#intergenerational trauma

[liberaljane]

Your feelings are valid on too. Special shoutout to all the cycle breakers. 💐

Created with Mother Wound Project

Digital illustration depicting three generations of women with a ribbon linking all of them. The scene includes an elderly Latina woman shrugging, a middle-age Afrolatina woman dodging the ribbon & her daughter cutting the ribbon. Text reads, “pain travels through families until someone is ready to feel it” by Stephi Wagner

[mad-girlslove-song]

when ethel cain said “i tried to be good am i no good am i no good am i no good” which started with her self-loathing after being abused by her father and neil perry said “i was good. i was really good” and then he killed himself because he knew that he would never be good enough for his father

[historic-meme]

Found out yesterday my great-great grandparents died in a pogrom in modern-day Ukraine in 1920. The violence lasted for 5 days and killed about 700 people.

I don’t know how to make goyim understand that when finding this out I was so devastated and yet unsurprised. I was unsurprised because when learning Jewish history, starting around the middle ages to modernity, I always feel as if it is “my history.” These events happened to my ancestors. Even if technically that isn’t true.

I did not realize until the start of my MA program in public history that it is not common for people to feel this close a connection to their ethnic/religious groups history.

This phenomenon is what I want goyim to understand. That feeling of when i found out the specific event of violence that killed my great-great grandparents felt more like a final nail in the coffin than an unexpected blow. Yes, it hurt and i cried as i always do when i found out the specifics of my families deaths to antisemitic violence. But it was not a surprise. Why would it be when since at least middle school I remember learning about jewish history and internalizing it as my own history that happened to my own family.

And this phenomenon is also why jews react so strongly when violent antisemitism is in the news. Yes, it has to do with intergenerational trauma but also this deep connection we feel to all of Jewish history. That we can see how this is just another atrocity in a long line of atrocities. That there is no tangible difference between the victims and ourselves. This is all of our collective history.

[shu-of-the-wind]

i read somewhere that grey whales can live upwards of 150 years, and that there are likely grey whales out in the oceans today that were alive and saw the massive whale hunts of the 19th century that inspired herman melville's moby dick.

to be clear, i have no idea if this is true. it could just be apocryphal, or something someone made up. but even if it isn't true, i think there's a something to read into that in terms of trauma and repair. if there really are whales on this planet today that are alive after seeing so many other creatures like them slaughtered and dragged out of the water by unknown hands for an unknown purpose, then those whales know the dangers and flee from them even after the people who hunted their kin have been over a hundred years dead. and they taught their calves to flee the same way. and those calves taught their calves.

150 year old whales teaching younger whales who teach younger whales who have no experience with the reasons why they must avoid boats, but know in their blood and bones that their safety relies on it.

something something trauma long outlives the people who inflict it. something something trauma transforms how generations grow.

[multiplicity-positivity]

Shoutout to Indigenous systems on this day for Truth and Reconciliation!

Today, September 30th, is the Canadian National Day for Truth and Reconciliation. This is a day of remembrance for victims and survivors of Indian residential schools in Canada, though it could likely apply to those who live on Turtle Island in general.

If your system or someone you know is or knows a survivor of an Indian residential school, or has a loved one who did not survive their time in a residential school, our hearts go out to you. We are wishing for you and family a future full of strength, peace, and resilience. Inter-generational trauma can have significant impacts, and the pain imposed on your loved ones and ancestors should not be forgotten as time passes. We hope that their lives can be honored and remembered throughout history, and we want to do our part to help preserve their legacy.

For allies of Indigenous peoples, if you are able to, please wear an orange shirt today to honor those whose lives were forever changed due to the negative impact residential schools has left on indigenous communities. Remember that, even today, Indigenous peoples face hardships, disparities, and inequalities in our society. The closure of residential schools does not mean rest, healing, and proper compensation for the victims of such institutions. Let’s vow as a community to make our spaces safe and accepting of Indigenous systems, and do our part to educate ourselves on their histories so that we may be better allies in the future.

