#sotu response

[tomorrowusa]

Apart from comedians, the only person who seemed to like Sen. Katie Britt's Republican response to the State of the Union was Donald Trump. For Trump, who told 30,573 lies during his presidency, lying is a big plus and a useful tool.

Trump’s accolades for Britt should not come as a surprise. After all, Britt took a page from Trump’s own playbook by baselessly stoking fears about Brown immigrants to scare voters into supporting the white supremacist GOP. The most compelling part of Britt’s speech involved her telling the story of a 12 year-old girl who had been sex trafficked by the drug cartels.  Britt began that portion of her speech by blaming Biden for the “border crisis,” claiming he “invited” it with his executive actions. She continued, “I took a different approach. I traveled to the Del Rio sector of Texas. That’s where I spoke to a woman who shared her story with me,” adding, “She had been sex trafficked by the cartels starting at the age of 12.” From there, Britt detailed the painful story of this girl, saying, “She told me not just that she was raped every day, but how many times a day she was raped.” After sharing more of the gruesome details of what the cartels did to the girl, Britt declared, “We wouldn’t be okay with this happening in a Third World country. This is the United States of America, and it is past time, in my opinion, that we start acting like it,” adding, “President Biden’s border policies are a disgrace.” Britt’s message was clear: Due to Biden’s border policies, a 12-year-old girl was sex trafficked by drug cartels and was repeatedly raped on US soil. However, that was not even close to the truth. As fact checkers detailed—and Britt’s own staff has now admitted after a backlash—the sex trafficking of the 12 year old girl, Karla Jacinto Romero did not happen during Biden’s presidency. Rather it occurred between 2004 and 2008 during the presidency of Republican George W. Bush.

George W. Bush, AKA: "Dubya", was a big liar himself. He instigated the Iraq War on the false claim that Iraq possessed weapons of mass destruction which it was about to use on the West; two years after the war, the CIA reported that there had been no such weapons in Iraq.

And to stoke support for the Iraq invasion among voters, members of the Bush administration would try to link the 9/11 attacks to Iraq by giving speeches where they would intentionally use these words in close proximity to each other: Saddam, 9/11, terrorists, Iraq, Osama bin Laden. This mendacious word salad could deceptively leave the impression that Saddam Hussein had something to do with 9/11 without actually saying so outright. For the record, the official 9/11 Commission (appointed by Bush) in 2004 found no connection between Iraq and the 2001 9/11 terror attacks.

Donald Trump and Katie Britt are just amplifying the 21st century GOP trend of fabricating reality regardless of its relation to the truth.

[randyite]

SOTU Response

[thebroccolination]

My book has nothing in common with it and absolutely zero connection to it in any way—not genre, content, character, or plot—but I still put the entire SOTUS soundtrack into my book's writing playlist because some moments just need that extra soul-punch that only listening to Distant Signals, Happy Endings, and I Can See the Sky can give me.

[fhear]

Cenk Uygur Reacts To BAFFLING Republican SOTU Response

[wilwheaton]

For some odd reason, moderator Jake Tapper told Trump in the beginning that he didn't need to answer the questions and that he could use the time however he wanted. Trump ran with that, essentially giving a rally speech whenever he had the floor and was unresponsive to the vast majority of the questions. He made faces and insulted Biden to his face, at one point calling him a criminal and a Manchurian candidate. If anyone had said 10 years ago that this would happen at a presidential debate they would have been laughed out of the room. After the debate when most of the country had turned off cable news or gone to bed, CNN aired its fact check. [...] Even had Joe Biden been at the top of his game, he would not have been able to parry all those lies and he shouldn't have been put in the role of being Donald Trump's fact checker. His choice was to either ignore the lies and let them stand so he could use his time to make his own case or spend the entire debate correcting the record. It was not a fair fight. It's obvious that Biden's terrible performance has caused panic among Democrats and liberal pundits and analysts. The calls for him to withdraw are loud and meaningful and it's going to be a very rough period in this campaign whatever happens. For me, this isn't really a question. As long as Donald Trump is on the ballot, I will vote for the Democratic nominee. If it's Biden or someone else, the calculation remains the same. Nothing is worse than another Trump administration and I suspect that at the end of the day Democratic voters will agree with that. So it's still a matter of those undecided voters in swing states, just like it was on Thursday morning.

CNN's debate was no fair fight

CNN, yet again, gave Trump a national stage to vomit an endless stream of unchecked lies, and today, CNN is telling itself and anyone who will listen that the network and its moderators did a great job. That’s just plainly false, and America is paying the price for their failure.

That doesn’t let Biden off the hook. Biden had a terrible night. He was so bad, it’s allowed the political press to completely ignore not just how much Trump lied, but what he lied about: January 6, all his indictments, his Covid response, and on and on. President Biden was a disaster, and his campaign should be at DefCon 1 to try and repair all the damage. I am terrified that his awful performance will obscure his surprisingly good record and leadership in the post-insurrection era, and give the political press an excuse to run with “Biden is old” in the face of Trump’s endless lies, his felony convictions, his pending trials, and all of his criminality. Someone at Salon said that Trump didn’t win, but Biden absolutely lost. I can’t argue with that, even if the facts are all on Biden’s side.

I’ve seen President Biden on TV today, and even last night after the debate, where he didn’t come across as an ancient dude who needs a walker on his way to some Matlock reruns. He looks and sounds like the SOTU Biden we all expected would show up last night. I have no idea why he was so awful for 99% of the debate (the campaign says he has a cold), and I have no idea why the guy who is showing up to speak to supporters today, and who delivered the SOTU didn’t show up last night to save America from Trump, again.

But we have to live with this reality now, and I hope like hell that the Biden campaign, the candidate, and the entire Democratic party apparatus scrambles like fucking crazy to get all hands on deck to fix this, and remind voters that

This isn’t about BIden vs. Trump. This is about America vs. Project 2025.

There will be no second debate where Biden can try to salvage something out of the wreckage of this one. Trump has everything to lose and nothing to gain. Trump will crow about how he won, and declare he has no reason to debate again, and he’s right. Biden had one shot and he absolutely blew it. The moderators did not help, but the campaign had to have known they wouldn’t, and it sure looks like they didn’t prepare Biden for what we all knew was coming. I don’t know how those same people stop the bleeding, and if they can’t, America and the world are in real, real trouble.

But we all have to remember that we have a choice to make in just a few months. Right now, and probably on election day, the choice is between Joe Biden and Democracy, or Donald Trump and Fascism. It’s stark, it’s clear, it’s binary, and I can not believe that it is even a question. I just hope that there are enough voters out there who will understand that we do have a choice. The options suck, but we do have a choice.

Please choose Democracy. Please choose America. Please choose the future world our children will inherit from us.

[muddypolitics]

(via Sarah Huckabee Sanders Showed the GOP Is Truly Not ‘Normal’)

good opinion piece by Ed Kilgore

[don-lichterman]

On The Rampage, Sarah Huckabee Sanders response to SOTU, Memphis Cops, Central Park 5 Case & Film, Rope A Dope at SOTU, Real Liberals & Dems

[bengiyo]

Hi, i'm a newish bl drama watcher from thailand that just started watching thai bls. i'm a bit ashamed to say that for a long time as a gay man living here i've been avoiding bl shows like the plague cuz of both the fandom reputation and of misconception from my yaoi era which i leave far behind. i'm just want to ask how did you got into watching thai bls and what were you preconception before you got into it.

Welcome to the Tumblr side of BL fandom. I'd actually like to also hear more of your experience with yaoi and BL as a gay person growing up in Thailand if you're willing to share.

