#ql

[chezlalune]

You need to go. You shouldn't stay with me. Go home. Get some sleep. Get ready. Go to school. Take your test. That's [not what matters] right now. Please go. I need you to. Please.

OUR YOUTH 未成年 (2024) EPISODE 07

[guzhufuren]

upcoming thai ql prayer circle 🤝🤝🤝

[starryalpacasstuff]

The Absence of India in Discussions on Queer Asian Media

(Edit: Since making this post, I've compiled a list of all the queer Indian media I can find here (it's also pinned on my blog). India may still be relatively absent from discussions on queer media, but it doesn't have to be that way, and change starts with us!)

So, yesterday @lurkingshan tagged me in an ask she got from @impala124 about the absence of India when we're talking about queer Asian media. I was intially just going to reblog it with my thought, but as it kept growing I figured it'd be best to just make my own post. Please read the ask linked above first so this makes sense.

*cracks knuckles* this is going to be the most fun I've had writing a post in ages. (For a little background, I'm a queer Indian, born and raised)

So, this is a very interesting question on a subject I've been rotating in my head for the past several months. There's a lot of different variables that contribute to the noticeable lack of discussion on Indian and South Asian queer media in general, so I'm just going to talk through the ones I've noticed a little randomly.

Talking about Asian media in general, it's well known that the mass popularity of kpop and anime has contributed massively to the increase in popularity of Asian media. If you've been in the Asian media fandom for any amount of time at all, you'll have noticed that media from Korea, Japan, and China gets by far the most attention from international audiences; all East Asian countries. There may be several reasons for this, but in particular, it's no secret that the fetishization of East Asians is a massive proponent in the popularity of media from these countries, while there's no such interest in South Asians. If we shift our focus to queer media specifically, media from these three countries is still extremely popular, with the addition of Thailand and the Philippines to some extent; both South East Asian countries. From what I've seen, there's very little international interest in media from South Asian countries (although, if we're talking about India specifically, I can't exactly say anything. Bollywood has not been good lately). If we talk about queer South Asian media, the scope of interest falls even further. If you'll notice, MyDramaList, one of the most commonly used websites for finding and tracking Asian shows only allows for East and South-East Asian shows. So, that's one reason—there's just not much international interest in Indian media in general. As Shan said in the initial post, it's partially because of a difference in priorities. Korea is notorious for using media to gain global standing, the role of the 'soft power' of Thai bls in the recent bills for equal marriage in Thailand has been widely discussed, the list goes on. Could racism also play a part in the massive gulf of interest in media from East Asian versus South Asian countries? Probably. But I'm not going to get into that too much.

Moving on, there's obviously a massive lack of queer media in India. I think this is greatly exacerbated by the fact that it's very hard to support the people making queer media beyond buying and/or streaming their work. The majority of people engaging with Indian queer media are queer Indians, and a lot of us have to do so in secret because of the society we live in. This means that creators that have to push through several obstacles to publish their work often receive little incentive to continue doing so because of the lack of engagement. Because of the lack of media, international fans are less likely to become interested in queer Indian media, and the cycle continues.

I will say though, contrary to what Shan said, I think Indian media, particularly anything that came out post 2019 might actually be on the easier end of the spectrum when it comes to access. This may simply be bias, so forgive me if I'm wrong here, but from what I've seen, a lot of queer Indian shows are in fact available on streaming sites, and at most you'd need a vpn to access them. I think the two main things that actually hold back queer Indian media from becoming more popular are a lack of noise and it's relatively lower quality.

The main way we find out about new shows in this space is through either word of mouth (well actually, post) or because we follow production houses known for producing media. Because of the sparse nature of both the media and the consumers, there's very few people who learn enough about the media to want to give it a shot. For example, there's a film on netflix called Badhaai Do (hindi for Congratulate Us) that I've been meaning to watch for a while. It centers around a lavender marriage and I've heard a lot of good things about it, so I was slightly surprised to see that most of the people on tumblr I interact with who have been engaging with queer media for far longer than me had never heard of it. There's also a, Indian BL from 2017 called Romil and Jugal that I've written about before here, and I would've never learned of it's existence if not for a friend hearing about it from another friend of hers.