Friends, please show some support to the Indigenous people in your lives today, and do not take their presence for granted. Take a moment to learn more about the history of Indian residential schools in Canada and the United States, and the grim legacy they have left which many Indigenous communities are still dealing with today. If you are able to, please reach out to the Indigenous systems and non-systems in your lives to provide support in whatever ways they have requested.

We will include links to sites and organizations where you can learn more about the Canadian National Day for Truth and Reconciliation and the history of Indian residential schools in both Canada and the USA, along with links where you can directly support survivors of Indian residential schools. Remember, if you cannot support these organizations or individuals financially, you can show your support by educating yourselves and providing a space in your own communities where Indigenous voices can be acknowledged and uplifted.

Indigenous systems, we love you, we are in your corner, and we want to support and uplift you however we can. Please do not hesitate to get in touch if there is anything we can do to help make our spaces more welcoming for you. You have an important and treasured place in the plural community, and we are honored to be able to share this space with you. We hope that you can do your best to treat yourselves and your system with compassion and gentleness today, and take care!

‼️ Non-indigenous systems are welcome and encouraged to reblog, but DO NOT derail or try to center your voice over actual indigenous systems and those who are actually affected by inter-generational trauma due to Indian residential schools!‼️

[awkwardandeccentric]

You ever notice how Blitz and Stolas were so traumatized by their fathers that they went too far in the other direction, accidentally hurting their daughters in the process?

Blitz was physically abused, the family scapegoat, constantly made to feel worthless, and taught from a young age that he’s only worth the money he can provide? So he’s overly doting and protective of Loona. He never lectures her, even when she’s causing trouble, because he doesn’t want to upset her and make her feel worthless or disposable. He won’t let her have a boyfriend, despite the fact that she’s an adult. He borderline infantilizes her.

Stolas is more a product of neglect and while he had a better time raising Via, it’s easier to raise a kid that you’ve had from birth as opposed to one you adopted only a month before they aged out of foster care. But he still swung too violently in the opposite direction. He has no boundaries with her. He protects her from the wrong threats (the knowledge of his abuse as opposed to the abuser, herself). It looks like she’s home schooled, so he still hasn’t worked out that the extreme isolation he suffered is a large part of why he’s Like This. He’s spent so much time attending to her every whim that when he decides it’s time to start chasing his own happiness, she can’t empathize because she was his happiness.

It’s a great depiction of intergenerational trauma. Both of them are trying so hard to never make their daughters feel as awful as they felt, but they’re scarring their daughters in different ways.

[its-me-caroyn]

Christina's World // Andrew Wyeth

The Crane Wife // CJ Hauser

Skip to Loafer // Ch. 56

I Love You, I Hate You // Little Simz

Lockwood and Co. // Ep. 1

First Love / Late Spring // Mistki

All of Us Strangers (2023)

Kare Kano // Ep. 3

Faulty // Leila Chatt

Skip to Loafer // Ch. 42

Everything Everywhere All at Once (2022)

[incarnateangelique]

My biggest personality flaw :

Realizing that I would stan every male protagonist if they were a girl.

(Jon Snow) Joan Snow would have made me sick with how she never felt at home in the place she was

(Harry Potter) Hari Potter would be a sad girl , failure icon, and every adult male figure project their issues onto

(Light Yagami) Lucia Yagami would be a gone girl, girl boss, femcel icon with a God complex and female rage

(Eren Yeager) Eden Yeager; God forbid a girl have goals and homicidal rage and intergenerational trauma.

(Lucerys Velaryon) Lucerys/ Lucerra Velaryon would be a girl trying her best/ dying too soon by male obsession

(Jacaerys Velaryon) Jacaera/ Jaenora Velaryon had potential but never made it.