For me, I'm a Black American from the Gulf Coast (the South). I grew up in a Catholic city and spent my entire adolescence in the closet. Despite having a sense of who I was as early as 8 years old, I kept most of that to myself. Because I didn't talk about it much with people, I found out most information about queer media and queerness from the internet.

I entered BL via queer cinema. I think the first explicitly gay character that I remember from TV was Marco from Degrassi: The Next Generation. There were probably others, and definitely more subtle expressions, but when I think about the oldest gay character I remember and connect to, it's Marco. I don't like counting things like shipping Shawn and Corey on Boy Meets World or Tai and Matt on Digimon for oldest gay characters. Sailor Moon can't even count because we got a censored version of it in America.

I got access to satellite television away from observing eyes around age 16 and started watching content on Logo back when they aired gay content regularly. I watched basically whatever I could late at night. It's how I saw movies like Get Real (1998), Beautiful Thing (1996), and Bent (1997). It's also how I saw Queer as Folk (2000-2005) Noah's Arc (2005-06).

After hitting adulthood I mostly got lost in video games and standard American TV for a while, but I did basically show up to any Gay Event in TV. I appreciate that Stef and Lena from The Fosters (2013-2018) were some of the only TV lesbians to survive the horror of 2016.

I watched a bunch of movies in this time, many of which appear on the Queer Cinema Syllabus I made for a hypothetical Westerner new to BL and queer cinema, which @wen-kexing-apologist has decided to try to complete.

I got into Thai BL in 2018 accidentally. I started seeing gifsets of Kongpob telling Arthit he'll make him his wife passing around Tumblr and was basically like, "Right, what's all this then?"

I had watched a few Thai gay films, mostly notably Love of Siam (2007), Bangkok Love Story (2007), How to Win at Checkers Every Time (2015), and The Blue Hour (2015), but this was the first time I was seeing a long series made available so easily from any Asian country.

From there I got into Make It Right (2016-17) and Love Sick the series (2014). Once I realized that yaoi had moved beyond manga and a few anime adaptations, I went looking for a lot more. I basically haven't left since I started in about 2016 with SOTUS.

There's my basic entry into the genre. I don't think I was as worried about fandom and worries at the time because so much of being a fan of queer cinema was a mostly-private experience for me for so long. I didn't realize that BL fans active in the space would predominantly be women or queers figuring themselves out. It took a while to adjust to that, and also to adjust my expectations of the kinds of queer stories BL distributors were willing to fund.

That being said, I tend to agree with @absolutebl that BL has a useful role in normalization for non-queer audiences who encounter it. I like cheering BL when it does things I think work really well, and also deriding it when I think it does things that are offensive to help nudge the genre and offer my perspective as a gay man.

I like the place we're at right now where there's way too much to watch for any person with other hobbies and responsibilities because it means that people can pick and choose what's to their tastes.

More often than not, I'm probably most-invested in something airing from Japan because of my melancholy nature, but there's so much variety these days that it's okay if you don't like everything. I certainly don't!

I'm glad you joined us on Tumblr and look forward to your thoughts!

[thecursivej]

Okay, so I'm watching the Republican Response Now:

This lady is giving "I'm a freshman in acting I class trying to give a monologue".

He literally tried to get more border funding to keep it closed, but this crazy lady is one of the MANY who followed Orange Man(TM)'s order to note vote for the bipartisan border bill.

This girl is crazy.

Also, here backdrop has got to be cardboard. This shit barely looks real.

There are so many red herring falacies in this speech.

The amount of unnamed "examples" proves to me that NONE of these things happened.

GIRL; PEOPLE NOT BEING ABLE TO AFFORD THEIR MEDICINE IS DUE TO REPUBLICAN EFFORTS TO DEFUND MEDICARE.

This shit is bonkers and just... making me roll my eyes into oblivion. This is so fake. This is so empty.

"Your word is your bond" girl you ain't done shit for your community but follow Trump, why don't you stop calling the kettle black, you pot.

Yeah, and you're preventing funding to Ukraine to help combat Putin.

WHAT PROPOGANDA IS CHINA SHARING THROUGH TIKTOK!? WHERE IS IT!?

This is the most over-the-top response. This is a whole lot of fear-based pathos with a HEFTY LACK of credibility. She'd get like a 2/10 on delivery in my Public Speaking Class.

I am 1000 times better off now than I was three years ago.

Now how the FUCK is the Republican party the home of parents when they ban IVF, take away gender affirming care, ban books, propose school vouchers, and harm lgbtq+ folks?!

This girl just shouted a whole bunch of bullshit.

I HATE THAT WHISPERING SHIT. GIRL SOUNDS CREEPY AS FUCK.

Can someone in Alabama PLEASE run against this lady and send her back to Alabama permanently?

STEEPED IN THE BLOOD HELLO!? WHAT!? Girl sounding most facist by the second.

Well, that was interesting. A whole lot of nothing was this response. A whole lot of fallacies. A whole lot of acting. Girl needs some lessons tho.

SOTU - 2024

Well, I'm forcing myself to watch the State of the Union while I grade speeches, so I figured I'd record my reactions and thoughts here.

Do I hope for the words "Immediate Ceasefire"? Absolutely. Will we get them? Looking at the track record, probably not. But I remain optimistic because otherwise I'd be six feet under by now; ANYWHO here is a list of my reactions/thoughts/general feelings of the evening's watch.

I do want to give a point of clarity: I technically am identified as a democrat; truly, I'm a socialist, but seeing as how the U.S. is stuck in this godforsaken two-party-system, that is where I am. Though both sides have me feeling very french-revolutionary-esque.

Of course the first thing I see if MTG rifling through her purse on screen. I quite literally despise her.

AP is discussing Ukraine's need for weapons and funding; I would truly rather us align with Ukraine than Isr@el. I will stand unapologetically firm for Palestine and Ukraine.

Who is actually in the cabinet? I know Blinken, Garland, and Buttiegeg. Damn, wish he was running again. Would rather have him than Biden.

How insane is it that the Sec. of Defense didn't even let the White House know that he had to go in for surgery because of cancer. Like, that's just bonkers to me.

Republicans truly look like fucking robots right now. No warm greetings, no hellos, simple nods.

Republicans out here wasting fucking time with that impeachment of Mayorkas. Like how about we house the homeless populations with the money they wasted on this circus.

Oh funky fresh look at the Ultra-Mormon(TM) Mitt Romney.

MTG with that stupid fucking MAGA hat on is just... disgusting. Like this bitch is crazy.

Okay Joe, speed it up down the fucking aisle please. I got papers to grade.

Lowkey Joe looks like he might have had a five-hour energy drink with that big-ole look in his eyes.

I do appreciate that Joe still smiles and is kind to MTG. She truly doesn't deserve it.

Okay this is getting just a wee bit too monarchy for me.

MTG holds up a button saying "Laken Riley..." (couldn't read the rest). Riley was a 14 year old girl murdered by a man who was an illegal immigrant of venezuela, and instead of handling this situation with grace, empathy, and love; MTG and others seem to be capitalizing on her death to push their anti-immigration rhetoric.

Okay, cool selfie skills Joe, but let's get on with it.

ALSO HOW IS JOE BIDEN GONNA BE SO IN DEPTH WITH TECH AND "Savvy" WITH IT WHEN MOTHERFUCKER WANTS TO BAN TIKTOK!? Hello?!

BERNIE AND RAPHAEL! I feel like I haven't seen these guys in 10 million years.

Oh thank god we're starting.

Aww the little hand shake thingy he does with Kamala makes my heart happy.

Did Joe just yell "tony"?!

