“Opposition to the Thai government, such as the 2nd Army Region commander...”

A leaked recording of a phone call between Thai Prime Minister Paetongtarn Shinawatra and former Cambodian leader Hun Sen is putting Paetongtarn under intense pressure. During the conversation, she criticised Boonsin Padklang, a regional military commander: “As for the opposition to the Thai government, such as the 2nd Army Region commander, he could say anything that doesn’t benefit the country — anything just to make himself look cool”.

There is an active border dispute between Thailand and Cambodia, and Boonsin commands troops in Thailand’s northeastern region, which includes the Thai–Cambodia border. In the phone call, Paetongtarn appears to side with Cambodia against her own military, and seems to accept Cambodia’s conditions to resolve the dispute. This doesn’t bode well for Pheu Thai, considering the military’s history of political interventions and the prominent nationalist sentiment in Thailand — a new alliance of pro-military protesters, รวมพลังแผ่นดิน (‘unite the land’), have called for a rally on 28th June at Victory Monument.

The call took place on 15th June. A nine-minute extract was leaked online yesterday, and the Cambodian government then released the complete seventeen-minute recording. Anutin Charnvirakul has used the controversy as a pretext to withdraw his Bhumjaithai party from the coalition government. (Bhumjaithai joined the coalition in 2023. There had already been credible rumours that Anutin would quit, as he was likely to be replaced as Minister of the Interior in an upcoming cabinet reshuffle.)

A previous government, also backed by Paetongtarn’s father Thaksin, faced similar accusations of disloyalty in 2008 over another territorial dispute with Cambodia. At that time, People Power Party foreign minister Noppadon Pattama endorsed Cambodia’s ownership of the Preah Vihear Temple, and was forced to resign after the Constitutional Court ruled that he had acted unanimously.

Rewind: A Brief History of Leaked Tapes

In 2013, Thaksin himself was caught out by a leaked recording of his private conversation with Yuthasak Sasiprapha, who was deputy defence minister at the time. (It became known as the ‘cordyceps tape’, as the two men discussed the health benefits of eating this fungus.) Neither Thaksin nor Yuthasak has confirmed that the recording is genuine, though it’s widely believed to be authentic. It was broadcast by ASTV, and a transcript appears in Rawee’s book Old Soldiers Never Die, Old Royalists Die (โอลด์รอยัลลิสต์ดาย).

Last year, in leaked audio of a conversation between Palang Pracharath Party leader Prawit Wongsuwon and an unidentified man, Prawit could be heard complaining that he had not yet become prime minister: “I want the people to give me a chance to be the number one.” Former PM Abhisit Vejjajiva was the victim of a fake audio clip in 2009: in the recording, he appeared to call for the suppression of red-shirt demonstrators “using all forms of violence”, though the tape was later revealed to be a hoax.

In the US and UK, there have been some notorious leaked recordings of private conversations. The most consequential of all was the ‘smoking gun’ tape that led to Richard Nixon’s resignation in 1974. British tabloids reported on the so-called ‘Camillagate’, ‘Dianagate’, ‘bastardgate’, and ‘Majorgate’ tapes in the early 1990s and, a few years later, Linda Tripp’s surreptitious tapes of her phone calls with Monica Lewinsky were used as evidence of Lewinsky’s affair with Bill Clinton.

Two of the biggest scandals of US President Donald Trump’s first term were related to leaked conversations. American presidential elections are often preceded by an ‘October surprise’ — a last-minute revelation — and one of 2016’s October surprises was the infamous recording of Trump boasting to TV anchor Billy Bush about groping women: “Grab ’em by the pussy.” Trump was impeached in 2020 after a transcript of his phone call to President Zelensky of Ukraine showed that he had tried to pressure Zelensky into digging up dirt on Joe Biden in exchange for military aid (“I would like you to do us a favour, though”).

Ghosts: Confronting the Dead in Thailand

Ulf Svane and Paul McBain’s new documentary Ghosts: Confronting the Dead in Thailand includes an interview with Thongchai Winichakul filmed at Thammasat University. Dozens of students at Thammasat were killed on 6th October 1976, and Thongchai is Thailand’s foremost authority on the history of that brutal event. (He has written about it extensively, including in his English-language book Moments of Silence.)

In the documentary, Thongchai discusses Thammasat’s notorious ‘red elevator’, which — according to legend — is haunted by victims of the 1976 attack. There are unlikely to be genuine apparitions haunting the lift, though such tales of ghosts are a reminder of the spectre of history: Thongchai stresses the need to “confront the ghost, or talk about the ghost”, in order to come to terms with traumatic historical events.

Ghosts is the latest of more than fifty films that refer to 6th October 1976. Previously, the Thammasat elevator inspired the horror film Haunted Universities (มหาลัยสยองขวัญ), which was censored to remove dramatisations of the violence that took place on that day. Also, a photograph of the elevator doors, titled Half Day Closing, was part of filmmaker Taiki Sakpisit’s exhibition Dark Was the Night (ผีพุ่งไต้).