The author fumbled with them

[lurkingshan]

I have caught up through episode 8 of TsukuTabe and I really cannot contain my emotion about Kasuga's arc with her family in these episodes, so I am here to scream. That was so fucking beautiful. This has to be one of my favorite depictions of breaking the cycle of family trauma that I have ever seen.

I loved how efficiently the show established everything we needed to know about Kasuga's father with just a few lines of dialogue over the phone. The way he began the conversation by trying to shame her, the way he started making demands without asking her a single question about her life or how she was doing, the way he casually said "Akira is in the prime of his life" while tacitly dismissing any worth or value Kasuga's own life as a single woman might hold. With just that one conversation we knew exactly who that man is and why Kasuga has tried to build her own life in solitude rather than continue to live with him.

And her conversation with Nagumo gave us even more insight into how she was raised that fills in some context about the way she thinks about food and why taking pleasure in her meals is such a big deal for her. Kasuga's family deprived her of food (love), and so it's no wonder that meeting someone like Nomoto, who was so determined to give her food (love), would be such a life altering event for her, and finally give her the sense of safety she has never had.

I loved, too, that the show delivered some firm commentary on the way women are subjugated in heterosexual marriages and forced to serve their husband’s family like indentured slaves, particularly in many Asian cultures. Kasuga was very affected by seeing her mother live that way, and you could see she is carrying guilt about leaving this burden to her mother. But ultimately, she cannot control her mother's choices or fix her mistakes, she can only save herself from repeating them. And she found the strength within herself to do it, even though it must have been terrifying to take that leap.

The way that Kasuga drew that boundary with her father was a Very Big Deal in her cultural context, and I loved that the show drove that point home by having Kasuga confess to Nomoto about her decision and express her fear of being judged. She knows she will absolutely be cast as a bad daughter and judged harshly by most people who find out she has cut ties with her father, and she needed Nomoto to reassure her once again that their relationship is a safe place for her. She needed Nomoto to reassure her that she is her family now and she will always be on her side. And of course Nomoto did exactly that, and we got to end this very emotional episode with a Kasuga who is bravely building the life she wants for herself with the love and support of her chosen family.

[mad-girlslove-song]

"my mother" by lea jane

[pyrosex]

Never being able to fit in fucks with a person deeply

[yutamayo]

Working on the Toji AMV n idk why but I found this screencap of Megumi so funny

run faster boy ur dad's ab to beat ur ass

[azeutreciathewicked]

The good news? I got first crack at my library's fresh copy of Oathbound by Tracy Deonn just a week after release. Yay!

The better news? It rocks. And it's a huge book - 650 pages.

The greatest news? It's not the last book.

The bad news: I have to wait for the next book now.

There's something for everyone here -- some more awesome Black Girl Magic and Love, new characters and factions, more communities and cultures, some great introspection for a lot of characters besides the protagonist (who gets good growth).

I really love how Deonn also explores mixed heritage in a lot of different ways, as well as the struggle with shame and guilt if we don't live up to what our ancestors wanted from us, and the sticky question of whether we are bad for cutting off hurtful family.

So even though I'm not the target audience for this series, I love it and love that I could share it with my students as well. I love that this story is out there for the Black girls and Black women and mixed race folks and people with institutional trauma and missing/absent parents and messy relationships (that really want to become polycules...). I heard that this series hasn't been getting its due love and visibility lately, so this is my little nudge to cheer it on because it's awesome.

[waitmyturtles]

Turtles Catches Up With Old GMMTV: The Bad Buddy Rewatch Edition, Part 3a -- BBS and Asian Cultural Touchpoints

[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, I offer the first half of the third (ha!) of five posts on Bad Buddy. I'll look today at themes that myself and fellow Asian fans of Bad Buddy have caught and related to in this wonderful show.]

Links to the BBS OGMMTVC Meta Series are here: part 1, part 2, part 3a, part 3b, and part 4

As a lifelong viewer of Asian dramas, and as an Asian-American myself, I know why I'm drawn to Asian dramas. We all have our reasons for belonging to this widespread fandom, whether you're watching queer or het Asian dramas, consuming Asian music, all of it.