Wow, even got some republicans clapping for him (probs not a good thing but here we are)

Okay, good bit of humor at the top; and a throwback to the 40s. Funky fresh.

Yeah we ain't living in ordinary times for damn sure.

Interesting point of democracy being attacked here in the U.S. AND Internationally. (Mentions Ukraine and Putin; no word on Gaza yet).

Someone busted out a Ukrainian flag and shook it; rock on.

OH SHIT HE GOT MIKE JOHNSON TO CLAP!

Appreciate the insistance that the U.S. won't send troops to UKR.

Good use of Reagan to connect with the Repubs; and compare to the predecessor (aka Tr*mp).

Mike Johnson nodding instead of clapping about the predecessor comment, trying to save his ass in Orange Man's eyes.

Welcome to NATO, Sweden!

If there is one thing that should connect Democrats and Republicans; it's hatred for Putin. Yet there's a mix of Repubs standing in agreement and sitting to back up the predecessor's comment on Putin doing "whatever the hell he wants"

Talking about Jan 6. What breaks my heart? My parents still believe it wasn't an insurrection. Yikes on Bikes for me.

The line "You can't love your country only when you win" hits hard and even got Mike Johnson to applaud in agreement.

Foreign AND Domestic. Need a hefty focus on that with the right-wing republican group (@ MTG, Gaetz, Cruz, etc.)

Discussing IVF in Alabama; good connection to the overturning of Rowe v. Wade. It sucks that Republicans HAVE THE POWER to protect IVF nationally but shot the damn bill down not even a week ago.

ABORTION IS A HUMAN RIGHT. BODILY AUTONOMY IS A HUMAN. FUCKING. RIGHT. (@ The Missouri Senators who support taking away bodily autonomy).

WOMEN AREN'T WITHOUT ELECTORAL AND POLITICAL POWER; WE ABOUT TO TURN UP IN FORCE MOTHERFUCKERS!!! Bring back the strats from the 1900s; time to use our power and go bonkers.

Someone get Joe a glass of water please. Motherfucker looks a bit parched and keeps coughing. I get that when my throat goes dryyy

Can Biden not restore RvW? Can he not by an executive order make RvW the law of the land already?

Revisiting COVID's start from 2020 (Next week is the four year anniversary since the global pandemic).

PFFT idk who just yelled "LIES" but that was comical AF.

Well, the pandemic still controls a big part of our lives... so...don't agree with that shit.

Man, everyone sitting-and-standing must be getting a HELLA calf work out.

Sure, unemployment is down and new jobs are built; but corporate greed is quite literally killing us. Can Congress or Biden do something, damn it?!

Are we beginning to feel it, though? Are we feeling good economics? I doubt we are.

Good job pointing out how both parties have failed to buy american products, but how this admin has established that.

There's a good two rows of Republicans who stand in applause; but the rest just... sit there. Like robots. It's freaky as fuck.

Joe is actually doing pretty great with the flow of this speech. Only a couple of stumbles, but overall pretty gucci. (He'd get a 9/10 on delivery in my public speaking class).

God these fuckers are really gonna make me run for office at this damn point.

Removing poisonous lead pipes... but there's still a water crisis in Flint, Biden. Like, what the fuckeroni do you mean?

Yes, let's invest in family farms; lets stop selling our farmland (especially in Missouri) to foreign countries (@ China buying up TONS of Missouri Farmland).

I love that the UAW president is here, because he straight up is my kind of people. Dude wears eat-the-rich shirts and calls out the unethical-ness of billionaires.

UAW President pointing to Biden saying "It's you!"; nah dawg, it's you Sean.

MIDDLE CLASS DID BUILD THE COUNTRY AND UNIONS BUILT THE MIDDLE CLASS MOTHER FUCKERS!!!

Yes we get back up but right now...we might be getting more french revolutionary-esque if y'all don't stop PLAYING WITH OUR LIVES.

Oh jesus not the 4-more-years chants.

Oh now we talking about the future

YES PLEASE END TRICKLE DOWN ECONOMIES.

Says he's not anti-corp; but points out how trickle down economics has only helped the wealthy.

Yeah, how the fuck does it hurt the wealthy to pay just a weeee bit more in taxes? Like dawg, what are you gonna do with another million? What's the point?

Ooooh is Biden about to rope the repubs into some bipartisan shit? Please do.

What is Republicans huge issue with capping insulin? Truly? Who does it harm? Billionaires still get billions.

[absolutebl]

Hi P'ABL. Not sure if you have answered something like this before, I couldn't find it with search, but what are your favorite "Oh" scenes? Either "Oh I'm (or he's) gay" or "Oh I'm in love with this person". Asking this question after rewatching Ep 4 of Bad Buddy and watching Qian's reaction to seeing BL novels in Zhi Yuan's room.

Light Bulb Moments in BL!

Ooooh, good question. And no I haven't answered it before. You mean specifically the viewer coming to this realization?

My Favorite: Oh HE V GAY!

Takara just looking at Amagi.

A reading K's mind in the elevator in either Cherry Magic.

The New Employee at the dinner party across the table from the boss with the two queers being like: "Us? Dating? Are you cray, we hella rainbow."

This moment in Jun & Jun:

And then the "not instantly moving away" utterly flirtatious response.

City boy finding the hot farmer's little box of Pride on the shelf in Some More

To My Star - surprise robe flashing moment (I also love Addicted's execution of this one but it doesn't count as an ah-ha moment, just a big fat tease - pun intended)

This character's admission in Nobleman Ryu's Wedding:

MinSung on that train with the earbuds in Wish You.

Solo walking into that cafe in Oxygen.

Fighter meeting Tutor in Why R U?

Step by Step at the gay club, I mean FINALLY.

I'll just call him my wife in SOTUS.

This scene in I Feel You Linger in the Air:

My Favorite: Oh I'm in love with him

Eternal Yesterday, that damn look in the rain, holly hell (the cool thing about this one is ... it's mutual)

Aoki climbing into the plastic bag in My Love Mix-Up - I mean, COME ON, how gay is that? "oh no! I'm into love with him, I am trash, must be ultra dramatic about it"

Unintentional Love Story the agony of realizing he's in love with someone he has to deceive and betray - those EYES

Mark running after the Taxi in Love is Science?

Ai's "what is going on" in Love By Chance

Pete's AH HA moment in Kiss Me Again

Pretty much most of Love Sick. It's kinda the point of the show. But you can never get away from this one:

Possibly one of the most iconic moments in all BL.

Anytime the character starts swearing and is mad at himself when he realizes he is in love: Semantic Error, The Eclipse.

Pretty much all 3 leads swapping both of these "ah ha" moments back and forth in Light On Me

Honorable mention: Someone ELSE in the story's "oh HE'S in love with him?!"

PitchBank, need I say more? (Golden Blood)

Takara's bestie just focused in on Takara's actions around Amagi for the whole day at school and then being like, "Oh I was teasing them but my friend is IN LOVE. Activate WINGMAN mode."

Are we surprised Suzuki Jin appears twice on this list?

Also no shocker this list is full of JBL, they very good at this kind of thing since a lot of it is eye work and thirst.

(source)

[tomorrowusa]

A good postmortem on Joe Biden's State of the Union by Tim Miller and Will Saletan at The Bulwark. Also, near the beginning Tim speaks with White House Communications Director Ben LaBolt.

Will had some of the more memorable comments.

I'm somewhat paraphrasing, but he made the point that fighting MAGA Republicans is essentially defending America.

He regarded Speaker "MAGA Mike" Johnson as a metaphor for what's happened to the GOP. Tim had commented on MAGA Mike's punchable face. So by implication, MAGA GOP as a whole is quite punchable.