It’s about Time:Performing between the Past and Tomorrow in Chulayarnnon Siriphol’s I a Pixel, We the People

Chulayarnnon Siriphol’s exhibition I a Pixel, We the People (ข้าพเจ้าคือพิกเซล, พวกเราคือประชาชน) will close later this month, and the artist took part in a Q&A session with Sam I-shan at BangkokCityCity Gallery yesterday. The event was titled It’s about Time: Performing between the Past and Tomorrow in Chulayarnnon Siriphol’s I a Pixel, We the People, named after an essay on Chulayarnnon’s work published by the gallery.

Chulayarnnon spoke about the two phases of his artistic career. His early short films were more personal, whereas his work became more overtly political following the Ratchaprasong crackdown in 2010: “it quite changed my life when the Thailand political crisis came, about 2010”. This aligns him with the “Post-Ratchaprasong art” movement identified by the journal Read (อ่าน; vol. 3, no. 2), and he made a similar comment in an interview for Thai Cinema Uncensored, explaining when he “turned to be interested in the political situation.”

In the Q&A, Chulayarnnon also discussed the consequences of the political climate for artists: “self-censorship is still existing: for me, sometimes I did that.” He contrasted the student protests of 2020 and 2021 — when Thai artists were more blunt in their political satire — with the current atmosphere: “for now, we need thought-provoking [art], but no need to be hardcore”. He also highlighted the threats that “hardcore” artists face: “I don’t want to be in jail, but I respect them.”

Sam I-shan’s essay booklet is twenty-four pages long, and has been published in a limited edition of twenty-four copies (each with a unique cover photos), reflecting the twenty-four-hour duration of Chulayarnnon’s video installation. The author identifies subtle political metaphors in the exhibition: she notes that the day-long running time “might parallel the cyclical nature of Thai politics,” and she argues that the piles of clothes in the gallery space “stand for all people disenfranchised by... Thailand’s political system, with some of these bodies literally absent, having been imprisoned, exiled, disappeared or killed.”

Paris Match

French magazine Paris Match has agreed to pay Gisèle Pelicot €40,000 in damages for invasion of privacy. Pelicot sued the magazine after it published paparazzi photographs of her in its 17th April issue (no. 3963). The settlement was confirmed on the eve of the court case, which was due to begin yesterday, and Pelicot will donate the money to charity.

Pelicot’s former husband was convicted on multiple charges last year, after systematically drugging her and allowing other men to rape her, in a case that shocked the country. Considering the trauma she went through, splashing her photo on Paris Match’s front page was clearly insensitive.

Famously, almost thirty years ago, Paris Match published an unauthorised photograph of former French president François Mitterrand on his deathbed (in its 18th January 1996 issue, no. 2434). The magazine was also censured after it printed CCTV images of a 2016 Bastille Day attack in Nice.

Privacy is generally respected by the French media, with the exception of celebrity magazines such as Paris Match, Closer, and Voici. Prince William and Kate Middleton won damages from Closer after it printed topless photos of Middleton in 2012. George and Amal Clooney sued Voici in 2017. Valerie Trierweiler sued Closer in both 2012 and 2014. Also in 2014, Julie Gayer sued Closer, and Aurelie Filippetti won damages from the magazine.

Sunset Boulevard

This year is the seventy-fifth anniversary of Billy Wilder’s bitter Hollywood satire Sunset Boulevard. The film will be shown at House Samyan in August, as part of the cinema’s House Classics strand.

Sunset Boulevard was also screened at the Thai Film Archive last year, at Smalls in 2019, and at Bangkok Screening Room in 2016. The House Classics programme began in 2019, to celebrate House relocating to Samyan Mitrtown in Bangkok.

Justin Baldoni v. The New York Times

As expected, actor and director Justin Baldoni’s defamation lawsuit against The New York Times has been dismissed, after judge Lewis Liman concluded that the NYT’s coverage of Blake Lively’s allegations of sexual harassment against him was not biased. The judge wrote: “the Times reviewed the available evidence and reported, perhaps in a dramatized manner, what it believed to have happened. The Times had no obvious motive to favor Lively’s version of events.”

Baldoni had been seeking $250 million in libel damages from the NYT, after it published details of Lively’s complaints against him. But it reported Lively’s claims accurately, based on court documents, so Baldoni’s lawsuit was bound to fail: whether her allegations were true or not, it’s not libellous to report them. (Baldoni filed his legal action sixty years after a 1964 Supreme Court decision required proof of ‘actual malice’ in libel lawsuits against public figures, in a case that also involved the NYT.)

Pain(t)ing

Today is the final day of the Pain(t)ing thesis exhibition at Bangkok Art and Culture Centre, featuring work by students from the Poh-Chang Academy of Arts. The exhibition opened on 27th May.

One of the highlights is Narissara Duangkhun’s No War but the Class War no. 4, a satirical commentary on contemporary Thai politics. The painting includes a depiction of a Reuters photograph taken thirty years ago during the notorious Tak Bai incident in 2004. Narissara’s work resembles that of Navin Rawanchaikul (albeit on a smaller scale), with its dense, brightly coloured collage of wide-ranging visual references. Her painting also features a slot machine displaying ‘112’, a reference to the lèse-majesté law, which is article 112 of the Thai criminal code.

Serving...

