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You know how sometimes a show is more or less made for you in a lab, but also you watch the actual plot and you have some notes, and you're not actually sure it's good, per se, but also it was made for you in a lab?

Anyway, we just finished watching Jeongnyeon: The Star Is Born, the Kim Tae Ri vehicle about 1950s Korean all-female theater troupes in which the entire plot revolves around aspiring young lesbians competing to see who's going to be the Prince of the Theater.

Please admire these official portraits of the main cast:



Jeongnyeon! Our Heroine. Baby butch. Massive protagonist energy. FORBIDDEN to sing by her mother, who has some kind of tragic lesbian performance backstory, despite that she has the BEST VOICE in a GENERATION. In episode four someone tries to make her sing full femme with no genderplay and she revolts on live television.



Moon Okyeong, the established theater prince!! beloved of every baby lesbian in 1950s Korea!! fishes Jeongnyeon out of the sticks and inspires her to join the troupe in the hopes of molding her into a COMPETITOR who can CURE Moon Okyeong's TRAGIC ENNUI and SCHRODINGER'S MORPHINE ADDICTION with the power of HOMOEROTIC RIVALRY.



Seo Hyerang, the theater's most important femme. Moon Okyeong's toxic partner who does not approve of Okyeong experiencing homoerotic protege/rival emotions.



Heo Yeongsoo! My favorite. Jeongnyeon's OWN baby butch rival that she made HERSELF in the classic rival mode, a stiff and reserved rich girl with Family Issues whose Haughty Pride covers a Profound Passion for Theater, who only really comes alive when she gets to go onstage in full drag and play a prince or a villain. A real Mr. Darcy of a lesbian.

Jeongnyeon and Yeongsoo also have their own same-age femme whom they're constantly competing to perform with who for some reason does not get lead actress billing or one of these cool character portraits even though she is to all intents and purposes the female lead ... anyway here she is, she's extremely cute but needs to pick up some skills in communication



The experience of actually watching the show is a a bit of a roller coaster ... like one episode you're watching Jeongnyeon make the worst decisions that a human has ever made in their life, and the next episode you're just sitting back enjoying the experience of Theater Lesbians Practice The Big Villain Seduction Scene In Every Possible Casting Variation, and the next episode everyone is getting together to do the big performance when apparently nobody has ever practiced their actual blocking together before and you're like "why are you like this. surely a theater troupe cannot run this way" and then the next episode Moon Okyeong is looking simply unbelievably good in a suit.

Honestly most of the time even when something annoying was happening there was some lesbian looking good in an Outfit, so even at the times I was suffering I did not suffer! And most of the time I was not suffering, because a truth about me is I love absurd Method Theater Drama where people are constantly going out to Find their Characters and saying to each other 'show me ... your interpretation of the Foolish General! The one only you could bring!' My many years of reading Skip Beat! have prepared me perfectly for this experience.

[nb: when I say lesbians, nobody is doing anything more than tender embraces or fraught handholding on screen, and nobody is saying 'I am a lesbian', but like they are very unambiguously lesbians. The entire plot is powered by lesbian drama. Every two episodes or so a man shows up to do something like 'embezzle money' or 'vaguely menace' and then exits again.]

Do I think the ending is fully satisfying? No. Will I be requesting it for Yuletide? DESPERATELY. I hope they keep letting Kim Tae Ri play intense lesbians forever.

(Also, if anyone knows where to find scanlations of the webtoon it's based on, I am Extremely Interested in reading them ...)

I really enjoyed Adam Gidwitz's The Inquisitor's Tale a few years back and also I really enjoy espionage, so when osprey_archer alerted us that Adam Gidwitz had written a children's WWII espionage thriller called Max in the House of Spies, I immediately jumped on board for a buddy read, about which here is osprey_archer's post.

I knew from the inside cover that the plot of this book involved German Jewish refugee Max getting shipped off to the UK on the kindertransport and subsequently recruited for espionage, with an invisible dybbuk and an invisible kobold on his shoulder.

I did NOT know that it was also RPF ABOUT EWEN MONTAGU, MR. 'OPERATION MINCEMEAT' HIMSELF?!?!

The fact that the spy foster uncles whom Max meets in England are Ewen and Ivor Montagu, respectively Mr. Operation Mincemeat and The Communist Plot Device In Several Fictional Operation Mincemeat adaptations, altered the experience of the book significantly for me. I don't know that it made it better or worse per se but it immediately became much, much funnier.

To be clear Operation Mincemeat is not referenced at all in the text of the book, although Jean Leslie and Charles Cholmondeley make significant cameos (alas, no Hester Leggett, though we were eagerly awaiting her!). Ewen Montagu was chosen out of the many available interesting historical British intelligence officers this RPF project both because he's Jewish and he had a brother who was both Also an Interesting Guy and Also a Communist Spy. By putting Max between Ewen and Ivor, Gidwitz gets to explore the complex position of Jews in England, point out the moral ambiguities of Britain's role in the war, bring in some alternate political viewpoints, and also discuss the Inevitable Betrayals of Espionage in a way that remains appropriate for a middle grade novel. I think it's a very smart move and I appreciate it. It is just also, again, very very funny. I want the Ewen Montagu scion who wrote the politely scathing review of the Colin Firth film and its unnecessary romance plot to review this one for me please.

Now both osprey_archer and genarti, in reading this book at the same time I did, thought perhaps it was a bit implausible that British Intelligence would recruit a thirteen-year-old for active service duty. I did not have the same stumbling block. I have read Le Carre! And so has Adam Giswitz, because he talks about it at the end of the book. If you put yourself in Le Carre mindset, as indeed this book is very determined to be in the middle-grade version of the Le Carre mindset, it is only a small hop, skip and a jump to 'let's recruit a thirteen-year-old.' ("But," osprey_archer pointed out, "it's RPF and Ewen Montagu told us about everything he did and so we know he didn't recruit a thirteen-year-old." Small details.)

However, the thing that did throw me is the fact that the dybbuk and the kobold mostly seem to exist in this book to point out how absurd it is that British intelligence is attempting to recruit a thirteen-year-old. They Statler and Waldorf angrily around on Max's soldiers going 'this is ABSURD. why are they letting you do this! you are going to DIE!' I think it must be an intentional irony that the supernatural creatures are there as the voice of the reader/voice of reason, but I'm not sure it's an irony that ... works ...... I mean they're quite funny but if we are expected to believe these critters have been around since the dawn of time they surely have seen worse things in their thousands of years than a thirteen-year-old going to war.

Okay, aside from that, one other thing did throw me, which is the several times I had to stare at the page and hiss 'EXCUSE ME! THE OFFICIAL SECRETS ACT!'

With those two caveats I did have a great time, and I was both annoyed and excited to find out at the end of this book that it's part one of a duology and I have a whole second Max Espionage Adventure to experience.