The most fun part of the podcast was saved for last with discussion of Sen. Katie Britt's rather surreal GOP response to the SOTU. Will Saletan observed that she has "redefined bad State of the Union responses".

[dontmeantobepoliticalbut]

As President Joe Biden mingled on the House floor following his State of the Union address Thursday night, Sen. Katie Britt (R-AL) gave the official Republican response, a stern but bizarrely delivered rebuttal that focused heavily on immigration and the economy.

The freshman senator is considered a rising star in the party. But her speech’s intense tone—with an over-the-top dramatic cadence that was delivered in a kitchen—left political operatives and observers struggling to make sense of it.

The performance was so bad that some Republicans watched the high-profile speech with a grimace. A GOP strategist told The Daily Beast that Britt’s delivery quickly became a gossip item Thursday night among operatives connected to Donald Trump—something that could have potential implications for her consideration as a vice presidential pick on the 2024 ticket.

“Everyone’s fucking losing it,” this Republican said, requesting anonymity to discuss private conversations. “It’s one of our biggest disasters ever.”

Several popular social media influencers in the MAGA camp also panned the speech; the account Catturd tweeted Britt was "awful" to his 2.4 million followers.

The setting of the kitchen table—more so the kitchen than the table—for Britt’s speech also left some seasoned Republican strategists confused.

“Senator Katie Britt is a very impressive person. She ran a hell of race in [Alabama],” Alyssa Farah Griffin, a former Trump White House communications adviser and Nikki Haley supporter posted on X. “I do not understand the decision to put her in a KITCHEN for one of the most important speeches she’s ever given.”

Olivia Perez-Cubas, the former spokesperson for Haley’s 2024 presidential bid, also said in a post on X that while Britt “is incredibly impressive, unsure why she felt the need to deliver the SOTU response from a kitchen.”

Tim Miller, the former Jeb Bush aide turned ex-Republican, called the kitchen setting “creepy” and said it made former Louisiana Gov. Bobby Jindal’s much-maligned response to Barack Obama in 2009 “look like the Finest Hour speech.”

Brendan Buck, a former senior adviser to Speaker John Boehner (R-OH) and Speaker Paul Ryan (R-WI), also acknowledged that Britt’s “delivery was unfortunate.”

“She was clearly overcoached,” Buck said on MSNBC.

Britt went for a dramatic performance with her State of the Union rebuttal, casting Biden as a failed president and arguing that the GOP was the best option for regular working families.

But the senator's delivery turned out to be so dramatic that it ended up being distracting at best and disingenuous at worst.

Allie Beth Stuckey, a conservative commentator, posted on X Friday morning that Britt had genuine appeal in coming across like "the moms at the school drop off" and praised the kitchen setting.

"But the delivery was parody-level terrible, and I promise that didn’t sway any of those suburban moms we’re trying to reach," Stuckey wrote.

State of the Union responses from rising stars in the opposing party are notorious for generating awkward, unflattering moments that can follow a politician through an otherwise solid career. Sen. Marco Rubio (R-FL) is still remembered for awkwardly taking a sip of water during his response speech over a decade ago.

The GOP strategist who called Britt's performance a disaster likened it to Rubio’s water moment—but they said Britt was actually worse and that she “lowered her stature” in doing it.

A Britt spokesman did not respond to a request for comment.

[mariacallous]

lots of tags like this on that post of mine where I shared that one academic's analysis of Katie Britt's SOTU response and right-wing women and like...what fucking nazi punching are y'all doing at this point, and how are you opposing the right-wing authoritarianism and christian fundamentalism and antisemitism right now beyond just talking about punching nazis

[ralfmaximus]

Karla Jacinto Romero, the woman whose story Sen. Katie Britt appeared to have shared in the Republican response to the State of the Union last week, slammed the Alabama senator for inaccurately using her story to highlight Joe Biden’s immigration policies.

Republican Senator shares tragic sex crime story on national TV, saying it happened because of Biden's lax border policies

Tearfully recounts how when she visited the Texas border, this brave woman told her PERSONALLY how she was raped & beaten up to 12 times a day while held captive by Mexican drug lords in Texas

Journalist discovers it had nothing to do with Mexican drug lords

and occurred between 2004-2008

So not recently, like not even close

It happened during the George W. Bush administration

You know, George W Bush, the Democrat Republican president

who was running things at the time

also it happened in Mexico, not Texas

AND THEN THE ACTUAL WOMAN WHO SURVIVED THE ORDEAL COMES FORWARD and boy is she pissed about being used as a political prop

So to recap: this poor woman endures a horrible experience decades ago, but while no doubt still having nightmares & PTSD, has managed to put her life back together. AND THEN this absolute shitweasel of a MAGA Republican drags her story back into the spotlight, ON NATIONAL TV as a cheap attack on a political foe.

I'd be pissed too.

[moonchildridden]

You guys may not know but I'm a MAJOR Peraya, following KristSingto since 2018 and the way I've always wanted them in a new project since their episodes on Our Skyy was almost sad to see. And now, after almost 6 YEARS, I got my parents back, in a new series, with P'Aof controlling everything and directed by P'Lit, the director responsible for SOTUS.

With an original script, made specifically for KristSingto, talks about two ex lovers whom ended up crossing paths again after one of them had his image ruined and in need of a remake. The pining, the longing, the memories, the desire, the slow burn, the stolen looks, the double meaning words... I'm about to get served in a golden plate.

Link: https://youtu.be/gWL5UvlamHw?si=FoFFBPS51Nvy1uYo

[telomeke]

LAST TWILIGHT AND READING THE SUNSET – VISUALS, OPTICS AND ENDINGS IN BONDAGE TO THE BAHT

‌

Last Twilight aired its final episode on Friday 26 January 2024, and the response on BL Tumblr to how things wrapped up (at least among the majority of BL watchers whom I follow) has been a lot of head-shaking disappointment, if not exactly full-on hatred. Without the bittersweet touches we've come to expect from Director Aof as counterballast for his trademark uplifting sentimentality, the ending came across as unforgivably sappy and sugary-sweet for many of us.

And I found myself agreeing with a lot of the criticism being flung at Last Twilight – for the ardent Noppharnachionados accustomed to more nuanced, thought-provoking output from Director Aof (Moonlight Chicken comes immediately to mind) the final episode of Last Twilight (and especially the fourth instalment, Part [4/4]) felt very boxer-gloved, rushing to hit its marks but then only clobbering bluntly at the surface, never venturing deeper and lacking subtlety at every turn.

But I've been giving it a once-over, because it's a little surprising to me that Khun Noppharnach (who's such an expert at his craft) could land quite the dud that some, including me, were so uncharitably calling Last Twilight.

And I now think – as Khun Noppharnach has done so many times before – he may very well be trolling us again. Because on my rewatch, I'm finding that the narrative holds certain clues that Director Aof was possibly quite conscious of what he was doing with Ep.12 of Last Twilight. On closer inspection it's a whole lot cleverer than it seems (maybe a bit too clever for its own good) – but it does require much sign-reading though (and caveat: I'm not a trained or professional tea leaf reader!). 🤷‍♂️

Anyway, after a speed-run rewatch of the 12 episodes (just skimming the surface really, so forgive me if I overlook anything) I've decided I need to reconsider a lot of my preliminary judgement about Last Twilight's final episode (and the series in general). I now think it actually does satisfy on a number of levels (even while it continues to disappoint on so many others). But because of work and other commitments though, this post is very late (still, better late than never I guess!)