Because there's so little queer indian media, it's natural that the quality leaves much to be desired. The main issue is, because the queer asian media market has become so saturated lately people are becoming a lot more selective with what they watch, and for good reason. This means that queer media from india is simply unable to grow and improve over time, leaving it stagnant. Back in 2016-2018, the overall dearth of queer media from Asia meant that a lot of people were willing to watch shows that were average or even worse. Thailand particularly seems to have benefitted from this, being able to grow and evolve its queer media due to the successes of shows like SOTUS, 2gehter, TharnType and more even recently, KinnPorsche. Queer Indian media will have a much, much harder time with this because of all of the factors I've talked about and more, meaning that it is much harder for queer media to evolve. Honestly, though I haven't been able to watch/read much queer media from India, the stuff I have seen is really quite decent, it's just that it tends to fail in comparison to some of the brilliant stuff we're seeing from other countries. A while a ago, I bought four queer books by Indian authors, and of the three I've read so far, I'd genuinely recommend two, albeit one with quite a few reservations (I'll be writing about them sometime in the future, just haven't found the time yet). While talking about this with @neuroticbookworm, she brought up the excellent point of how Indian media in general has just been of fairly poor quality lately. It seems to me that a lot of it is catered to more conservative audiences, which results in people like me becoming disillusioned with Indian media and simply moving onto things from other countries. It has been a long time since I've watched anything worthwhile come out of Bollywood. So, it becomes even harder for queer Indian shows to be found at all; a majority of their target audience has already forsaken Indian media as a lost cause.

So, those are a bunch of reasons because of which there's not a lot of discussion about queer Indian media in fandom spaces like Tumblr. Something else I'd like to point out is, it's very hard for queer shows in India to gain much traction whatsoever. Live television slots are ruled by the infamous Indian serials, the majority of the audience being people in their late thirties and older, particularly women. And while homophobia is just as prevalent amongst the youth of India as it is amongst older generations, younger people are far more likely to be engaging with queer media, in India at least. This means that it would be near impossible for queer shows to air on live television the way they do in countries like Thailand and Japan. The majority of Indian youth use global streaming services to watch shows, hence the greater concentration of queer shows on service platforms. (Romil and Jugal is something of a dark horse here—I don't believe it was ever aired, but it was produced by a producer who has a few decently popular serials under her belt and is available on an Indian steaming service—another reason I'm determined to research how tf this show ever came into existence) If we talk of movies, the industry is limited by the iron fist of Bollywood, another reason it's very hard for queer movies to be produced and why they're generally found on streaming sites.

There's just not a lot of people who have the balls it would take to make a queer Indian show/movie and push it to the Indian public beyond a streaming service. I mean, we're all seeing what's happening with the Love in The Big City drama right now, and believe me, public backlash in India would be the same, if not much worse. And if no one in India is watching these shows, why would anyone in any other part of the world? There's barely any public figures that would be willing to participate in such a project, so queer media stays underground. Currently, Karan Johar is the most popular—and one of the only—out celebrities in Bollywood, and, well, he's treated as something of a laughing stock by the public. He has one or two queer adjacent shows under his belt as a producer, but once again, they're barely known and available only on Netflix. There was a movie called Dostana in which he played a straight guy pretending to be gay but, well, that speaks for itself. And well, I can't exactly blame him for it, knowing how the Indian entertainment industry is.

