GELBOYS HAPPY ENDING REVISITED
Happy to see people re-assessing blanket approval for Directors Boss’ consistent blind spots in his latest production in the clearer, more considered light of day. I don’t think any distortions credited to him are the fault of romance genre, as BL is on record as blazing Transformative new trails in this respect.
I do agree with the as yet not fully-formed green shoots of analysis suggesting this has more to do with capitalism and how ships have to be commodified and profited from later. This is what distorts the ending in capitalist BL producing countries. This ignored factor, not the pair system, is how the real potential of BL gets wasted because emotionally contented, satiated, and fulfilled people don’t exhibit the same spending patterns in the libidinal economy.
However, in terms of romance tropes in storytelling, the whole history of BL emerges because women looked at the problems of intimate relations with men - which are primarily emotional and sexual violations, and from there, something people called toxic but sensible people recognise as women’s everyday reality, they work through a process of visionary imagination with those male characters until they become something suitable for a romantic relationship that they’d like to experience in media. They don’t become perfect men at the end but there is a sense of having re-gained the skills and aptitudes that have beaten out of boys over the course of boyhood that prevents their gender disproportionately from accessing the resources generative of the intimacy(which is not sex) they crave as adults.
There are so many times when we see an adaptation of a BL in Thailand where fans of the original source material say “it was better in the book”. Why? Mostly because the OG women (and a growing minority of men who wanted to challenge and transform “gay reality”) writing it spent a disproportionate amount of time dealing with the emotional interiority of the characters and the Process by which they come to recognise what they’re doing and to Struggle to Change it, or at least be on a path where they’re in full comprehension of what needs to change. In the drive for views this priority often gives way to superficial aesthetics, and or hot visuals, pushing out emotional depth as well as basic storytelling logics.
Furthermore, sometimes when male directors take up the stories, it’s obvious that too often restitution and reparation is not something they personally believe in and they’re not as obsessed with or even minimally invested in moving away from the desirability norms (dominance, hierarchy, valuing of the physical over the emotional; devaluing of femininity) pedestalised by other men in the community or in the wider society, which is the audience they appear to be writing for (not viewers who deliberately eschew mainstream gay media precisely because they’re dissatisfied and want to experience something different).
In reality these things do get accommodated in male dating circles so in most ways Director Boss is indeed accurately depicting what happens in the community in real life but in BL when critics say it’s not based in reality this is really a way to dismiss and reject the often painful character growth that men tend to go through in the original BL source material, that constitutes the departure of BL from mainstream queer media. In that sense, the fact BL doesn’t totally reflect gay reality - in the absolute and elaborate centering of Conflict Resolution elements of the storytelling, is the point!
Women invented this genre not simply to reflect reality, which it does, but primarily to Transcend it. To be clear some writers do this visioning better than others but the universal objective is not to remain within our current social reality but to CONTEST it. The contestation is articulating the heartfelt cry that - as lovers, mothers, sisters and friends of men, if we continue having gender relations as we do now, there is no future for humanity. We only have to look at several Asian countries that are producing BL to see the catastrophic state of gender relations is such that women are restricting interacting with men for friendship, dates, having children or for marriage. This is urgent because status quo threatens the whole of society.
This is happening in the west as well and not only among women but what queer men are going through in their relationships with other men has been given far less social concern. Just listen to the despair of ciz men and trans people talk about their experiences every weekend after Grindr hookups. They too are disillusioned but it is women who are still at the front of passionate initiatives (movements for men and boys’ socialisation are constantly pleading for more men to join as mentors and guides) to elaborate what kinds of radically different relationships we can have with men - as women and girls or as men and boys, not how can we navigate emotional and physical abuse in order to still find a way to be together with our unreconstructed abusers.
Now there are examples of Thai BL creators who have worked through queer intimacy challenges well (Dir New comes to mind as a king of this until his regrettable GMM era), it is not as though they do not exist despite the fact that there are fewer and fewer between in the post Cvd years. However there are undeniable reasons the data would point to, that are responsible for this divergence: the financial needs of the investors behind productions are being prioritised in the storytelling, not the HUMAN NEEDS of those typically interested in consuming it. This is where the reactionary and ultimately disappointing narratives are being inserted -because in the dominant culture they are “sexier”.
Look at the most popular BL adaptation in the world which is a Danmei adaptation. Dangai adaptations that emerge from Danmei, despite censorship - why are these the biggest, most loved and most rewatched, even driving their source material to be the most sought after BLs novels on the planet? I suggest it is because whether they are explicit or not, from Addicted to The Untamed, the characters in question go through a lengthy period of personal growth and in that personal growth they move further and further away from hegemonic masculinity (I think this is the point we miss with this brain-dead, illiterate campaign that comparing countries is to be forbidden). This openness of the male characters to change does more to undermine resistance to the dominant social construction of masculinity and male sexuality, than essentialist fables in our culture that all kinds of men internalise to their disadvantage.
This secret ingredient is called the Female Gaze. In its execution, it transforms both the nature of the couple’s relationship with and between themselves And Their Relationships With Others. The resolution is something that can change society rather than only themselves as individuals.
The female gaze is not something women do but a Form of Politics that can be adopted regardless of sex. The female gaze is why even when a Dangai doesn’t end with the main characters in the same frame, their journey to love as a couple fills the viewer with hope and a TRANSFORMATIVE mental attitude that can persist years later. Trapped is an example of a Dangai that even though adapted in a capitalist environment still actively resisted dominant romance storytelling norms in many ways; their CP is still marketable years later.
What frustrates us so much about the adaptations from some BL producing environments is that as time has gone on we are seeing the move further and further away from the political philosophy of BL while the values of the dominant culture, yes including the damaging values that exist in vulnerable subcultures, have come to supplant the more revolutionary potentials of BL. Meanwhile in China even the government is begging creators to re-impose hegemonic, Male-Gaze aesthetics and behaviours such as Thailand is increasingly doing without any laws forcing them to make CPs almost exclusively reflect hyper-masculine norms. As a result these compromised, self censored BLs from countries Without Acknowledged Censorship are more reflecting and tolerant of, and hence less challenging to, the societal status quo.
Older TBL for instance was largely among those to be experienced as a distinct Queer Reservoir of Optimism but today instead of challenging hierarchies and hegemony we are by and large, left with accepting, valuing and “giving grace” to inherently destructive ways of being - just as they are. I think that is the principal disconnect and despite such seeming high potential the ending of GelBoys proved to be as much a let-down as the general TBL trajectory. To live up to its transformative potential to viewers a BL must be Counter-Hegemonic in resisting even its own dominant cultures and sub-cultures.
Culture is a product of society. Transgressive cultural outputs must by definition reflect the comparative cultures but also Be in Active Resistance to the Culturally Normative, not simply acquiesce to it, in order for it to be beneficial to viewers’ bottom line and not just to corporate sponsors.