I'm not wanting to spend too much time on the text and subtext, because it's the metatextual level of Last Twilight (what this BL says about BL) that intrigues me the most. But this is going to be a super-long post anyway.

In many ways Last Twilight was a departure from Director Aof's usual work, and the most obvious was its return to the structure and content typical of a traditional romance drama. Khun Noppharnach had actually moved away from this in his output over the past few years (once again, Moonlight Chicken is the paragon of examples; Bad Buddy nodded at this, if only to subvert it and signal to us that Khun Noppharnach was attempting an overhaul of LGBTQ+ depictions in the BL industry).

Some background to start things off – BL, including Thai BL, owes a lot to het romance dramas that set the archetypal framework early on, and early BLs often followed that inherited formula very closely (I think SOTUS and Together with Me fit this bill).

Painting with the broadest of brushstrokes, a stereotypical (het) romance drama can usually be expected to structure its narrative according to the following:

The meeting of the protagonists, usually a fraught mix of attraction and friction;

They go on a journey of falling in love with each other (and we get to watch along);

A major conflict arises to test their love and commitment;

They triumph over the conflict and end up happily ever after (most of the time) or are overcome by it (and the love story ends tragically, some of the time).

As a lot of romance stories are targeted at women, typically the female protagonist in a het romance drama is the center of attention, and the story is told from her point of view as well.

And because of their het predecessors, early BLs also tended to depict their couples with a masculine/feminine framing (which could also be spun out into a dominant/submissive and/or active/passive dynamic – the dreaded seme/uke binary).

Director Aof took a wrecking ball to all that with Bad Buddy (upending the structure, subverting the conflict, dispensing with seme/uke), and his works have since veered toward more-rounded LGBTQ+ drama, centered around romance, but forgoing the stereotypical structure and beats of more traditional romance dramas.

But if you think about it, Last Twilight actually hews quite closely back to the original template.

For example, Mhok is a big, scruffy ex-convict and mechanic, stereotypically masculine – the proverbial seme – while Day is slighter, younger and a Mama's boy (despite what Night says at Ep.10 [2/4] 16.24) leaning into uke territory.

The structure was pretty traditional as well:

The early entanglements of Mhok and Day were a mix of antagonism and attraction;

They went on a journey of falling in love with each other despite their differences, that we were allowed to witness – we had "masculine" Mhok losing his heart to "feminine" Day first, with the seme then pursuing his grumpy uke (a tsundere?) and subjecting us to plenty of swoonworthy Aaaaw moments as Mhok piled on much tenderness, care and affection;

The major conflict that tested their love and commitment was actually Day's questioning of Mhok's motivations, leading to their rupture in the clichéd Episode 11 of Doom;

They triumphed over the conflict after Mhok returned and demonstrated that he'd grown and learnt his lessons in meeting Day's less visible needs – not very convincingly though (and I think this is one part where a lot of us feel extremely let down by the narrative) – but it was enough to sweep Day off his feet once again, and they got their happily ever after.

There was some padding in the middle (including the obligatory out-of-town tourism jaunt – I'm convinced BLs that do this receive grants from the Tourism Authority, and in Last Twilight we were treated to a sojourn in Songkhla). The show really had to work stretching things out over 11 episodes (which was why, for me, the pacing started to drag in the second half). But overall I think the structure of Last Twilight marks a faithful return to BLs (and het romances) of older times.

With regard to characterization, Day rendered progressively hapless and helpless as his vision declined made him easy to read as a damsel-in-distress, the object of savior-knight Mhok's affections and ministrations. It's thus also unsurprising when we were shown more of Day's point of view than Mhok's (just as we usually get to see more of a heroine's interior journey in traditional het romance dramas than her romantic foil's). Last Twilight was nodding at the past once more, asking us again to view it through the lens of an old-school (BL) romance drama.

A lot of romance dramas also tend to be intellectually lightweight – some are pure sentimental, throwaway indulgence – and if we place Last Twilight somewhere on the less demanding end of the spectrum, it's a more than serviceable example of the genre and has in fact more heft than most. (I was expecting it to land more in queer drama territory as has most of Khun Noppharnach's work, and the fact that it only half did contributed a lot to my sense of disappointment at the end.)

But as a lighter piece of trad BL fluff, Last Twilight did punch above its weight class very often. And all of the discourse around vision and Day's increasing blindness was the early tip-off to one of its weightier, central themes – that of seeing and being seen in the light of one's truth.

As his vision faded, Day found himself subject to his greatest fear – of being seen as less than his truth, especially when by all accounts he had been a storied and admired athlete prior to his visual debilitation. Day was still the same person despite his loss of vision, and he was painfully reminded of this fact every time those around him forgot it. Last Twilight deftly showed us that his early snark and cynicism were a brittle defense against being seen as nothing more than an object of pity, the ghost of his former self (which is what Mee/Me in the novel Last Twilight was also about).

There are many examples of this, e.g., when he avoided his friends after blindness set in, and his meltdown at the party they threw him after a rapprochement (Ep.6 [3‌/4] 20.12, when it became clear they viewed him as a weakling in need of rescue at the first sign of trouble, inferior to his previous incarnation as an athletic champion). The story arc with August's feigned romantic interest was also another of Day's nightmares coming true, being exactly the sort of innocently insulting and unconsciously condescending treatment he was trying to avoid.

And of course this was the reason behind his break-up with Mhok in Episode 11, when he sensed that Mhok's care and concern were in part tied to a notion of Day as being less than whatever the nebulous concept of "normal" was in his head. (For context, Mhon and Day have an exchange about the meaning of a "normal" life for Day at Ep.10 [2/4] 7.35), Mhok talks about Day wanting to be "normal" at Ep.11 [1‌/4] 10.22, and Mhon reminds Day of his wish to be "normal" at Ep.12 [3‌/4] 16.29). Despite – or maybe because of – how objectionable the word may be, I think Last Twilight is inviting us to question our ideas about it too.)

So a large part of Day's story arc involved him overcoming his own hang-ups and dealing with how he was seen by the world around him, to stand in the light of his own truth (as a proud member of the differently abled community).

Mhok's character also had a parallel journey. Excluding those who knew him well, society refused to see beyond his rough-hewn persona (and his prison background too, it must be said). His options in life were thus limited by how he was always seen as an outsider, and subjected to othering because his presence was invariably associated with negativity, risk and harm.

But as Mhok demonstrated time and again, his truth (that for the longest time only Porjai and maybe Rung could seem to see) was far less violent and menacing than what was read by the people around him. And his character's journey toward self-actualization in Last Twilight was to arrive at a life truer to his inner self, noting that what we see at the beginning of the series is Mhok trying valiantly to live up to his ruffian image, prone to fights and aggression. With this, it's possible to read that Mhok himself was unable to comprehend fully his own inner impulses, and it was only his time as caregiver and later faen in Day's life that opened his eyes to living out his more nurturing, other-focused energy within (and that must have served him well too, in his later career as a chef crafting dishes for others to enjoy).

In contrast to Day, whose struggle was also about being seen for his truth while cast (by others) in a negative light, Mhok chose to align himself with whatever role the world put him in (whether it was a rabble-rouser mechanic, a straight boyfriend to Porjai, or a guardian to the infantilized Day) whereas Day chose to reject any outsider-determined identity outright. And Mhok failed at his roles mostly because they were inauthentic to his truth, except for his time as Day's caregiver. For the first time there Mhok's failure was different, not because the caregiving recognized his own truth (coming from kindness and softness within) but because it did not recognize Day's truth (as his approach to taking care of Day still perpetuated the invalidation of Day's wholeness as a person).

