lotus-inkmage

[solitaryandwandering]

A Ramble: Love in the Big City Eps 3-4

Okay, so I finished this episode like half an hour ago and I am still processing. I am so impressed with this show's ability to showcase different shades of grief. I feel like I'll probably cry at the end of every section but it will feel completely different every time. Please do not expect anything less than a LONG ramble.

Again, I just have to admire the direction - each part so far has felt completely distinct but not in big, showy ways. Part 1 of this show was a more traditional coming-of-age with warmer, brighter colors and more dynamic editing, camera movement/angles and blocking. I'll have to go back and study this more but it felt like there were more eye level and overhead shots, too. Part 2 is darker, slower, with more frequent use of stationary camera/static shots and wide angle shots. There were a couple of striking long takes as well. We linger in wide, empty spaces, forced to be still as we watch what unfolds.

Many of us talked about queer loneliness in the last episodes which is obviously going to be a present theme throughout the entirety of the show, but I was struck with how different the loneliness felt in these episodes. Especially in episode 4, as Young gets further entangled with Noh Young Soo, he becomes isolated in a way he wasn't in Part 1. Then, he was lonely but surrounded by people. In Part 2 he is removed from his community and so his loneliness is more starkly evident. The direction reinforces this by literally isolating him or keeping him at a visual distance. We don't get as many intimate close-ups as we do in episodes 1 and 2.

And again, I may be totally wrong, but I think we can actually see a kind of transition in style in the way episode 3 opens up. Episode 2 ends with the lighting on Young's face becoming gradually darker, then I believe the episode begins with a dolly shot moving backwards as we face Young running. It's a more active camera with movement within the frame. Yet, the colors are relatively muted and Young is looking down the barrel of the lens with an exhausted expression. It's distancing instead of inviting. After that unhurried shot we then cut to a grounded static shot where Young runs from one side of the frame to the other. From then on, I don't think we get very many, if any, moments of similar movement. Other dolly shots I can think of are when he's pushing his mom in a wheelchair - not exactly a high speed chase and still within the framework of a long take. There's certainly none of the quick editing from Part 1. The score is also way more melancholy.

Moving on, what these episodes really had me ruminating on was the concept of ownership. As queer people I think one of the reasons why Pride has become such a big part of our culture is because it gives us a space to own ourselves publicly in a way we often aren't able. We can't always show up as our full selves, with all our history, community connections, complex relationships with our identities, etc. Young is a cool character to watch because it seems at the beginning of the show that he is self-actualized, totally in charge of his queerness and integrated with his community (as Yeong Soo also believes). But of course, it is a lot more complicated for him (and for most of us). In these episodes we could see more of what he has (and continues to) sacrifice in an effort to own himself. It is in spite of people determined to steal his spirit. It is an active fight, one he feels helpless in the face of when he attempts to take his own life in episode 4. And that attempt is also, in a way, a claim he lays on his life. Only he owns it, only he gets to end it. I don't think that was his thought process obviously but it did strike me. It was also interesting to me how he attempted in the apartment he used to share with his best friend, a relationship he no longer has.

More broadly there was a lot going on in this section about how we approach taking ownership of our own experiences. How we shape them to fit in with a narrative we want to believe about ourselves and our lives or a narrative others would want for us. At the end of episode 4 Yeong Soo sends Young his observations on homosexuality (his way to distance himself and claim a different more "objective" or "correct" perspective of his own life). He literally tells Young he hopes his reshaping of their experiences would inform Young's future work. He is both refusing ownership and attempting to control Young's self-expression. In the entirety of their relationship he did much of the same, refusing to claim Young as his boyfriend in the way he wanted or recognize him as a full person while presuming he knew everything he needed to know about him and life in general. Young is restricted to the same experiences over and over, going out to eat the same foods, playing the same song, hiding himself away. Quite literally, his ability to experience everything he loves about life is stunted.

These episodes also had me reflecting on how we give up ownership or have it taken away. Young Soo treats Young as his dog, stifling his (and his own) identity and sense of freedom. He isolates Young from friends and community. What's devastating about their relationship is that Young wants some kind of ownership; he wants to belong to Young Soo and for him to belong to Young. At the very least, he wants recognition. But this becomes twisted up in Young Soo's self-hatred. Young Soo has elected to give up ownership of his identity in favor of a particular mold. He favors comfort and has chosen very specific things he can own and love as a part of his identity to replace genuine connection. Rather than own his feelings he observes others'; he tries to own Young and his experience, to live vicariously but also to shape him. He envies Young's ability to own himself and his sexuality but is afraid of it. He has dedicated himself so much to a particular picture of reality that he can't conceive of Young ever facing legitimate danger or opposition because of his sexuality. If he hates himself, it is only natural, an extension of the life he lives and who he is (a "macho" intellectual). He owns and then marinates in his negative experiences to validate his refusal to engage with a wider reality, one in which joy can exist in a homophobic society. Even in his attempts to own Young he fails because it is impossible for him to draw any closer to himself. Yeong Soo can't own someone who refuses to give himself up. He doesn't bother to get to know Young beyond his assumptions (he can "see right through him," after all). He strips self-ownership from Young in the same way he keeps it from himself.