What are my reasons? The first and foremost one is relatability. Especially in Asian dramas, I relate to the spoken and unspoken communication of the dramatic characters as they navigate life's highs and lows. I relate to the way Asian dramatic characters engage with their families, their partners, their children, their colleagues, the world and societies around them. I relate to the ways in which societies are drawn and constructed, to the economic and emotional pressures that characters face. As an American -- I don't fully relate to the majority of experiences that white American characters face dramatically, because I'm not a part of the majority. As an Asian? I get almost all of what Asians are going through in dramatic art (save for, say, Korean or Japanese historicals, ha — but I do indeed get Asian patriarchy and sexism).

I'm not queer -- I am a cishet Asian woman -- but what I appreciate about queer Asian media is, very often, the media's tendency to not be shy about the various and intricate ways that discrimination, sexism, trauma (intergenerational, emotional, etc.), and many more social and emotional phenomena interplay in an individual's life.

When I first watched Bad Buddy, I had the strong sense that what I was watching was incredibly relatable to much of my upbringing and life as a young adult, working out issues vis à vis my family and my eventual partner. Bad Buddy, thematically, captured a tremendous amount of the realities of everyday Asian life for young people.

Bad Buddy exists in the GMMTV bubble of No Homophobia (cc @bengiyo and @lurkingshan, as we have spoken about the GMMTV bubble). However, what Bad Buddy didn't shy away from were explorations of many other social/emotional/cultural themes and frameworks of everyday life, from sexism, to youth bias, to boundaries and enmeshment, and many, many more.

I wrote in my first-ever Bad Buddy thesis that the framework of intergenerational trauma was the main theme I identified -- and identified with -- in the show. But, as I was contemplating writing this series of Bad Buddy meta posts, I wanted to know: what did my fellow Asians pick up in this show that they saw, and that they related to? In other words: what makes Bad Buddy particularly special to Asian fans of the show?

So, I did a thing. I gathered together a few BBS Asian stans, like myself, for a lengthy (and still ongoing!) discussion about what we related to in Bad Buddy. I want to thank, from the bottom of my heart, @telomeke, @grapejuicegay, @recentadultburnout, @neuroticbookworm, and @lurkingshan (who's not Asian, but has Asian relatives, and gets us!) for being up for creating a spontaneous mini-village together to talk Bad Buddy and its inherent Asianness.

It sounds redundant to identify Bad Buddy, a show made by Thais and set in Thailand, as an "Asian" or "Thai" show. It's definitely not a show that steps back to take a look at itself and say, "oh hey, this is really 'Thai,' what we're doing here." When I asked @recentadultburnout directly about what they might have identified as uniquely Thai about Bad Buddy, RAB thought about it and said -- maybe Pat's ranak ek (Thai xylophone). Other shows of Aof Noppharnach's, including He's Coming To Me, Moonlight Chicken, and even the start of Last Twilight, highlight many facets of Thai life, from the spiritual to the everyday-cultural (even Gay OK Bangkok does this a bit, too). But Bad Buddy doesn't really go there by way of overt symbolism and/or specifically Thai spiritual/cultural practice.

The Asianness of Bad Buddy is far more inherent. It is rooted and coded in the way people interact with each other.

An overt example occurs in episode 10, when Dissaya confronts Ming in the Jindapat home, and announces that she will reveal Ming's secret, dropping the effort she has made her entire life to "save face" -- her reputation AND Ming's reputation.

During my first Bad Buddy rewatch, I was so moved in fury by this scene that I had to blog about it as if I had never seen it before. There's so much encapsulated in this moment: the pressure that Dissaya has put on herself to keep the embarrassing secret that she lost a scholarship; the effort she made to keep Ming's theft of the scholarship a secret, to save his face, and the secrets she kept from Pran to save her face, and to keep up the façade of rivalry between the Jindapats and the Siridechawats. She was letting a whole hell of a lot loose in this moment, because the eternal pressure of saving face in Asian societies is, frankly, never-ending.