Mhok and Day's names are also a quiet hat tip to this – with Mhok's name (หมอก, that means fog or mist) also a metaphor for how visibility of the truth behind his amorphous self was obscured for the longest time, while Day's name (actually the English word day, with all its connotations of light and clarity) is a metaphor for how he was clear about his own truth and identity from the start, but needed to be seen correctly, undistorted by any filter of shame or pity.

However, GMMTV's commercial insistence on pair branding worked somewhat against the characterizations – my read is that Day was probably written as much more fragile in appearance (belying the tough athlete that he really was beyond surface impressions, and explaining the tendency of his friends, family and caregivers to want to infantilize him post-blindness). As an aside, badminton is one of those sports that forgives a certain delicacy of frame, as it rewards lightness and agility more than brute strength on the court. Meanwhile Mhok was (I think) written as this big beast of a man whose appearance would scare off all but the most foolhardy, meaning that his innate kindness and sensitivity would remain unseen by most.

Unfortunately Sea is built pretty sturdily as an actual badminton athlete (and he's tall as well) while dermatologist Jimmy is just too porcelain-skinned and delicate-featured pull off any convincing evocation of physical brutishness. Pity, because the pair do have chemistry and their acting was mostly credible in Last Twilight (especially from Sea, who brings an easy and natural charm to his portrayals).

Anyway, I can suss out two visual metaphors in the series that illustrate the ideas described above. But as the analysis of these metaphors is also long, I've moved it all away into its own post linked here: The Fishtank and the Flowers. I found both metaphors to be fascinating (the goldfish aquarium, as well as the pairing of the jasmine with the sunflower), but it was the blooms especially that took me by surprise (when it became clearer which was assigned to Mhok and which to Day). 🤩

So while we're on the characters though, here's an aside about the criticism of how Mhok was treated by the narrative and the outrage surrounding his apology at Ep.12 [2/4] 10.55. Yes, he had been a selfless caregiver and a caring lover, but there were also numerous examples of him treating Day as less than an adult with his own agency, doing to Day what August, Mhon and the replacement caregiver (Assistant Director Meng Chaiyapat's extended cameo, at Ep.10 [2/4] 0.27) had done, by controlling the playbook and removing Day's choice and say in matters directly related to his own life. Some examples of where Mhok fell short:

Pretending not to find the copy of Last Twilight in the Chatuchak secondhand bookstore, gaslighting Day into believing it was his own discovery (Ep.3 [3‌/4] 9.41) – you might lie to a kid about Santa Claus (and I'm divided about that), but nevertheless Day was not a kid and should not have been treated like one.

Lying about Night's involvement in their plan to see Mount Veha (Ep.8 [1‌/4] 17.34) – more gaslighting.

Going back on his word and telling Mhon and Night about Day winning the dancing garland (Ep.11 [4/4] 7.35) – this was just plain disrespectful, especially after Day had shared his mixed feelings about the "win" (Ep.11 [4/4] 1.45).

Taking advantage of Day's blindness to prank him (Ep.11 [3‌/4] 7.32 and Ep.11 [4/4] 3.38) – unless Day liked surprises (of which I see no sign) laughs derived from exploiting someone's vulnerabilities are never to be lauded (please don't jumpscare the blind, people).

And the ultimate – lying about the job offer in Hawaii, which was the last straw for Day (Ep.11 [4/4] 10.51).

All the above might have come from a place of love, motivated out of the goodness of Mhok's heart – but even if they were meant to uplift or support Day, his actions were all disrespectful (even damaging) to Day's own agency and personal situation as someone struggling with visual disability.

In this light (pun intended) I had to re-think my judgement of Mhok's apology to Day in Ep.12, because he did need to learn to care for Day on terms acceptable to Day as well, and not have expected him to give that up just because he needed care.

Now because it's Khun Noppharnach, it will always be possible to give a queer reading to his work. So Day's dread at being seen as less than what society perceives as "normal", and Mhok's struggle with his status as the feared and misunderstood "other", can both be read as stand-ins for (some parts of) the LGBTQ+ experience, where full acceptance of the queer minority has yet to become the norm for most, if not all, societies. But I guess that should be obvious to all by now.

Anyway, there's a whole lot more burbling within Last Twilight that can be explored at length, but as I've gone on too long already I'm simply going to mention them here and then skip on:

The novel Last Twilight that features so prominently everywhere within the series (that not-so-coincidentally shares its name) is rich with significance as a parallel to (and comment on) Mhok and Day's own story, especially with Mee/Me's struggle to be seen in a world often blind to her presence.

Day becoming increasingly unseen as the neverending night of blindness became his defining identity is mirrored by Mee/Me needing to step away from darkness in order to be seen by the world around her (and her light-chasing is also a parallel for the sun-seeking of the sunflower, Day's totemic bloom, and in that way another metaphor for Day's reliance on external validation – see this write-up linked here for more elaboration on that aspect of Day's personality).

Day's blindness was not at all the first time Khun Noppharnach has used a form of health-related affliction as a metaphor for the queer condition, highlighting the parallels of the LGBTQ+ experience with the social model of disability. Other examples of this in his work include Heart's deafness in Moonlight Chicken, Tian's and Med's heart conditions in A Tale of Thousand Stars and He's Coming to Me respectively (the latter maybe less so though) and Pran's obsessive-compulsive disorder in Bad Buddy.

Also in He's Coming to Me, Med's predicament as a ghost subject to all sorts of constraints in the world of the living, as well as his invisibility to those insensitive to his situation, was a parallel with Last Twilight's theme of being seen for your true self even as the wider world imposes restrictions on you, and is similarly an allegory for the LGBTQ+ experience as well.

Last Twilight's ideas about seeing and being seen correctly were also touched on (somewhat briefly) in Bad Buddy, in the discourse around Ink's camera, photography and Pat/Pa's contact lenses.

Mhok's journey was milestoned with numerous examples of the food = love trope, in which he could be seen giving of himself through the creation of dishes and meals for others.

(above) Last Twilight Ep.11 [2/4] 0.39 – Mhok's gift of Black Chicken Soup (ซุปไก่ดำมา) to Porjai is but one of many examples in the series of him showing his love to others through his cooking; in this instance Black Chicken Soup (made by double-boiling silkie chicken with medicinal herbs) is a traditional Chinese preparation, warm and comforting, that is considered particularly nourishing for moms newly post-partum and is also popular in Thailand for the same reason

This is paralleled also by Mhon and her career as a chef (especially when she ladled soup out for her ex-husband in Ep.12, which is a bittersweet Noppharnach touch with reams of cultural backstory – but that's fodder for another post though).

And Assistant Director Au Kornprom's cameo as chef-de-cuisine in Singha's hotel continues a meta-level portrayal of his role in BL as some sort of leader, instructor, teacher or creator with a select group as the intended beneficiaries of his work (see these links here and here for other examples).

(above) Assistant Director Au Kornprom Niyomsil pops up in a cameo as Chef Tom in Last Twilight Ep.11 [2/4] 9.47 

I think Director Aof is announcing that Khun Kornprom is his designated successor as the next generation BL director at GMMTV who will (perhaps) be carrying on a measure of queer activism within his own output.

And that brings me to what I think Last Twilight might be saying on a metatextual level.

What I'm going to be babbling on about here reaches not only into Last Twilight for some clues as to its comments about the wider BL industry, but also to some messaging in Khun Noppharnach's earlier (though still recent) work, because I think it all does come together to paint a picture of some significance.

In the names and chromatic metaphors of Moonlight Chicken (see this link here), Director Aof signaled that unseen persons in authority were increasingly making their political presence felt, especially where financial motivations were concerned (caveat: I think this is a reference to power play within GMMTV and perhaps the BL industry itself, not a comment on the wider political scene in Thailand).