Miriana Conte’s song Kant was selected as Malta’s entry for this year’s Eurovision Song Contest, though the singer was forced to change the title and lyrics, as ‘kant’ (the Maltese word for ‘singing’) was deemed too phonetically close to ‘cunt’. The song was a pun on the c-word, with its chorus of “Serving kant” sounding almost exactly like ‘serving cunt’. For the Eurovision TV broadcast, its title was changed to Serving, and the word ‘kant’ was dropped from the lyrics.

The c-word is becoming increasingly common in contemporary pop lyrics, thanks to the influence of ballroom drag culture. RuPaul’s Drag Race popularised ballroom terms such as ‘serving’, and used ‘cunt’ as an acronym for ‘charisma, uniqueness, nerve, and talent’, to describe drag queen qualities. Drag artist Kevin Aviance’s single Cunty was sampled by Beyoncé on her song Pure/Honey in 2022, and this year Marina released her single Cuntissimo, a feminist anthem from her album Princess of Power.

Veronica Electronica

Madonna will release a collection of remixes, Veronica Electronica, on 25th July. The new vinyl EP is named after her alter ego from the Ray of Light era, and it contains remixes of songs from that critically acclaimed album.

Veronica Electronica also includes one previously unreleased song, Gone, Gone, Gone (in a demo version). But it’s easy to see why the song was originally rejected: it’s a ballad (with simplistic lyrics) set to a drum and bass track.

Veronica Electronica is one of several named alter egos Madonna has used at various stages of her career. Erotica begins with the line “My name is Dita”, a persona she also adopted in her book Sex. She performed Material Girl on her Blond Ambition tour as Gladys, wearing a bathrobe, and she played a character called Louise Oriole in the video for her single Bad Girl. She styled herself Madame X — complete with an eyepatch — for her most recent studio album.

Veronica Electronica features seven remixed tracks: Drowned World/Substitute for Love, Ray of Light, Skin, Nothing Really Matters, Sky Fits Heaven, Frozen, and The Power of Good-Bye. But unfortunately, most of them are edited versions, like those on her dance remix albums Finally Enough Love and 50 Number Ones.

“Salacious and defamatory accusations...”

Music producer Russell Simmons has filed a defamation lawsuit against HBO and the makers of the documentary On the Record, which features interviews with women who have accused him of sexual assault. He is seeking $20 million in damages.

On the Record (directed by Kirby Dick and Amy Zieling) premiered at the Sundance Film Festival on 25th January 2020, and was released on the HBO Max streaming platform later that year (on 27th May). The lawsuit describes the documentary as “a film that tremendously disparaged and damaged Mr. Simmons with salacious and defamatory accusations”.

Simmons is one of three disgraced figures from the music industry currently suing filmmakers who have exposed accusations of sexual misconduct, and all three men stand very little chance of winning their libel cases. Chris Brown filed a libel lawsuit in January, as did Sean Combs. Combs, better known as Diddy and Puff Daddy, has since filed another libel lawsuit: he is seeking $100 million in damages over allegations of sexual assault in the documentary Diddy: The Making of a Bad Boy, which was released on NBC’s Peacock streaming service on 14th January.

Justin Baldoni v. The New York Times

A high-profile celebrity lawsuit was dismissed yesterday after Blake Lively withdrew her claims of emotional distress against Justin Baldoni, her co-star in the film It Ends with Us. Lively had filed a suit against Baldoni, who also directed the film, on 20th December last year, and the document was immediately leaked to the The New York Times, which published a lengthy article about the case on its website the following day.

The article, headlined “Alleged Effort To Strike Back At Star Actress”, appeared in the NYT’s print edition on 23rd December. It included extracts from text messages sent between publicists Jennifer Abel and Melissa Nathan, suggesting that they were attempting to smear Lively and protect Baldoni’s reputation. One message, sent by Nathan, said: “You know we can bury anyone”. (This was used as the article’s online headline.) The article included a disclaimer that “messages have been edited for length”, and Baldoni sued the newspaper on New Year’s Eve arguing that the messages had been “stripped of necessary context and deliberately spliced to mislead”.

Lively’s claims against Baldoni, which included extensive allegations of sexual harassment, were criticised on social media, in the same way that Amber Heard’s reputation was trashed online after her allegations against Johnny Depp. Baldoni’s defamation lawsuit against the NYT, seeking $250 million in damages, is unlikely to proceed to trial: on 4th March, judge Lewis Liman noted that the newspaper had demonstrated “substantial grounds for dismissal”, and that “its motion to dismiss is likely to succeed on the merits.”

SpotlightSpy in the IRA

A jury at the High Court in Dublin has awarded Gerry Adams €100,000 in damages after a month-long libel trial. Adams had sued the BBC over its documentary Spy in the IRA, in which an anonymous source — identified only by the first name Martin — accused Adams of authorising the IRA’s killing of Denis Donaldson in 2006.

In the programme, reporter Jennifer O’Leary said: “Martin believes that the shooting of Denis Donaldson was sanctioned by the man at the top of the republican movement, Gerry Adams.” When O’Leary asked Martin, “Who are you specifically referring to?”, he answered: “Gerry Adams. He gives the final say.” The programme followed this reply with a disclaimer stating that Adams insisted he “had no knowledge of, and no involvement whatsoever, in Denis Donaldson’s killing.”