To talk a little more about the specific comparison between India and Korea, I think you're fairly accurate in saying that the two countries seem to be roughly on par in terms of homophobia, although that's an extremely vague statement that's rather hard to either prove or disprove. While the difference in international attention towards Korean and Indian media is certainly a major component of the difference in discussion about the queer media from these countries, there's obviously other things that go into it as well. There's this video I watched some time ago on the progression of queer representation in K-dramas that's quite well researched. It's an hour and a half long, so in case you don't have the time to watch it (though I do recommend it), it basically talks about some of the dramas with queer rep that have aired on Korean television and their impact. While it's hard to gauge the level of impact of these shows on the availability of bls and gls in Korea, they certainly had an effect, if only telling the queer population of Korea that they are seen and heard. To my knowledge (although I may be mistaken), no such queer rep has ever aired on Indian television, meaning that there's nothing to push creators to put queer media out there. There have been old movies and shows that depict queerness, but none of them ever reached the sort of the scale where they may have some sort of impact on the industry. As I mentioned earlier, the widespread popularity of K-dramas (and k-pop) does make it easier for creators to make queer media since there's a much higher chance of the shows being successful thanks to the international audience. Bringing back Love In The Big City, the success of the book abroad and the high probability of the show being well received internationally is probably one of the reasons it was able to be produced amongst domestic backlash.

Now, I've been talking a lot about how it's difficult for queer Indian media to gain any sort of international recognition with domestic attention. However, it's not necessarily the case. Here's where I start rambling (I say, as if this post isn't verging on 2k words). It's been proven that the presence of the international market allows for greater creative freedom in spaces beyond television. The best example comes from Korea's very own 'soft power'; K-pop. There's a K-pop group called Dreamcatcher that debuted in 2017 with a rock sound and horror concept that was extremely rare in kpop at the time. They succeeded mainly by focusing most of their promotions to the foreign market, knowing that their concept would not be well liked in Korea. And they succeeded. Today, Dreamcatcher has a sizeable fandom and has even been growing in popularity in Korea, with the Korean public warming up to their genre and having influenced other girl groups to try out similar sounds. We've already talked about the lack of international attention for Indian media, but there's also the issue that the producers of queer Indian media aren't marketing to foreign audiences, which remain ignorant.

That's all I have, this is so long good lord. All in all, there's a bunch of factors that feed into each other creating a cycle which means that, unless there's a break somewhere, queer Indian media will remain unrecognized. I'm excited to see what other people have to say, because this is a topic close to my heart and I'd definitely enjoy seeing more discussions around it.

[yannig]

Thought I'd add some real ace content for reprieve in the middle of this bot war

So let me tell you about my current favorite show:

Koisenu Futari / Two people who can't fall in love

It's a Japanese show centered around two AroAce characters who try to make a life together and support each other in the face of society's expectations!

It's 4 hours long (8 ep - 30 minutes each)

You can find it on Dailymotion (here) or Myasiantv.ac (here). The English subtitles aren't perfect (mostly a lot of gender mix-up between he/she, boyfriend/girlfriend, ...) but they do the job well enough!

I'm halfway through ep 2 and I fucking love it, this show is so good!!!!

I love both protagonists so much, and they feel so lively! Witnessing Sakuko discover the AroAce label brought me to tears from sheer joy and relief for her!

Any aspec media is really hard to find, but it's especially the first time I see a story centered around two AroAce characters and I'm so happy!!!

Anyway go watch it, it's worth it!

(content warning just to be sure: they face a lot of amatonormativity. That's basically the point of the show, so it happens often. Nothing violent, just the usual pressure and expectations from literally anyone around them.)

[g1ngerbeer]

"wheres cheng xiaoshi" hes the croissant (insp)

[leescribbs]

I know it’s over, still I cling, I don’t know where else I can go

[nervetower]

[hitrone]

big news!!! local hologram got really smitten by some handsome quantum physicist

[cotton-glass]

[empty-air-between-trees]

Major spoilers for the Quantum Leap finale !!

[doodleplus]

Woe, Quantum Leap characters standing in a line be upon ye

[chezlalune]

Then see you at school.