And Director Aof's various cameos in MLC (written up here) as well as its themes of generational renewal and the struggles to leave the past behind, also seemed to be messaging that some of this conflict between artistic/activist directions and commercial considerations were possibly taking a personal toll even as he continued his career within the BL industry.

I would have left it at that, but then when the Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars episodes had their turn on our screens in 2023, it became clear that Director Aof was saying something quite forcefully about the telling of queer stories in the media, especially in situations when queer people have less control over the narrative (as is the case with Y-series churned out by commercial studios for mass market consumption; see this write-up here for the analysis).

So based on the above together, this is my read of the situation.

Khun Noppharnach has been signaling that because of the profit motive, queer creators in the BL world are under increasing pressure from higher up to return to more commercially-lucrative storytelling, perhaps in the form of more stereotypical romances the way Last Twilight was structured. (Whether this pressure is from within the producing organization or from the wider political sphere I do not know nor wish to speculate.)

As a consequence, QL shows are being made to veer away from recounting stories that are authentic to the LGBTQ+ experience (which was the warning embedded in Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars), dialing back content that speaks with a queer voice to queer people (though of course non-queers are welcome to watch along, because after all a good story is a good story).

If the above is true, then the tidal pull of commercial goals may soon be dragging more output back toward the more romanticized imaginings of same-sex love seen before in formulaic (but arguably more profitable) BLs of old, with an emphasis on catering to mass market demand (largely represented by – whether rightly or wrongly – marketing perceptions of the cishet female teen gaze).

And all of this circles back to Last Twilight, which is an example of this return to the past, and perhaps explains in part why its ending feels so unsatisfactory for a lot of us.

I'm very much convinced at this point that the finale (with its hated timeskip, Mhok's spiffed-up but stagey return, his emotionally hollow reconciliation with Day, and especially all the schmaltzy vignettes post-couplehood part deux) is but a conscious reaction to political gameplay from echelons above. For Last Twilight, I'm sensing (guessing?) that Director Aof and his team were coerced not just to stay faithful to the traditional formula of BLs past, but also to shove in an unmitigated Happily Ever After for the branded pair of JimmySea, without any of the hallmark Noppharnach countercurrents to undercut the sweetness (or else).

And perhaps in a burst of inspired-slash-malicious compliance, the team took on the mandate for the HEA and ran with it, churning out a saccharine, nutritionally-deficient lump of candy and unceremoniously tacking it on as the ending of what had otherwise been a fairly measured and self-aware BL from the start. And it really sticks out – but I think it was meant to.

I may be misreading the tea leaves again, but to me the signs of the above are myriad. Here's some of what I think Director Aof is telling us about Last Twilight's subversion of the ending, embedded within the narrative and visuals:

Master Aon's name is signaling (to me at least) a parallel with Director Aof's name (Aon/Aof, On/Off, Onscreen/Offscreen, get it? 😆). He even has a similar look, with his wispy mustache, earring and floppy hair.

Noting that Aon was a respected, good-natured guru who'd already trodden happily the path that Day was on, this reads like a rendering of Director Aof's own role (that I'm tempted to say is self-defined, though it's my own reading really) as a queer elder imparting the wisdom of his own experience to younger queer people viewing his work. (Also, both Aon and Aof are gurus of BL who've had their vision stolen from them.) And if Kruu Aon was recommending acolyte Day to read the novel Last Twilight for the metaphorical lessons within (we were reminded of this many times: see Ep.3 [2/4] 9.08, Ep.8 [4/4] 1.07 and Ep.9 [4/4] 9.26), I think Kruu Aof is recommending that we look at the series Last Twilight more closely as well to learn of something similar.

Last Twilight the series is full of references to endings. And if the novel Last Twilight has been signaled as the roadmap to Director Aof's thinking behind the series, the missing last page and epilogue in Day's copy suggests that – just like the book version – Last Twilight the series is actually (and deliberately) open-ended.

But the messaging doesn't just stop there. We are also called upon to manifest the ending we want (if what we're presented with doesn't meet our expectations). For example, Mhok hated the ending of Last Twilight the novel (although Day liked it –see Ep.9 [4/4] 13.23). And he then conflated this with his disappointment at the lackluster twilight on Mount Veha as well.

But through the power of imagination Day helped Mhok see the beauty of the sunset there (Ep.9 [4/4] 16.28) – on one level it's a trite "Life is what you make it" sort of statement, but on another it also reads like a call to action ("You can change what you don't like"). And I like to think it also embodies Last Twilight's theme of recalibrating your own way of seeing things, and looking beyond surface visuals to find the truth that speaks to you (which, in a sense, is what I'm doing now, hah!). But when applied to Last Twilight at a meta level – I think we're also being reminded that a picture-perfect ending (such as Last Twilight's Ep.12 [4/4]) can also hide the reality of gloomy clouds behind the artifice overlaid by human intervention.

Another sign that the ending of Last Twilight deserves a closer look is all the flapping about between innkeeper Cherry, Mhok and Day around the missing last page of Day's book in the Ep.9 [4/4] scene starting at timestamp 2.38.

(above) Last Twilight Ep.9 [4/4] 3.11 – Cherry tears out the last page of her copy of the novel and forces it on Mhok and Day

I'm putting in a detour for a closer look at Cherry here. She was the unsentimental custodian of her father's guesthouse, with a personality that blew hot and cold (like the weather in the south, referenced at Ep.9 [4/4] 2.12). The guesthouse seemed comfortable enough, although Mhok found it less than welcoming (Ep.9 [3‌/4] 6.39). And Cherry herself was also a strange mix of brusque and friendly. She was more concerned about cash than MhokDay's lack of shelter at Ep.9 [3‌/4] 7.36, but warmed up to them later when they explained their Mount Veha quest (allowing them to stay, treating them to a musical evening with her guitar, and accepting the payment deferral). She preferred the old way of doing things (cash only, no online transfers) and had once hosted David, the author of Last Twilight the novel, at the guesthouse.

Based on the above, I'm thinking that Cherry is a representation of Director Aof's dual role at GMMTV, where he is both a creative (director and sometime screenwriter) as well as part of management (senior director of content production, at time of writing). And in Last Twilight we see this duality acknowledged both in Cherry's mercurial double nature, as well as in the capricious weather of Songkhla. The guesthouse, on the other hand, is a representation of GMMTV itself. On the management side, Director Aof has to make and/or implement decisions on behalf of the company even though it isn't really his (just as Cherry runs what was once her dad's). GMMTV is warm and hospitable enough to the performers in its stable, but as a commercial enterprise it has to prioritize financials above most (if not all) other considerations (symbolized by the guesthouse's paradoxically comfy yet unwelcoming air, and also Cherry's indifference to MhokDay's cashless plight). Director Aof's creative focus is the arts (represented by Cherry's musical interlude) but GMMTV itself prefers the old ways of making money, i.e., old-style BLs (and this is symbolized by the guesthouse unwilling or unable to explore new ways of collecting rent with no online transfers). And just as the guesthouse hosted David, whose bittersweet ending to Last Twilight the novel wasn't satisfying to salt-of-the-earth Mhok (standing in for the tastes of the mass market), GMMTV also hosts under its roof Director Aof, the auteur behind Last Twilight the series (whose original ending I suspect may not have pleased other GMMTV bigwigs in management, and who then enforced a change). Some of this is illustrated in part by the scene just before Mhok and Day departed from the guesthouse. When Mhok and Day asked Cherry to keep her autographed copy of the novel, she instead tore out the (signed) ending from her book and thrust it into their hands. And when Day asked if it had a happy ending – she jokingly tried to grab it back, saying "Find the ending yourselves." To me this is a metaphor that the original ending of Last Twilight the series is actually unknown to us, and the ending we got was forced into the narrative from the outside (because it's what the fans want, according to GMMTV speaking in Cherry's voice at Ep.9 [4/4] 3.15 – "I think it's more important to you than me"). And it has official sanction too (symbolized by the author's signature), indicating that Director Aof (David in another incarnation) may not have had a choice (since we're shown that the author's stamp of approval was artificially inserted into a different book instead). It also suggests (in the "Find the ending yourselves") that Director Aof was aware of how that artificial transplantation was going to be negatively received by some diehard Noppharnach fans, and he's saying to us – "Take the ending that's been given you", but at the same time "Find your own meaning in it".

