Ho Po-Wing and Lai Yiu-Fai, who are in a very tumultuous relationship. They end up in Argentina because they wanted to visit the waterfall that's on a lamp that they own. They get lost, end up using all their money, and have to figure out a way to get back to Hong Kong. While there, they break up, get back together, and break up again.

The movie was released in 1997 and is still ranked as one of the best queer movies of all time. The two main characters are played by Tony Leung and Leslie Cheung. You might recognize Tony Leung as Simu Liu's dad in Shang-Chi. Leslie Cheung was in Farewell, My Concubine, and was famously a bisexual man with a long term male partner. This is significant because it was virtually unheard of to be out and open at that time (he made his relationship public in 1997 though he had mentioned bisexuality in earlier years), especially in Hong Kong which was, and still is, very homophobic. Leslie received a lot of hate for his sexuality and androgyny. (If you're interested in learning more about Leslie as a queer Asian figure, this is a good video essay that goes over his work and his life).

Sand as Lai Yiu-Fai

Fai's, and in turn Sand's, character can be summed up by one line, "One thing I never told Ho Po-Wing was that I didn't want him to recover so fast. Those were our happiest days."

Both Fai and Sand are very static, straightforward characters. They stay above board for the most part and work a variety of jobs to survive. They have their morals about what is right and wrong, which unfortunately is both of their downfalls.

In Happy Together, Wing breaks up with Fai because he is bored with the relationship. He basically says, "I'm bored being with you. Let's break up. If we happen to meet again, we can try again." Then he leaves Fai stranded on the side of a highway.

Later, he reappears in Fai's life. The first encounter is a fight, much like Sand and Ray's first meeting in the bathroom. The second encounter is because Wing gets beaten up. He goes to Fai because he knows Fai will feel obligated to take care of him and he does. It becomes the beginning of their rekindled relationship.

Similarly, Sand has a strong sense of obligation. There are already metas out there about how Sand has a bit of a hero complex. He sees Ray too drunk to drive and he had to step in. He doesn't just take the keys and order a taxi. No, he takes the keys and drives Ray. Sand sees Ray being all sad and pathetic and he can't stop himself from helping. It makes him feel useful. It makes him feel needed.

Both of these men are caretakers. They show affection by providing care. Sand ends up cooking for Ray just as Fai cooks for Wing even when he's sick. As an added bonus, they both make fried rice.

Both Sand and Fai are characters that stand completely still. Ray and Wing always know where to find them. Sand can always be found at YOLO and Fai is at his apartment. Because of this, Ray and Wing come and go as they please. They know that Sand and Fai will take them back...until they finally don't.

Ray as Ho Po-Wing

Starting on a base level, both characters are bratty, needy, promiscuous, spoiled, and selfish. But most importantly, they both share a love of fluffy cardigans.

(I also have a theory they keep putting Ray in wife beaters as an homage to the 90's HK cinema style because otherwise...I just don't understand why, as a rich asshole, he's always in wife beaters. By Thai BL logic, he should be in shirts with too many buttons unbuttoned.)

Wing and Ray are both the ones controlling the pace and direction of the relationship. They come when they need someone to nurture their wounds, both physically and metaphorically. They leave when they're bored or have things they deem more important. They both initiate intimacy and won't take no for an answer.

Wing does this by first trying to join Fai on the couch and then chasing after him to the bed and begging him to let them sleep together.

Ray does it by continuously getting Sand to get in the car with him and then using his puppy dog eyes.

They are both also very, very pouty.

Wing's line is "We could start over". He says it every time he comes back after he's the one that ends the relationship. Fai always fights taking him back, but he always does it anyway.

Ray doesn't really have a line yet (unless you count his "na na naa~"s) but he bats his eyelashes and so far Sand has given into him every time. Sand keeps trying to set boundaries, but the moment Ray begs a little bit, Sand crumbles like a house of cards and lets Ray have whatever he wants.

Relationship Parallels

Wong Kar-Wai is known for making movies about star crossed lovers who are meant for each other, but aren't meant to be together.

Like Wing and Fai, Sand and Ray fill in each other's cracks in a way that complements each other. However, because of the nature of the cracks themselves, them complementing each other is exactly what makes the relationship so toxic. One stays and one goes. One takes and one gives. One is steady and one is flighty.

Most of what I wanted to say about the parallels between their relationships is in the character comparison. What I'm more interested in is the future of SandRay's relationship, especially if they continue to parallel Wing and Fai's in Happy Together.