Spy in the IRA, an episode in the investigative series Spotlight, was broadcast on 20th September 2016 on BBC1 in Northern Ireland, and repeated on BBC2 in Northern Ireland the following day. During the libel trial, O’Leary testified that she had corroborated Martin’s claim with five other sources — this suggests responsible, well-informed journalism, not bias. When he gave evidence at the trial, Adams denied under oath ever having been a member of the IRA, though his status as a former senior IRA leader is common knowledge among journalists and historians.

It’s conceivable that some members of the jury were from generations who came of age after the 1998 Good Friday Agreement, and have no personal recollection of the era known as ‘the Troubles’, during which Adams was certainly not regarded as a peacemaker. Also, it’s highly likely that Adams benefited from his decision to bring the case in the Republic of Ireland rather than Northern Ireland, to ensure a more sympathetic jury.

Another alleged former IRA member has also launched a libel suit in relation to a different unsolved murder. Marian Price is suing the makers of the TV series Say Nothing, a dramatisation of the IRA’s 1972 abduction and killing of Jean McConville. Although noone has been convicted of McConville’s murder, the drama shows her being shot by Price.

The shooting takes place in Say Nothing’s final episode, titled The People in the Dirt, directed by Michael Lennox. The episode ends with a written disclaimer stating that Price “denies any involvement in the murder of Jean McConville.” The series was released on the Hulu and Disney+ streaming services on 14th November last year.

Yingluck Shinawatra: “10 billion baht is impossible for me to repay...”

Thailand’s Supreme Administrative Court has ordered former prime minister Yingluck Shinawatra to pay ฿10 billion ($300 million) to the Ministry of Finance, in recompense for losses incurred by her government’s rice subsidy policy. The verdict overturns an earlier judgement from the Central Administrative Court, and also seems to contradict a prior ruling by the Supreme Court.

Yesterday’s announcement from the Supreme Administrative Court came on the eleventh anniversary of the coup that deposed Yingluck in 2014. Writing on Facebook, Yingluck challenged the judgement and said: “The debt of 10 billion baht is impossible for me to repay in a lifetime”.

Starting in 2011, Yingluck’s Pheu Thai government bought rice from farmers at up to 50% above the market rate, intending to withhold it from the world market and thus drive up the price. The result, however, was that other countries such as India and Vietnam increased their rice exports, the government was left with vast stockpiles of rice that it could not sell, and therefore it could not pay the farmers for the rice they had supplied.

Charges relating to Yingluck’s role in the rice scheme were originally filed by the National Anti-Corruption Commission in 2014. As a result, she was impeached in 2015, and the Attorney General launched a criminal investigation into charges of dereliction of duty. Ultimately, the Supreme Court sentenced her to five years in prison, though she fled the country before the verdict was announced.

In 2016, the Ministry of Finance ordered Yingluck to repay ฿37.5 billion ($1 billion), though she appealed against that decision and her appeal was granted by the Central Administrative Court on 30th March 2021. That appeal verdict was quashed yesterday by the Supreme Administrative Court, though Yingluck’s fine was reduced to ฿10 billion.

The Supreme Court case related specifically to contracts for rice sales to private Chinese companies, arranged by the Thai Ministry of Commerce, which were falsely designated as non-competitive government-to-government deals. In its 2017 judgement against Yingluck, the Supreme Court ruled that she was aware that the government-to-government deals were fraudulent, though — in contrast to yesterday’s Supreme Administrative Court verdict — it did not hold her personally accountable for the financial losses incurred.

“This is a carnival of distraction...”

Mo Chara, a member of the Irish rap group Kneecap, has been charged with a terrorism offence, and will appear at Westminster Magistrates Court in London on 18th June. The charge relates to a concert in London on 21st November last year, at the O2 Forum Kentish Town during the band’s final show on their Fine Art Tour, when Chara appeared on stage draped in the Hezbollah flag. Hezbollah is classified as a terrorist group under UK law, and yesterday the Metropolitan Police charged Chara with displaying the flag “in such a way or in such circumstances as to arouse reasonable suspicion that he is a supporter of a proscribed organisation”.

Kneecap published a collective written statement via their Instagram account today, saying: “We deny this ‘offence’ and will vehemently defend ourselves.” The band also accused the Met of political bias: “This is political policing. This is a carnival of distraction.” Their new single The Recap begins with a clip of a newsreader announcing that “counter-terrorism police will investigate the rap trio Kneecap”.

Isan Creative Festival 2025

Two of Vichart Somkaew’s short films will be shown at this year’s Isan Creative Festival (เทศกาลอีสานสร้างสรรค์) in Khon Kaen. The Letter from Silence (จดหมายจากความเงียบ) and The Poem of the River (บทกวีแห่งสายน้ำ) will be screened as part of the Isan Cinema House programme.

The festival runs from 28th June to 6th July. Koraphat Cheeradit’s short film Yesterday Is Another Day was one of the highlights of last year’s event.

The Letter from Silence and The Poem of the River were both included in last year’s Short Film Marathon (หนังสั้นมาราธอน). The Poem of the River was also shown at Hat Yai last year. The Letter from Silence has also been screened at The 28th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 28), Resonance of Revolt, and Save It with Our Eyes.