"Saving face" is an incredibly important notion in many Asian collectivist cultures. Saving face is about an individual or a family projecting an image of calm, cool collectedness and success, in order to not make waves within a collectivist society for any reason. If you are not working to seem like you are going with the flow of life, if you're not keeping up with the Joneses, the Kardashians, whoever -- you are not saving face. If you are in poverty, and are projecting an image of poverty, instead of pretending to be more wealthy than you are -- you are not saving your face or your family's face. If you allow yourself to get publicly defeated -- you are not saving face. Dissaya gave up a lot of her hard-earned reputation in the moment she confessed the truth in front of Pat and Pat's mother.

My Asian friends and I can click wordlessly into understanding the pressure of saving face; say that I didn't get good grades in school? I wouldn't be saving my parents' face. This kind of pressure to keep up with particular social dynamics within and external to family, within Asian societies, is a neverending drumbeat of pressure.

Besides saving face, there are many other Asian cultural touchpoints that were contained within Bad Buddy that my fellow Asian BBS stans and I noted. They include:

1) intergenerational/inherited trauma, 2) the unique nature of secret-keeping in Asian cultures/societies, 3) enmeshed family boundaries, 4) setting up children to compete against each other for the sake of familial pride, 5) patriarchy, sexism, and the reversal of sexism among next generations, 6) the inset/assumed roles of family members based on patriarchy and elder respect, 7) Assumed community within and external to one's family, usually based on where you live and where you go to school, 8) How one's identity is defined based on patriarchy and individualist vs. collectivist cultures, 9) How various cultures within an Asian nation live peacefully (or not) together (for example, what makes Pat and Pran different by way of Pat's Thai-Chinese heritage vs. Pran's ethnic Thai heritage),

and many, many more.

It'll be impossible, even over two posts, to analyze all of these cultural touchpoints, but a few of them engendered quite a bit of conversation among the BBS mini-village that I want to highlight. In this post, I'll focus on the continuation of my first BBS thesis on intergenerational/inherited trauma, the nature of secret-keeping in Asian societies, and will return briefly to the touchpoint of saving face.

One of the most devastating scenes for me in Bad Buddy is in my favorite episode, episode 10, when Pat (after he's learned, throughout the episode, of the extent of the lies that his and Pran's family have shared with their children) confronts his father about his father's demands to literally control Pat's emotions, the way in which Pat related to other people -- specifically Pran. Pat sums up a lifetime's worth of control in one sentence.

@telomeke noted in our ongoing group conversation that this notion of inherited trauma vis à vis Ming is particularly present in Asian societies, not just by way of familial expectation that we, as Asians, embody it and "take it" throughout our generations, as Pat realized up above -- but that ALL family members present are responsible for playing their roles within the framework of the inherited trauma. @telomeke noted in particular that exactly what Pat was doing to hate Pran, FOR his father? That was what Ming HAD to do for MING'S dad, when Ming schemed to get the scholarship from Dissaya. AND, Pat's mother, in consoling Pat, had to play the role of explainer -- which, as we know now, Pat ran away from to meet his beloved Pran on the rooftop before running away to the eco-village.

Pat running away from that moment? That was a huge symbol of the breaking of the inherited trauma that was given unto him by his parents both.

(@telomeke has actually written about their theory about how the Jindapats and Siridechawats ended up living next door to each other -- which seems SO STRANGE on the surface, consider Ming's and Dissaya's boiling hatred for each other -- and the theory links nicely within the framework of inherited trauma. Tel theorizes that Ming's father or grandfather may have actually gifted the house to Dissaya's family as a means of apologizing for Ming's deceit. In which case: the presence of the Siridechawats is a reminder, on an everyday basis, of Ming's folly to steal from Dissaya, which may explain why Ming in particular went so hard on Pat to triumph daily over Pran.)