And then there's Young's mom, who has fabricated and owned her own set of experiences in a similar way to Yeong Soo. She devotes herself to heterosexual and Christian ideals, believing that God and marriage are true north even as her own marriage fails. She claims ownership over her narrative and attempts to justify her approach in asking her son to believe in and own the same kind of life. When he threatens her sense of ownership over her own life (already threatened by her husband's infidelity) she scrambles to 'correct' him by sending him to (I'm assuming) conversion camp or some kind of psychiatric institution. In doing this she has cut Young off from owning his own life and experiences. She essentially makes it clear to him that his life is not his own. He is stealing from hers. And so, steals from his to prove a point. He gives up so much of his time to care for her but she doesn't acknowledge this at all, more focused on the ways in which he fails to give up parts of himself she's dissatisfied with. His mom writes Bible verses by hand, to ask her life to conform to what she has chosen for it. To her, ownership is absolute: one God, one true way. Even as she is aware she doesn't own her son's life.

How do we reclaim ourselves as others tell us to throw it all away? What do we do, as queer people, with what is forced on us? Do we choose to own our lives, our identities, or do we give up parts of ourselves to survive? At the end of episode 4, Young takes the manuscript Yeong Soo sent him and instead of recycling throws it in the trash. He tells his mom, "It's not my trash." I saw this as him choosing himself again. He does not have to carry self-hate as Yeong Soo does. He does not have to take the sum of his experiences and let them pile up in a corner of his mind. Yeong Soo treats Young as a possession and so does his mother - someone who exists for their benefit. But he doesn't - Young lives for himself. And isn't that so, so lonely?

Last thing, but this was the moment in the episode that first got me crying. When his friends show up at the hospital after his suicide attempt. Young's friends own themselves and their community and don't ask of anything else from him. They show up for him as who he is and allow him to repossess his community even as they are kept from him, on the other side of glass. Even as his mother looks on, disapproving. Their friendship may be more superficial but that doesn't make it any less meaningful.

If you actually read this whole thing, congratulations. I wasn't kidding when I said it was a ramble! I'm actually okay with waiting until next week for the new episodes this time, I don't know if I can handle much more waaahhh

[sunf10wer8]

NOT THEM PUNCHING EACH OTHER

[caileeflavoured]

oh yeah he LOVES being watched (I volunteer!)

GROTESQUERIE 1.04

[alwaysahiccupandastrid]

Gilbert: I can have any girl at this school that I want

Anne: *smashes a slate on his head and vows to never speak to him*

Gilbert: That one, I want that one

[lovetren]

[trickarrows-bishop]

GET A NUMBER 🗣️🗣️ GET A NAME💥💥 GET A GOOD 🎸THING🎸 WHILE 🎸YOU 🎸CAN🤭 KISS A BLONDE😏 KISS A FRIEND 😳 CAN A GAY GIRL GET AN AMEN⁉️

[sixxxer]

oh reanimator behind the scenes pictures you're my everything

[petieon]

๋࣭ ⭑🎬 i get money i’m a STAR

[inniave]

For my moots & followers who have seen all the Kendrick/Drake stuff and now want to get into rap/hip hop- I have some recs!

From Kendrick: Good Kid M.A.D.D. City was my introduction to K Dot & was one of the first vinyls I ever bought. It is phenomenal. I also highly recommend the rest of his discography. Mr. Morale specifically has been referenced quite a bit in the last few days.

Paris Texas! Their album MID AIR is one of my favorites of all time & their earlier stuff is great as well.

clipping. makes really interesting horror rap with a message. Splendor & Misery is one of my favorite albums from them, the sci-fi story telling is phenomenal.

Vince Staples' Summertime '06 is another one of my favorites of all time. His other work is great as well, especially Big Fish Theory.

Backxwash has got to be one of my favorite rappers. Her albums are deep and phenomenally made. I LIE HERE BURIED WITH MY RINGS AND MY DRESSES was my introduction to her and remains one of my favorite albums of all time (especially her collabs with Ada Rook).

I'm sure most people know Childish Gambino but I'll mention him just in case. Zealots of Stockholm from Because the Internet changed my ideas and expectations about music for good.

Run the Jewels!!! One of my faves & a great duo to see live. RTJ 2 was my introduction to them & remains a favorite. Check out Meow the Jewels as well, it's great.

Kent Osborne- his tracks go especially hard. If you like the combo of electric guitar & rap that Paris Texas does, definitely check out Kent's stuff.

This is getting long so here's a little list to give you some more to check out- Changeline (phenomenal skill), Black Dresses (WASTEISOLATION is in top 5 albums of all time for me), Tobe Nwigwe (Round Here is a fave), Injury Reserve, Megan Thee Stallion (Hiss really kicked off this current situation, go listen to it right now), ALT BLK ERA (obsessed with Obsession), Rico Nasty, and Flyana Boss!

If you have recs I'd love to hear them <3 Happy listening!