And then Day tells us in no uncertain terms basically the same message, at Ep.12 [4/4] 3.37 ("We were made to discover our own preferred version of the novel’s finale").

The narrative actually tells us quite boldly in the first part of Episode 12 that we can expect the finale to start unraveling because of outside interference – I actually think this is the message behind Director Aof's cameo at Ep.12 [1‌/4] 10.01:

Mocked up as a hotel porter, Director Aof offered a guiding hand to Day – but at timestamp 10.06 Mhok suddenly inserted himself into the scene in an act of direct supplantation:

(above) Last Twilight Ep.12 [1‌/4] 10.06 – Mhok steps in and supplants hotel porter Aof (he of the white gloves)

To me this was unambiguously signaling that from this point onward the proceedings would no longer be under the guiding hand of Khun Noppharnach. In addition, hotel porter Aof's gloved hands were pure white, unbesmirched and free from stain, conveying the message that Director Aof was innocent and blameless of the plot shenanigans that were to follow. To underscore the point, we were then shown Day taking a misstep under new (non-Aof) guidance at Ep.12 [1‌/4] 11.20:

(above) Last Twilight Ep.12 [1‌/4] 11.20 – Day stumbles without hotel porter Aof's guidance, even as Last Twilight the series begins to falter

This was jarringly out of tone, given Day's confidence in his life as a blind person, as well as Mhok's previous – and very conscientious – stint as caregiver to Day the first time around (he would instinctively stand between Day and any physical risk, and place a protective hand over protrusions that Day might bump his head on, for example). The message from this visually dissonant moment is that we should expect the ending to stumble as well, without Khun Noppharnach guiding the process.

So what can we make of the ending with this in mind? I can live with the timeskip, Mhok's return, and the eventual reunion of our main pair. These are all somewhat expected beats in a standard romance drama – and if that's what Last Twilight is setting itself up as, I won't begrudge it the tropey hallmarks that some do love (though I do think some parts could have been handled better). I even liked the airport run for all of its brash, silly sentimentality (yes, Love Actually is one of my favorite films).

But where I think Last Twilight really falls off a Veha cliff is when it starts lobbing at us a plethora of candy-sweet dreams unrealistically brought to life, one after another, in Ep.12 [4/4]. We have:

Ep.12 [4/4] 0.51 – Surprise! Day can see;

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Ep.12 [4/4] 1.18 – Multiple scenes showing Day rejoining the world of the sighted, enjoying activities that were once denied to him (like reading and badminton) both alone and in the company of loved ones;

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Ep.12 [4/4] 4.01 – Family time! Mhok introduces Day as his partner to his deceased family at their memorial niches, and then we see Mhok very much integrated into Day's family (signified by his pasta dish receiving chef Mhon's stamp of approval) even as we see Night and Porjai joyfully announcing another imminent addition to the numbers;

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Ep.12 [4/4] 8.06 – Mhok and Day get a Mount Veha do-over, talk about the novel's ending and then act out the ending to their own love story.

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It's all just too, too fairytale, with happy news piled atop happy news, and just reeks of artificial sap and fakery.

But that's just it – I think that Director Aof and team were actually faking it. Remembering that the novel Last Twilight's full title is Last Twilight: Until the Last Light Goes Out, take a look at how each of the above little snippets of happiness is finished off – each draws to a close with its own Fade-to-Black.

Now the Fade-to-Black is a device borrowed from theater – in a stage play snuffing the lights for a few minutes of total darkness allows scenes to acquire a sense of separation, completion and closure while giving the crew time to change the sets. But here in Last Twilight it feels like we're being pitched happy ending after unrelated happy ending, each competing with the previous in the too-good-to-be-true stakes.

In the title of the novel, we're told to hold on until the last light goes out. Just when is that last light exactly though? There are so many here that each Fade-to-Black begins to feel not just like closure, but like a little death each time. (Also pertinent to note: MhokDay's kiss under that glorious sunset at Ep.12 [4/4] 13.26 gets replaced by a sky of gray clouds instead at Ep.12 [4/4] 13.37.)

Director Aof is really hammering home his point that traditional Happily Ever Afters in romance stories can be shallow and unsatisfactory, and is making us miss the trademark melancholy that propped up the wistful sentimentality in the closing scenes of his previous works.

However, much of the above is what Last Twilight is saying about Last Twilight.

At the metatextual level, what the show is communicating about BLs as a whole is even more somber. I think Director Aof is messaging that for the BL industry to head toward a happy, satisfying ending (if it really is being pushed down to lowest common denominator levels by commercial interests), it's up to us the viewers to manifest that and make it happen (just as Mee/Me and Day did for their own stories). How this might be done, I do not know. Lobbying GMMTV perhaps? Complaining ever more loudly about what this did to Last Twilight when it could have been so much more?

I rather suspect that unfortunately our numbers may not be sufficient to bring about change – the majority of Last Twilight fans actually seemed to like the final wrap-up and its fairytale ending (at least based on the reviews I've seen on MyDramaList). It's only among the more adult (and dare I say it – discerning?) viewership here in the BL sphere on Tumblr are we seeing more robust critiques of the series, mourning the greatness that could have been.

Last Twilight was a good BL all the way up to Ep.12 I think. And then it looks like we were purposely let down, to make a point about BL endings. As always, Director Aof is having the last laugh – and he lets us know this during the end credits.

For it's then that we see the various photographs that were taken by characters throughout the series but never shown to us before (it's strangely moving, and makes me think of the ending to Cinema Paradiso when Salvatore finally gets to view the priest's cut in one long montage as a final gift from Alfredo beyond the grave).

(above) The end credits of Last Twilight, replaying the scenes where the characters were photographed, alongside the images captured in the moment that hitherto were not shown to us

It's in the ending that we're finally getting to see the director's point of view (and hidden message) from his vantage point behind the camera, just as we're only getting to see those photographs (that were originally unseen by their subjects, and privy only to the one taking the photograph) right at the very end.

And the final shot? We get the whole cast and crew making the "span" gesture (that an almost-sightless Day used to approximate the distance at which he could still make things out visually, before his vision left him totally).

It's a loving salute to Last Twilight for sure, but can we perhaps detect a hint of mockery in the way it also resembles the Forehead-L for Loser gesture from the 1990s? Or a hint of a threat in the way it looks like a gun cocked and pointing? The gesture is also Thai sign language for the letter ล, which is somewhat the equivalent of the letter 'L'. And with so many 'L's or 'ล's in that shot, it's making me think of 'LOLOLOL' and also ลล standing in for ล้อเล่น/laaw len, which means Just kidding.

Is it all just a coincidence? I wouldn't put it past Aof for it not to be. But whatever it all means, I really do think he's having a hearty (if somewhat bitter) last laugh. 😔💖

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