We as a group unwound quite a bit on the nature of secret-keeping in Asian cultures. We know Bad Buddy relies on this cultural touchpoint at the end of the series: Pran and Pat have a full-fledged and committed relationship as a transparent secret, under the noses of Pat's and Pran's parents.

Secret-keeping....oh, man. I could not have lived a fully authentic life in America if I didn't keep a million secrets from my family while I was living out my own independent choices. I actually, literally, could not have gotten married, because the rule of my household was that I wouldn't date. I would just... get engaged. So I'd get engaged through, what, magic? Match-making? No: I'd have to find my partner through my own battle of social and familial conventions, literally against my family, to get to where I wanted to be in life, which was (gasp) married.

@neuroticbookworm illuminated more on this particularly from our shared Indian lens. She wrote,

Keeping your relationship secret from parents is sooooo ridiculously common in India (and I'm sure we can extrapolate to other Asian countries like Thailand). And the justification the children give themselves is always rooted in how they have a "duty" towards their parents, and that they will reveal their relationship after they have fulfilled their duties.

God, I LOVED that NBW brought up "duty" in this conversation. Because! Assumed within the coded language from Asian parents to children, and vice versa, is a sense that children MUST follow the dictates of their parents. 100%, full-stop.

The duties that NBW clarified in this particular conversation specified life demarcations such as "[w]hen I graduate, I'll tell my parents about my partner," and "[w]hen I graduate and get a job and can financially support myself in life, I'll tell my parents about my partner."

What's coded in these statements is a fear that the children will have to reveal to their parents that they were disobedient in the rules their parents set, that no dating shall occur until the time at which the parents rule it's okay. And at least within Indian frameworks, that period of it being "okay" is, more often than not, the period in which arranged matches are examined. Because, yes, that's still the rule in the high majority of Indian culture.

The revelation of that disobedience? That's bad-news bears. It indicates... everything: a lack of loyalty to the family; a lack of understanding the meaning of a child's role to listen to the parents as the parents are elders and therefore are the moral authority of the household; a lack of self-control (which is a huge deal -- that relates to saving face on behalf of the family); a lack of understanding the morals and ethics of saving oneself, in love and sex, before marriage, etc. Even if a family seems fully progressive on the outside, as an Asian, I'm conditioned to question that progressiveness -- as parents may hold different standards of acceptance for their children vs. other young people.

@telomeke expanded on disobedience for us -- connecting it back to the very important notion of "saving face."

I think there's something quite related to secret-keeping, but it's also to do with the ability of Asians, but also human beings in general, of being able to live with duality in life... and secret-keeping is part of it. This also ties in to the East and Southeast Asian preoccupation with the concept of "saving face" [as noted above]. A lot of families are able to live with the knowledge of dirty secrets, unsavory truths, as long as it's not brought into the light and confronted. I'm constantly reminded of this whenever I rewatch BBS Ep. 12 because it's clear both Ming and Dissaya KNOW their sons are in a relationship but it's not overtly admitted. In that way they (and more Ming I suppose) get to "save face" and not have to deal with the truth that their sons are being disobedient, consorting with the enemy, and because it's not in the open -- there is no dishonor brought to the family and to the elders.

God, I love the way Tel put this. That disobedience on the part of Pran and Pat would actually bring dishonor to their families -- because their families have put SO MUCH EFFORT into building their public AND private enmity their entire lives! It affected Chai's relationship with the families as an employee of both families. EVERYONE AT PAT'S AND PRAN'S SCHOOLS knew the guys were the "legendary rivals." And, of course, by being in rival faculties at the same university, the boys could continue this public enmity as well -- keeping up with the roles that were literally assigned to them by their parents.

If the boys disobeyed, they would bring dishonor to their families. Think about that -- and connect that with the heaviness that Pran walked away with after the rooftop kiss in episode 5, AND the weight of Pran's breakdown at the end of episode 10, when Pat assured him that they would run away together.