[miketownsends]

every time he strikes someone out Kirby spits another K on the board

[solitaryandwandering]

A Ramble: Love in the Big City Eps 1-2

I just watched episode 2 of Love in the Big City and I am... reeling. Cried when Kim Nam Gyu died, when Yeong and Mi Rae sang together at the wedding, cried at the crushing ending line. I loved the direction in these two episodes; one of the reasons I was super excited to watch this was because they're switching up the directors for each part. Such a cool way to signal transitions in Yeong's life. Now that I've seen the caliber Son Tae Gyum operated at I'm intrigued to see how direction will affect the next parts. Maybe I'll write up a thing about that in the end, but I'm hopeful others will as well! I am chomping at the bit to read the book, seriously!!

I have to mention first what a BALLSY move it was for them to open on Yeong's tryst with a man who was cheating on someone currently in the military. And he walks in the door, STILL IN UNIFORM. What a fucking slap in the face to hegemonic masculinity!!

After this first part what I am really lingering on are two things: queer loneliness and heteronormativity's relationship to misogyny. I'm just gonna put down my half-baked thoughts, I don't have the time or spoons to formulate coherent sentences haha

Though I saw Nam Gyu's death coming just based on vibes in the first episode, its impact wasn't lessened. Its significance didn't really hit me until I saw how empty his funeral was. Loneliness shaped his life - repression, liberation in meeting another gay man, falling in love with him way too fast, forming a dependent attachment, his desperation/obsessiveness in losing it so abruptly. He expressed his queerness in his photography, voyeuristic and seeking closeness with his subjects in the only way he felt was available to him. He had no friends, no relationships outside of his with Yeong. When Yeong breaks up with him and when he visits him drunk in ep 2, he says "falling in love is not a sin." To me, this shows just how removed from a loving community he has been, how nascent his queerness. He's still processing homophobia, it still influences every move he makes, everything he thinks. Clearly he has not had close relationships with other queers, where he may feel free to unburden himself. He falls back on heteronormative performance of romance, searching the best places for dates, not having anyone to ask. Knowing he's older makes this hurt more.

His story brought to mind the futility of AIDS-related deaths in the U.S., to be honest. I lost my gay uncle before I even knew him, and I know no one from his life. I know it's not a perfect parallel, but that funeral... this emptiness carries beyond one queer person's death. And Yeong's journey in these two episodes is about queer loneliness, of course. But his story is not as tragic as Nam Gyu's. He has (amazing) queer friends, and at one point had Mi Rae. He is much more connected to the queer community than Nam Gyu ever was. Despite his immaturity, Yeong is also much more familiar and comfortable with his queerness. I imagine this thread of self-actualization in the face of loneliness will continue in the rest of the show.

@twig-tea and @poetry-protest-pornography also wrote about queer loneliness in this show: here and here

And then we have Mi Rae, a vitally important relationship in Yeong's life, the love this part of the story is about. I met my best friend in college as well, so this part of the story was bringing up a lot of feelings too. To me, their friendship was as much about navigating heteronormativity as anything else, reflected in Yeong's reflection that "she learned that being a gay man sucks, and I learned that being a woman sucks just as much." Mi Rae is impacted by misogyny in every step of her character's journey: male classmates labeling her a slut and claiming her body for theirs, being groped, her challenges obtaining an abortion and mistreatment by a male doctor (where she literally claims her uterus back), her conflict with her parents (I'm assuming her mother had very rigid ideas of what a woman should be, based on her behavior at the wedding), hiding her past from her boyfriend, forced to defend herself when he questions why she lives with a man, shutting herself off from her relationship with Yeong (and thus rejecting her past) after the wedding. I looked up the status of abortion in Korea (a legal gray zone) and was reminded of how badly women there have it, which provided more context for her behavior.

Yeong must also traverse heteronormativity, which is what ultimately drives a wedge between the two and ends their friendship. In the beginning, their mutual rejection of heteronormative scriptures is what brings them together. He stands up for her against those male classmates, in an interaction steeped with assumptions of his heterosexuality. In rejecting her objectification he made himself a pariah for refusing to participate in normative masculinity. And their relationship continues thus, with her promising never to out him. She betrays him in a moment where she feels her participation in normative heterosexuality is threatened (and, indeed, it is a legitimately precarious position to be put in as a woman). Their brief reconciliation mainly consists of Yeong participating in a heterosexual ritual - he has no access to marriage in Korea. Her singing with him and letting go of her inhibitions for one last time was her goodbye to him and her ultimate acceptance of a more heteronormative life. One he can't participate in.

I hope that made any lick of sense. So looking forward to watching the next week. I am holding myself back from watching the next episodes right now. So hard.

[sunf10wer8]

10 minutes in and I’m in tears 😂 all of them forced to be actors but born to be comedians

[newgroundstier]

sillyposting

[ransiquack]

having real fun with my art

go me!

(i will always love you chemical burns herbert and dan…)

[thehorrormoviechick]

My Top 10 Found Footage Horror Movies

[disneysdead]

oh to have a guitar hero party