The Letter from Silence features extracts from letters by lawyer and pro-democracy campaigner Arnon Nampa to his family, written while he serves a prison sentence for lèse-majesté. Arnon’s letters are often heartbreaking, as he faces the prospect of many years in jail if convicted on further charges, separated from his wife and their two young children.

The film is silent, except for ambient sounds recorded at night in a quiet neighbourhood. It avoids the explanatory captions of Vichart’s previous documentaries 112 News from Heaven and Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป), instead letting Arnon’s words stand alone. This makes the film all the more powerful, and emphasises the hopelessness of Arnon’s situation.

The Letter from Silence’s focus on Arnon’s letters themselves has echoes of another short film with a similar title, Prap Boonpan’s Letter from the Silence (จดหมายจากความเงียบ). Prap’s film documented the suicide note left by Nuamthong Praiwan, who had protested against the 2006 coup by crashing his taxi into a tank.

The Poem of the River opens with a caption describing “a Royal Development Project, costing 100 million baht” to dredge the water from the Lai Phan canal in Phatthalung. The film juxtaposes tranquil images of the canal and its verdant, fertile banks — including some beautiful drone photography — with footage of the dredging process. (The effect is similar to Yesterday Is Another Day, in which scenes set in a woodland are interrupted by shots of a JCB digging up the area.)

Pink Flamingos: A Screenplay

“Filth is my politics, filth is my life!”
— Babs Johnson

The script for Pink Flamingos, by John Waters, was published this month as Pink Flamingos: A Screenplay. (It was previously available as part of Trash Trio and Pink Flamingos and Other Filth, collections of three Waters screenplays.) The script begins with a note of self-deprecation, describing “the atrocious voice of the Narrator” — the film was narrated by Waters himself. It ends with a description of the film’s infamous final sequence, involving what was intended to be “a Hungarian sheepdog.”

Pink Flamingos is a masterpiece of bad taste. On its first release in 1972, it was described as obscene and compared to Luis Buñuel’s notoriously shocking silent film Un chien andalou (‘an Andalusian dog’). It remains the ultimate example of transgressive cinema, breaking every cultural taboo, and it’s been shown twice in Thailand: in 2017 at the Bad Taste Café in Bangkok, and in 2023 at the Thai Film Archive in Salaya.

Screenprints: A History

Screenprinting is a relatively recent technique, when compared to other forms of printmaking such as engraving, aquatints, monotypes, and lithography. Even the term ‘screenprint’ itself has not yet been standardised, as it’s used synonymously with ‘serigraph’ and ‘silkscreen’.

There have been several general histories of printmaking, including Six Centuries of Fine Prints (by Carl Zigrosser, who coined the term ‘serigraph’) and Prints (co-written by Richard S. Field, who curated the Silkscreen exhibition in 1971). Also, Fritz Eichenberg’s monumental The Art of the Print has chapters on screenprinting. But it was only this year that the first history of screenprinting as an artistic medium was published.

Screenprints: A History, by Gill Saunders, traces the origins of screenprinting to Japanese katagami and French pochoir stencilling techniques. The book also covers artists such as Andy Warhol, who produced Pop Art screenprints with Chris Prater, the printer who was “almost single-handedly responsible for the metamorphosis of screenprinting into a fine art.” Eduardo Paolozzi collaborated with Prater on a dozen screenprints titled As Is When, described by Saunders as “the medium’s first masterpiece.”

Screenprints is a comprehensive history of its subject. Published by Thames and Hudson, it’s also elegantly designed and typeset. Most, though not all, of its illustrations are from the Victoria and Albert Museum collection, and the book is the first in an annual V&A series covering the histories of individual printmaking techniques. Given the high standard set by this first book, the others — on linocuts, etchings, and woodcuts, forthcoming over the next three years — are now eagerly anticipated.

Bitch: The Journey of a Word

“If bitch is to be reclaimed, only women can reclaim the word. But reclamation isn’t the answer for everyone... we have to concede that bitch hasn’t been entirely rehabilitated. But we have to acknowledge its fluidity. Bitch is a flexible word that can be both good and bad. For centuries, bitch was an insult. In recent decades, some women have adopted bitch as an empowering label. Others reject the word. Bitch is battling a long history of invective use and many simply don’t like the word and don’t want to reclaim it.”
— Bitch

Karen Stollznow’s Bitch: The Journey of a Word, published last year, is a fascinating cultural history of ‘bitch’. The book covers changing social attitudes towards the word, and feminist efforts to reappropriate it: “Taking control of the word and turning the definition on its head, bitch got a feminist facelift, becoming a descriptor for an ambitious, independent, and strong woman.”

It was Jo Freeman, in The Bitch Manifesto, who launched the first campaign to reclaim ‘bitch’: “A woman should be proud to declare she is a Bitch, because Bitch is Beautiful. It should be an act of affirmation by self and not negation by others.” (The Bitch Manifesto first appeared in a 1970 anthology of feminist theory, alongside Kate Millett’s essay Sexual Politics.) The word’s reclamation went mainstream in the 1990s, when Bitch became the title of a long-running feminist magazine and a hit Meredith Brooks single.