Obviously, Wing and Fai don't end up together at the end. It wouldn't be a Wong Kar-Wai movie if they did. What is interesting is that Fai's relationship with Wing eventually pushes him into becoming something angry and spiteful. Once Wing heals, Fai knows that he'll become bored and want to leave. In an attempt to get him to stay, he steals and hides Wing's passport which is insane because they are both gay men stuck in a foreign country where they don't speak the language.

Wing, of course, leaves anyway.

There is also a third character, Chang, whom Fai ended up liking. These new feelings are what eventually pushes Fai to leave Argentina and move on from Wing and move on with his life.

The question is, if SandRay follows that same path as Happy Together, what will be the passport that Sand tries to hold over Ray and who will be Sand's Chang?

Stylistic Parallels

Smoking

Making Ray and Sand smoke is definitely an homage to Happy Together with the added bonus of being a metaphor. For the most part, we rarely see characters, especially main characters, smoke in Asian media because smoking is reserved for 'bad' characters.

Cigarettes in Happy Together represent boredom. Fai and Wing smoke at the beginning before they rekindle their relationship because they are just moving through life. Once Fai and Wing get back together, cigarettes stop making an appearance. It isn't until their relationship started deteriorating that we see the men smoking again.

This can also be said about Sand Ray's relationship. They started their 'involvement' with cigarettes. However, the last time we actually see them smoking is in ep 2 right before they hook-up. Since then, we have not seen either of them smoking. This probably means that we'll see one or both of them smoking again when their relationship starts to break down.

(In the preview for ep 5, there is an ashtray in the background on the balcony so let's see if Boston finding out about them is a catalyst for them to start breaking down.)

And of course, there is the added homoeroticism of asking for a light.

Ray's Opening and Closing Scenes

Ray's episode is really what made me go "I see you P'Jojo".

Ray's episode starts with a shot of him isolated and in emotional pain. The camera is claustrophobically close and it keeps moving around. He has a little voiceover opening. It's calm, it's contemplative, it's a little existential, and it is irrevocably sad. If that is not a Wong Kar-Wai staple, then idk what is. Even the song that starts playing gives me 80s, 90s Cantopop vibes.

Ray talks about how Mew being his emergency contact and the one he goes to. Fai talks about how Wing always comes back to him and says "Let's start over".

The movie and the episode ends with both of them once again isolated, alone. They've been through an emotional journey and they've technically moved on. But there's always the idea of not being able to fully let go in Wong Kar-Wai's movie. So just like how Fai has physically removed himself from Wing, but not emotionally, has Ray actually fully removed himself from Mew?

Cinematography

Then there's just a collection of scenes that reminded me very heavily of Happy Together and Wong Kar-Wai's style. I would have added pictures from his other movies for comparison, but Tumblr only lets me put 30 images in a post and I don't want to make a 2nd post.

This scene is specifically from the 1st trailer so I hope they keep it in the show.

This one I call the inevitability of falling. Both Sand and Fai realize they're fully committed to their decision to take care of Ray and Wing here.

The end title card

Actually, all of the end title cards give very Wong Kar-Wai vibes. Look at that saturated, neon color grading. Look at the elongated shots. The intense feeling of isolation.

I'm assuming we'll get all the characters at one point, but so far it looks like the end credit cards indicate who the narrator of each episode is.

Anyway, that's it for me! Sorry it was so long and rambling. I tried to organize my thoughts but as I was thinking, more thoughts would pop up and I'd get distracted. If you made it this far, thanks for reading!

[selenaslittletalks]