No matter what a Western viewer (and maybe even Asian viewers, wanting to see a dismantling of these paradigms) would want Pat and Pran to have by way of full openness of their relationships with everyone in their lives (because, in individualistic cultures, that self-driven openness is a given), Pran and Pat themselves knew that that couldn't be their reality vis à vis the social worlds they belonged to. So they kept their relationship a secret, in the end.

The secret that Pran and Pat keep about their relationship is strategic. It's certainly also a stress point: an older Pat asks an older Pran, at the end of episode 12, if he'll ever be able to walk through the front door of the Siridechawat house.

But this is the compromise -- within the larger-scale culture of secret-keeping in Asian societies, AND the private frameworks of the enmity that Dissaya and Ming established between themselves and their families years and years prior -- that will work best for Pat and Pran to preserve the sanctity of their relationship, which I talked about in part 2 of this meta series.

Pran and Pat do not have to publicly appear disobedient to the demands and pressures of their families. They do not have to make their families engage with each other. They do not have to make their families confront the mistakes that their parents made earlier in their lives. They can protect their families from their private and public follies. They can help their families keep and save face. And by doing all that? They can prevent their relationship from being threatened.

I feel this very deeply in my heart as an Asian-American. For the sake of my American spouse, I wanted to protect him from a lot of these pressures, and so I insisted on keeping a lot of our relationship secret from my folks. If I demanded full-blown, public acceptance from my parents? If I brought my "boyfriend" to parties, and introduced him as such with aunties and uncles -- especially if it wasn't indicated that we'd be permanent one day? Damn. No. I'd be embarrassing my folks, with the aunties and uncles saying to my folks, "dang, you can't control your daughter, huh? You let her do what she wants." That would mean my parents would lose face over their ability to control the lives of their children, and that's no bueno in our cultural terms. It would be on ME, as THEIR child, to uphold THEIR ability to save face, as much as its their own work.

Dissaya refers DIRECTLY to Pran doing this FOR HER when, in episode 10, she asks him, "did you forget to save my reputation?" It's brutal, daily work. And Pran goes BACK to keeping secrets in the end, because it would have been impossible, ultimately, for Dissaya to save face, AND for Pran to save Dissaya's reputation/face, if Pran were out with his relationship with Pat, thus proving his disobedience. It would be -- JUST -- better to keep the secret for all those involved.

As this post has gotten long, I'm going to continue talking more about these touchpoints in a second post. I'm driven to talk about this because I think much of the Western fandom might miss what us Asians are reading into shows like Bad Buddy through this coded language and engagement. I very much posit that Bad Buddy -- while it is first and foremost a queer show, made by queer Asians, about queer young men -- is so relatable to so many of us because we've faced similar struggles of survival, and we've faced threats to the sanctity of the love we have for other people by way of needed to fit into the roles set before us by previous generations.

So! With that, thank you for reading, and see you tomorrow, when I focus on competition, enmeshed family boundaries, patriarchy and sexism in Bad Buddy, and more if I can fit it in!

(Tagging @dribs-and-drabbles, @solitaryandwandering, and @wen-kexing-apologist by request! If you'd like to be tagged, please let me know!)

[Alright! Stay tuned for more, many more ruminations from the BBS Asian station tomorrow!

Here's the status of the Old GMMTV Challenge watchlist. Tumblr's web editor loves to jack with this list, so mosey on over to this link for the very latest version!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 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) (and notes on my UWMA rewatch 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 here) 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 (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 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) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (The BBS OGMMTVC Meta Series is ongoing: preamble here, part 1 here, part 2 here, more reviews to come) 34) Secret Crush On You (2022) (on pause for La Pluie) 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) 42) Be My Favorite (2023) (tag here)  43) Wedding Plan (2023)  44) Only Friends (2023) (tag here)]

[mad-girlslove-song]

"I have known that I have wanted to be an incredible mother for as long as I have feared being a regrettable daughter."

Blythe Baird