OUR YOUTH 未成年 (2024) EPISODE 07

[guzhufuren]

QL Schedule 19.08.24-25.08.24

MONDAY

Battle of the Writers First Note of Love Takara No Vidro Cosmetic Playlover

TUESDAY

Addicted Heroin Thailand There's Love That Starts From Mistaken Identity

WEDNESDAY

I Hear The Sunspot I Saw You in My Dream

THURSDAY

Monster Next Door The On1y One Ayaka is in Love with Hiroko The Paradise of Thorns

FRIDAY

My Love Mix-Up Thailand This Love Doesn't Have Long Beans 4 Minutes The Last Time

SATURDAY

Sunset x Vibes

SUNDAY

The Loyal Pin The Trainee

starts airing soon:

20/08 There's Love That Starts From Mistaken Identity 22/08 The On1y One 22/08 The Paradise of Thorns 29/08 The Two Of Us S2 30/08 Affair 01/09 Live In Love 01/09 Meet Unexpectedly 02/09 Happy of the End 03/09 Reverse 4 You 06/09 Kidnap 07/09 The Hidden Moon 09/09 Jack & Joker 11/09 Unlock Your Love 12/09 The Time of Fever 17/09 Love Is Like a Poison (10/09 on Netflix Japan) 19/09 Smells Like Green Spirit 19/09 Chaser Game W 2 02/10 Love In The Big City 03/11 Love In The Air Koi

waiting for international release:

? Blue Canvas of Youthful Days ? Sugar Dog Life ? Mr. Mitsuya's Planned Feeding (you can watch here with fansubs) ? Player 10 (you can watch on youtube with fansubs) ? Uranus2324 ? A Man Who Defies the World of BL S3 (you can watch here with fansubs)

[midnightcowboy1969]

Casablanca // Quantum Leap: Play It Again, Seymour - April 14, 1953

[yannig]

Another thing I really like about Koisenu Futari, is how it exemplifies the ways amatonormativity also impacts allo people.

When Sakuko’s sister Minori gets proof that her husband is cheating on her (after actively investigating to make sure).

She’s still hesitant to divorce him.

Not because she still loves him (that doesn’t come up even once).

Not because he is a great husband beyond the cheating (the screaming match about how she was the only one taking care of their daughter shows pretty clearly that he wasn’t pulling his weight).

Not even because it’s a lot harder to raise two kids on her own (tough it is mention in passing - did I mention she’s 9 months pregnant at that point? and then promptly goes into labor?).

Not even really what society is going to say about her (even tough it would be completely justified, especially in Japan).

But because she’s terrified of being alone.

And then again while she's in labor

In that way, she mirrors Sakuko’s own fear of loneliness.

And of course, she associates being single with being lonely. Because amatonormativity.

She verbalizes the relationship elevator: getting married, having a child, buying a house, another child. She calls it "a game of adulthood".

But while she comes to the conclusion that she failed at this "game of adulthood", she doesn't really get to the conclusion that it's a bullshit game.

Even with her sister's example right in front of her, she has trouble imagining happiness outside of marriage.

Most likely because she still sees Sakuko and Takahashi's relationship as abnormal, and therefore reserved to abnormal people. So she can't apply their example of being happy outside of marriage to herself yet. Not when she's tried to hard to be the perfect normal woman.

But no matter if Minori believes it or not, single doesn't have to mean lonely, which Sakuko proves immediately by promising to always stand by her sister's side.

And then Sakuko meets Takahashi’s ex Haruka, who explains that she moved to the countryside after their break-up, and then started up her (now very successful) farm.

Sakuko’s reaction is to say it was then a blessing in disguise

To which Haruka thanks her, saying that most people are just sad for her because she’s “old” (around 40) and still single, even tough she’s perfectly happy as is.

She’s a really good illustration that:

amatonormativity impacts everyone who strays out of it, it doesn't matter if you're aro or allo

you don’t need to be aro to be happy outside of amatonormativity’s expectation

And in that way, I feel like that makes her an optimistic answer to Minori’s concerns about loneliness.

(And then of course there is Kazu-kun, but there is so much to say about him, he'll get his own post.)

I really liked that the shows takes the time to talk about those experiences, because it makes amatonormativity much more real. It is a systemic issue, so of course it impacts everyone.

And I think we've all had discussions like this, where other people's own internalized amatonormativity also completely invalidated our experiences.

So it was great to see it explored so clearly here.

(also this has nothing and everything to do with it, but the fact that in the credit, Minori is called by her husband's name. I don't think it's used in the show itself but. You know. All of a woman identity depending on her husband. All that.)