Representation

As of late, I’ve watched a lot of Hong Kong Cinema. Mostly all of Wong Kar Wai’s films because they are all masterpieces. There are a few more on my list but I’ve been unable to find links for.  Let me tell you the story of how this sudden surge of interest began. In 2014, I took a film studies class over the summer at my local community college. The professor showed a corridor scene of a women and man walking up and down the stairs. I think it was to demonstrate a tracking shot. I never got the name of the movie down. I looked feverishly through my notes and never found the name. Then in May 2017, I stumbled upon a top 10 saddest movies compilation for watchmojo and I saw the scene. I learned that it was called In the Mood for Love, and that it was in Cantonese.  I immediately searched a link to watch it and found the entire film on youtube. This would be the first Chinese movie that I watched out of my own interest. In the past, I watched a lot of Chinese action movies because that’s all my dad would ever buy on DVD.  I loved the film. It’s currently in my top 3 favorite films of all time. It was beautifully shot, acted, scored, and written.  It was a very bittersweet story that we typically don’t get in Hollywood.  The next day, I tried to watch 2046 but I didn’t get the same vibe so I never finished it. I will someday though. Maybe this weekend even, now that I remember.  One night, I don’t know why, but I just decide to binge a bunch of Wong Kar Wai movies. I watched Chungking Exprsess, Days of Being Wild, and Fallen Angels. I enjoyed all of them in their own ways.  For Chungking, I really loved the first story. Cop 223 and Blondie. It was very relatable and I loved the ideas of the cans of pineapples and expiration dates. The second story was a bit borederline creepy. I mean the girl snuck into his house like everyday lol.. Days of Being Wild was really good. Leslie Cheung is an absolute gem and I’m so sad that mental illness got the best of him.  Fallen Angels was also good. The ending made the entire movie for me.  Then the next weekend, I watched Infernal Affairs. As a side note, I always thought it was Internal Affairs all this time and when I learned it was an F. My mind was blown! I really can’t read.. lol. This movie was amazing. And here is where some of my anger grew.  So Infernal Affairs inspired the movie The Departed. The Departed won a lot of major awards at the Globes and Oscars, including the prized Best Picture. It infuriates me that a white-washed remake achieved all of this. I personally find the original better. But Hollywood would never allow it. The Departed had big names, Scorsese, DiCaprio, Damon, Nicholson, and Wahlberg. So you have this great story and now you pack it with A-listers and you got yourself a major motion picture.  I did some research after this and in all of Oscar history, there has only been 1 Asian Actress nominated for Best Actress. One. None have ever won. Scrolling through the entire list of Asian Academy Award winners and nominees is very despairing. There is so little representation in Hollywood and western media in general.  I am screaming why. Watching all those Wong Kar Wai films proved to me that Asians have the talent to do what Hollywood does. Strong directors, cinematographers, actors, writers, all of it. So why don’t we get our fair share in Hollywood? It makes me even more angry that this has never bothered me until recently. Maybe it’s with age and knowledge that I can finally realize what is right and wrong in the world. For a long time, I would never watch any foreign media. Whether that was films, or kdramas, I just didn’t because I hated subtitles and I’ve always viewed their form of art as inferior to Hollywood and western television.  Maybe I’ve been desensitized to this problem because all I’ve ever seen growing up were white actors on my screen. This was normal to me, and people of color were what was foreign. I think this problem is gradually getting better. But we are still far from any sort of equality.  When I was in 4th grade, my uncle asked me what I wanted to do when I grew up. I said and actor. If given the opportunity today, I’d take it in a heartbeat.  Part of the reason why I don’t think this dream will ever come alive is the self-doubt. Asians are raised to be practical. Doctors, engineers, lawyers. We crave stability and practicality. These professions provide that. Careers in the arts are always looked down upon because they are volatile and not guaranteed to provide a steady income. We are raised to have what our parents and generations before us did not. We are raised to fulfill our family’s wishes. We are raised to set aside our insane bizarre dreams. And I think this is in large part why we don’t see a lot of Asian representation in the entertainment industry.  I am at a fork in my road of life. I have all these interests and desires and I don’t know which one to pursue. What has always been in front of me and what I have always been going toward has been the practical realistic route. A software engineer. But the paths of actress and musician have always been in the background. If you know me, you’ll know I love tv, film, and music. More than anything in this world.  I never really truly considered acting or singing as a serious option for myself.  I’ve always thought, there aren’t any Asians, no way would I ever get a job. NOt only are you a person of color, but a woman too, good luck getting a job. The odds of getting a job is definitely a lot more difficult. But that is also the problem. If we’re so conditioned to believe this, then we’ll never get the representation we desire and deserve. Another doubt is my own skills. Can I even act?  Can I even sing? Am I even pretty enough for film? I don’t even know how to begin measuring any of this. Let alone getting into the industry. I don’t know if I’m cut out for the industry. If I ever end up in Southern California, I’d give it a shot. But for now, I think my Asian rational is screaming at me to be a realist.  And then there’s another part of me that’s wondering what if the reason I haven’t gotten a Software Engineer gig is because I was meant to pursue my true passion. If you know me, you’ll know that I bleed creativity. And this part of me wants to be the first Asian Academy Award winning Actress. This part of me wants to lead the revolution that brings our people into the limelight. This part of me wants to chase this dream I’ve had since I was 8.  This is the classic head vs. heart scenario. Which do you follow? Which do you listen to? How do you know which is right? What if the one you choose isn’t right? At what point do you make the crazy decision and leap and don’t look back? Because if you follow one path, you’re likely never to ever pursue the other. 22 year old me now doesn’t know what to do. This is the hard part of life. Where you’re lost to no end, with no sense of direction on how to move forward. Wherever my life may lead me, I know that I’ll always support Asians in Hollywood and entertainment.