Stollznow’s book is well researched and comprehensive, though it does become quite repetitive. For example, she poses the same question at least three times: “Has bitch truly been rehabilitated to mean something wholly positive? Can bitch be reclaimed... should it be?... Has bitch been — can it be — reclaimed?... Can bitch ever be fully reclaimed? The truth is that it probably won’t be.”

Also, when it comes to answering this question, Stollznow tends to sit on the fence: “Of course, there are ongoing attempts to reclaim bitch, to take out its sting. There is also much backlash against this reclamation, which will likely continue too... Some people will continue to try to reclaim the word. But for others, bitch isn’t reclaimed, and can’t be, because of its considerable baggage.” Ultimately, she concludes that the word’s reappropriation must be universal before it can be effective: “Unfortunately, the ways women try to reclaim bitch do not diminish its stigmatizing power in the hands of others, and especially men.”

Sluts: The Truth about Slutshaming and What We Can Do to Fight It

Beth Ashley’s Sluts: The Truth about Slutshaming and What We Can Do to Fight It, published last year, is the latest in a series of feminist books about the misogynistic term ‘slut’. It follows This Is What a Feminist Slut Looks Like, a 2015 account of the SlutWalk movement, and Wordslut, a 2019 guide to reclaiming sexist language.

Ashley writes about the social and linguistic stigmatisation of promiscuous women, but can ‘slut’ ever be reappropriated as a positive term? She explains that reclamation is not straightforward: “There is immense power in taking ownership of language traditionally used against you. Many people see this as an act of strength, handing it back to the people who’ve been originally hurt by the words. But it’s important to note that not everyone is there yet... ‘Slut’ is a difficult word for a lot of us. That’s no surprise. It has heavy connotations and a painful history; it’s loaded with stigma.”

Ultimately, Ashley concludes that reappropriating ‘slut’ is both desirable and achievable: “Personally, I want to reclaim the word... I believe that if we shout it loud enough, the term could eventually become used in the right way. For me and many others, taking back the word slut is a powerful, rebellious thing to do. It allows people to exercise freedom, release themselves from shame, cope with past trauma and celebrate their sexuality.”

Ashley cites Bikini Kill singer Kathleen Hanna, who wrote ‘SLUT’ on her stomach in the early 1990s, as a trailblazer of reclamation. But there are other women who have also self-identified as sluts. Madonna, for example, named her video company Slutco in the 1980s and, writing in The Sunday Times (24th August 2003), Kate Spicer argued: “A fashionable woman can take those phallocentric terms of abuse like slut and slag and nasty girl and turn them into labels of postfeminist fabulousness”. The issue was even covered by Sex and the City, in an episode titled Are We Sluts? (“Are we simply romantically challenged or are we sluts?”)

Germaine Greer’s pioneering 1971 article I Am a Whore, published in the underground press magazine Suck (no. 6), laid the groundwork for all subsequent feminist writing on ‘slut’ and similar pejoratives. Greer argued that, rather than using ‘whore’ as an insult, “you’ve got to come out the other way around and make whore a sacred word like it used to be and it still can be”. (Her biographer, Christine Wallace, fundamentally misread Greer’s argument, writing that “it takes a truly eccentric and bizarre kind of feminism for one to identify as a prostitute”.)

ความรุนแรง (ต้อง) ไม่ลอยนวล (‘violence (must not be) unpunished’)

Next week, artefacts related to political violence will be displayed at Sappaya-Sapasathan, Thailand’s parliament building in Bangkok. The exhibition, ความรุนแรง (ต้อง) ไม่ลอยนวล, has been organised by the parliamentary Committee on Legal Affairs, Justice, and Human Rights. Its title translates as ‘violence (must not be) unpunished’, emphasising the lack of legal consequences for political violence, and the injustice of such impunity.

Items on display will include a ฿100 banknote retrieved from the body of a sixteen-year-old boy, Imron, a victim of the Tak Bai tragedy. Two bloodstained shirts will also be displayed: a red t-shirt worn by Payu Boonsophon (who was blinded in one eye by a rubber bullet while protesting near the APEC summit in 2022), and a white shirt worn by another protester, Sirawith Seritiwat (who was attacked by thugs in 2019). The exhibition will also feature rubber bullet casings and tear gas canisters fired by riot police at Din Daeng in 2021. Most of the artefacts are from the collection of the Museum of Popular History.

The exhibition runs from 19th to 25th May. Imron’s banknote — one of seventeen personal belongings of Tak Bai victims in the collection of the Deep South Museum and Archives — was previously included in the Heard the Unheard (สดับเสียงเงียบ) exhibition in 2023. Last year, the seventeen items were also shown at exhibitions in Bangkok and Narathiwat.

Payu and Sirawith’s shirts were previously part of the Evidences of Resistance [sic] (วัตถุพยานแห่งการต่อต้าน) exhibition at Thammasat University’s Museum of Anthropology, from 20th February to 26th May 2023. Sirawith’s shirt has also been shown at the Murdered Justice (วิสามัญยุติธรรม) and Never Again (หยุด ย่ำ ซ้ำ เดิน) exhibitions.

