sapote

I liked the Korean movie Phantom (2023) enough that I decided to hunt down the novel on which it's based, Mai Jia's The Message -- in large part out of curiosity about whether it's also lesbians.

The answer: ... sort of! The lesbians are not technically textual but there's a bit of Lesbian Speculation and then a big pointed narrative hole where lesbians could potentially be. It is, however, without a doubt, Women Being Really Weird About Each Other, to the point where I'm considering it as a Yuletide fandom (perhaps even moreso than the movie, where the women are also weird about each other but in a more triumphant cinematic way and less of an ambiguous, psychologically complex and melancholic way. you know.)

The plot: well, as in the movie, there's a spy, and there's the Japanese Occupation, and there's a Big Haunted House where we're keeping all the possible spies to play mind games with until somebody fesses up. Because the book is set in 1941 China, there are actually three factions at play -- the Japanese and collaborators, the Communists and the Nationalists -- and for the whole first part of the book, fascinatingly enough, we are almost entirely in the head of the Japanese officer who's running the operation and choreographing all the mind games in an attempt to ferret out the Communist agent in his codebreaking division. The result is sort of a weird and almost darkly funny anti-heroic anti-Poirot situation, in which Hihara is constantly engineering increasingly complicated locked-room scenarios designed to get the spy to confess like the culprit in a Thin Man movie, and is constantly thwarted by his suspects inconveniently refusing to stick to the script, even when presented with apparently incontrovertible evidence, placed under torture, lied to about the deaths of other members of the party, etc. etc.

The suspects include several variously annoying men, plus two women whom we and everyone else are clearly intended to find the most interesting people there: quiet and competent Li Ningyu, cryptography division head, mother of two, whom everyone knows is semi-separated from an abusive husband, and who somehow manages to keep calmly slithering her way out of every accusation Hihara tries to stick on her; and her opposite, loud bratty chic Gu Xiaomeng, whom Hihara would very much like to rule out as a suspect as quickly as possible because she's the daughter of a very wealthy collaborator, and who seems moderately obsessed with her boss Li Ningyu For Some Reason.

Both book and movie spend, like, sixty percent of their length on this big house espionage mind games scenario and then abruptly take a left turn, with the next forty percent being Something Completely Different. In the film this left turn involves DRAMATIC ROMANTIC ACTION HEROICS!!!! so I was quite surprised to find that the book's left turn ( involves spoilers )

Broadly speaking, I liked Star Wars: The Mask of Fear, the first book in a planned trilogy of Star Wars Political Thrillers pitched as Andor Prequels, For Fans Of Andor.

This one is set right after the declaration of the Empire and is mostly about the separate plans that Bail Organa and Mon Mothma pursue in order to try and limit their government's whole-scale slide into fascism, with -- as we-the-readers of course know -- an inevitable lack of success. It is of course impossible not to feel the weight of Current Events on every page; the book came out in February '25 and so must have been complete in every respect before the 2024 elections, but boy, it doesn't feel like it. On the other hand, it's also impossible not to feel 2016 and Hillary Clinton looming large over the portrayal of Mon Mothma as the consummate politician who is very good at wrangling the process of government but whom nobody actually likes.

That said, as a character in her own right, I am very fond of Mon Mothma, the consummate politician who is very good at wrangling the process of government but whom nobody actually likes. With her genuine belief in the ideals of democracy and her practiced acceptance of the various ethical compromises that working within the system requires, she makes for a great sympathetic-grayscale political-thriller protagonist. I also like the portrayal of her marriage in this period as something that is, like, broadly functional! sometimes a source of support! always number three or four on her priority list which she never quite gets around to calling him to tell him she's back on planet after a secret mission before the plot sweeps her off in a new direction, oops, well, I guess he'll find out when she's been released from prison again!

Anyway, her main plot is about trying to get a bill passed in the Senate that will limit Palpatine's power as Emperor, which involves making various shady deals with various powerful factions; meanwhile, Bail Organa has a separate plot in which he's running around trying to EXPOSE the LIES about the JEDI because he thinks that once everyone knows the Jedi were massacred without cause, Palpatine will be toppled by public outrage immediately. Both of them think the other's plan is kind of stupid and also find the other kind of annoying at this time, which tbh I really enjoy. I love when people don't like each other for normal reasons and have to work together anyway. I also like the other main wedge between them, which is that both of them were briefly Politically Arrested right before the book begins, and by chance and charisma Bail Organa joked his way out of it and came out fine while Mon Mothma went through a harrowing and physically traumatic experience that has left her with lingering PTSD, and Mon Mothma knows this and Bail Organa doesn't and this colors all their choices throughout the book.

Bail Organa's plot is also sort of hitched onto a plot about an elderly Republic-turned-Imperial spymaster who's trying to find the agents she lost at the end of the war, and her spy protege who accidentally ends up infiltrating the Star Wars pro-Palpatine alt-right movement, both of which work pretty well as stories about people who find themselves sort of within a system as the system is changing underneath them.

And then there is the Saw plotline. This is my biggest disappointment in the book, is that the Saw plotline is not actually a Saw plotline; it's about a Separatist assassin who ends up temporarily teaming up with Saw for a bit as he tries to figure out who he should be assassinating now that the war is over, and we see Saw through his eyes, mostly pretty judgmentally. I do not object to other characters seeing Saw Gerrera pretty judgmentally, but it feels to me like a bit of a cop-out in a book that's pitched as 'how Mon Mothma, Bail Organa, and Saw Gerrera face growing fascism and start down the paths that will eventually lead to the Rebel Alliance' to once again almost entirely avoid giving Saw a point of view to see his ideology from within. But Star Wars as franchise is consistently determined not to do that. Ah, well; maybe one of the later two books in this trilogy will have a meaty interiority-heavy Saw plotline and I'll eat my words.

(NB: I have not yet seen S2 of Andor and I do plan to do so at some point, please don't tell me anything about it!)

genarti and I have been working our very slow but delighted way through We Are Lady Parts, the British sitcom about an all-Muslim punk rock band composed of opinionated women with beautiful and compelling faces. I'd been seeing a lot of gifsets of these faces before we watched the show and I am pleased to report that they are even more beautiful and compelling at full length. For those of you who have missed the gifsets, please enjoy Lady Parts performing "Villain Era":



The two most protagonist-y protagonists are Saira, the band's lead singer/guitarist, who is at all times extremely punk rock, and Amina, a stressed-out trad-Muslim scientist with terrible stage fright, who really has to work to access her inner punk rock. The cast is rounded out with Ayesha, the angry lesbian drummer; Bisma, who plays the role of maternal peacemaker until she starts to chafe at it; and Momtaz, the band's go-getter manager. The first season focuses mostly on the question of whether Amina can conquer her own inhibitions enough to contribute her excellent guitar skills and huge Disney eyes to the band after Saira press-gangs her into joining them. The second season brings the whole band up against the music industry more generally, and the various ways that the public pressure of moderate fame starts to push each of them into re-examining their self-image and relationships to their music and identity. It's a good show! I liked it very much!

Also, like everyone else in the world, we have recently watched KPop Demon Hunters. Also a very good time featuring banger music tracks -- I'd seen it described as 'a series of really good music videos' and broadly I agree with this assessment -- plus twenty pounds of fun kdrama tropes stuffed into a five-pound bag. Probably would not have felt compelled to write anything about it except for the fact that by an accident of timing, we ended up watching the season finale of Lady Parts the day after we watched KPop Demon Hunters which made for a very funny accidental wine pairing. Both funny and telling to go from ( high-level spoilers for both KPop Demon Hunters and Lady Parts )