Evidences of Resistance was held in room 112 of the museum, in a coded reference to the lèse-majesté law, which is article 112 of the Thai criminal code. Similarly, the film Arnold Is a Model Student (อานนเป็นนักเรียนตัวอย่าง) featured a table labelled ‘112’ in a school computer lab. The play Wilderness (รักดงดิบ) included a recipe stating that food should “dry in the sun for 112 hours”. The catalogue for Wittawat Tongkeaw’s exhibition Re/Place cost ฿112, and some of his paintings measure 112cm². Two poetry books — เหมือนบอดใบ้ไพร่ฟ้ามาสุดทาง (‘we subjects, as if mute and blind, have found ourselves at the end of the line’) and ราษฎรที่รักทั้งหลาย (‘dear citizens’) — were each priced ฿112. Elevenfinger’s single Land of Compromise was released at 1:12pm. The documentary 112 News from Heaven features 112 headlines from a 112-day period, and 112 photographic portraits.

Remembering Her, Remember Us

“Do we really have to starve to death, before we get bail?”
— Netiporn Sanesangkhom

Exactly a year ago, Netiporn Sanesangkhom died of cardiac arrest after going on a prolonged hunger strike to protest against the jailing of political protesters. Netiporn — a leader of the Thalu Wang protest group — was charged with lèse-majesté, and had been released on bail only after a previous hunger strike of sixty-four days. Today, on the first anniversary of her death, Netiporn is being commemorated at Remembering Her, Remember Us (“บุ้ง เนติพร” วันที่เธอหายไป), an all-day event at Bangkok Art and Culture Centre.

Rachata Thongruay’s half-hour documentary Hungry for Freedom, about Netiporn and her fellow hunger striker Nutthanit Duangmusit, will be shown as part of the event. Rachata interviewed Netiporn and Nutthanit while they were released on bail after their initial hunger strike. Netiporn tells him: “I thought... do we really have to starve to death, before we get bail?”

This will be the film’s second screening in Thailand; it was previously shown on 10th November 2024 at the House of Wisdom community space on Thammasat University’s Rangsit campus. A large portrait of Netiporn was included in last year’s Murdered Justice (วิสามัญยุติธรรม) exhibition, held at BACC just a week after her death.

Netiporn and Nutthanit conducted public opinion polls, asking people to vote with coloured stickers whether they supported or opposed lèse-majesté prosecutions. It was this activity that resulted in lèse-majesté charges against the pair, though two of their sticker boards are on display at Remembering Her, Remember Us. (Murdered Justice featured a similarly controversial exhibit: the t-shirt worn by Tiwagorn Withiton that led to lèse-majesté charges against him.)

Hungry for Freedom is one of several documentaries that focus on individual protesters. We Need to Talk About อานนท์ (‘we need to talk about Arnon’) and The Letter from Silence (จดหมายจากความเงียบ), both released last year, are about Arnon Nampa. The Cost of Freedom — which was screened in New York in 2023, but has not yet been shown in Thailand — is about Panusaya Sithjirawattanakul.

ย้อนรอยแผลเป็น 6 ตุลา(‘retracing the scars of 6th Oct.’)

A display of items related to the 6th October 1976 massacre of students at Thammasat University opened at Thammasat’s Museum of Anthropology on 25th April, and runs until 30th August. The exhibition, ย้อนรอยแผลเป็น 6 ตุลา (‘retracing the scars of 6th Oct.’), is a scaled-down version of ก่อนจะถึงรุ่งสาง 6 ตุลา (‘before the dawn of 6th Oct.’), held at Thammasat last year. Both events were organised by the Museum of Popular History.

The current exhibition includes Hangman, a painted silhouette of a hanged student, displayed alongside a list of the names of the massacre victims. It also features the contents of the กล่องฟ้าสาง (‘box of dawn’), a ‘museum in a box’ released in 2021.

El Dueño del Palenque (‘the owner of the arena’)

A Mexican band is under investigation for allegedly glamourising the leader of a drug cartel during a concert at the Telmex auditorium in Zapopan on 29th March. As an introduction to their song El Dueño del Palenque (‘the owner of the arena’), photographs of Nemesio Oseguera Cervantes, leader of the Cártel Jalisco Nueva Generación, were projected on a video screen behind the band.

The song is an example of the narcocorrido (‘drug ballad’) genre. Live performance of narcocorrido songs is prohibited in several Mexican states, though the government has not imposed a national ban. The band appeared at the Fiscalía General del Estado de Jalisco — the office of the Jalisco attorney general — on 17th April, and are being investigated for potential violation of article 142 of the state’s penal code.

The Scars of War

The Thai Film Archive in Salaya has programmed a season of war films running from yesterday until the end of this month. The season, The Scars of War (สงครามและบาดแผล), includes two screenings of Nontawat Numbenchapol’s controversial documentary Boundary (ฟ้าต่ำแผ่นดินสูง), on 6th and 25th May.

Boundary documents the conflict between Thailand and Cambodia when the disputed Preah Vihear Temple was exploited for nationalist political gain. The issue was so sensitive that the director couldn’t even reveal his identity while filming at the temple. As he told me in an interview for Thai Cinema Uncensored: “I could not tell anyone in Cambodia that I’m Thai, because it would be hard to shoot. I had to tell everybody I’m Chinese-American... My name was Thomas in Cambodia.”

Boundary was previously shown at Lido Connect and Warehouse 30 in Bangkok in 2019. The film has been subject to censorship twice: it was cut before its theatrical release in 2013, and a screening in Chonburi was prohibited by the military in 2015. (Thai Cinema Uncensored discusses the censorship history of Boundary in much more detail.)

“The most controversial band in the UK...”

London’s Metropolitan Police are investigating the Irish rap group Kneecap after the band appeared to incite violence and endorse terrorist groups at two of their London concerts. Yesterday, The Guardian described Kneecap as “the most controversial band in the UK”.

On 29th November 2023, during a gig at the Electric Ballroom, band member Mo Chara told the crowd: “The only good Tory is a dead Tory. Kill your local MP.” (Chara has not been identified by name in other reports about the controversy.) On 21st November 2024, at the O2 Forum Kentish Town during the band’s final show on their Fine Art Tour, Chara said: “Up Hamas! Up Hezbollah!” (Chara was draped in the Hezbollah flag at the time.)

The Met issued a statement on 1st May after videos of the two concerts were shared online: “Both videos were referred to the Counter Terrorism Internet Referral Unit for assessment by specialist officers, who have determined there are grounds for further investigation into potential offences linked to both videos. The investigation is now being carried out by officers from the Met’s Counter Terrorism Command and inquiries remain ongoing at this time.”

I a Pixel, We the People

Chulayarnnon Siriphol’s exhibition I a Pixel, We the People (ข้าพเจ้าคือพิกเซล, พวกเราคือประชาชน) is currently on show at Bangkok CityCity Gallery. The ambitious project is a video installation running for a whole day and night, divided into twenty-four one-hour episodes. The video projections are surrounded by large piles of old clothing, hoarded by the artist’s family.

I a Pixel, We the People features excerpts from Chulayarnnon’s previous work, edited to create a new narrative. It also includes footage of the recent student protest movement, filmed by the artist on 20th September 2020 (when a new plaque was installed at Sanam Luang) and 18th October 2020 (when students rallied at Victory Monument).

The golden snail motif has been a key feature of Chulayarnnon’s work over the past few years. I a Pixel, We the People begins with an extract from his short film Birth of Golden Snail (กำเนิดหอยทากทอง), before documenting the processs by which that film was banned from the Thailand Biennale. The first episode of I a Pixel, We the People likens the ban to the golden snail being “aborted while still in his shell”. (This metaphor can be traced back to a 2018 Dateline Bangkok post.)

Photographs from a meeting between Chulayarnnon and the Office of Contemporary Art and Culture, the organisation that banned Birth of Golden Snail, are accompanied by captions describing the OCAC’s criticisms of that film, followed by records of emails and phone calls with OCAC officials and exhibition curators. There is also footage of a secret 1st November 2018 screening of the film in Krabi, on the eve of the Biennale. (Chulayarnnon discussed Birth of Golden Snail, and his other work, in an interview for Thai Cinema Uncensored.)

At twenty-four hours long, I a Pixel, We the People is a wide-ranging film covering many topics, though the story of the golden snail is a constant thread. In this new version of the snail’s life story, the snail is the son of a propaganda minister in an authoritarian government (the female figure in Chulayarnnon’s segment of Ten Years Thailand).

The snail joins an anti-government protest, represented by Chulayarnnon’s archive footage of red-shirts commemorating the May 2010 massacre. The protesters are suppressed, initially with water cannon (coverage from Nation TV of Siam Square on 16th October 2020), and later by more violent means, illustrated by clips from Chulayarnnon’s documentary ชวนอ่านภาพ 6 ตุลา (‘invitation to read images of 6th Oct.’) and by new footage of dead animals.

I a Pixel, We the People also acts as a recontextualised retrospective of Chulayarnnon’s video works, and a reminder of Thai political and cultural events from the past two decades. Some of this material has not been shown for many years, if at all. Nothing to Say (ไม่มีอะไรจะพูด), for example, was an evening programme of fifty-three silent short films, shown at the Pridi Banomyong Institute on 31st October 2008. Produced by the now-defunct ThaiIndie collective, the Nothing to Say short films have since disappeared from the public record: even Chulayarnnon’s entry, เพลงของคนโง่ (‘song of a fool’), doesn’t appear on his filmography.

The exhibition opened on 26th April, and runs until 21st June. On the first day, the gallery was open for twenty-four hours, and the entire film was shown as a durational installation, with visitors staying overnight to watch all twenty-four episodes. Chulayarnnon’s previous exhibition at Bangkok CityCity, Give Us a Little More Time (ขอเวลาอีกไม่นาน), took place in 2020, and some of his satirical collages from that exhibition are on display again as part of I a Pixel, We the People.

Due to the project’s marathon running time, I a Pixel, We the People has been divided into six seasons, like a long-running TV series, each containing four episodes:

Season 1 — Star Wars
(สงครามอวกาศ)

1. This Is Not a Film (นี่ไม่ใช่ภาพยนตร์)
2. In God We Trust (อาจารย์แม่ช่วยด้วย)
3. Peoplization (และแล้วความเคลื่อนไหวก็ปรกฏ)
4. The Impossible Dream (ความฝันอันสูงสุด)

Season 2 — One Family One Soft Power
(หนึ่งครอบครัวหนึ่งซอฟท์พาวเวอร์)

5. My Mother and Her Portraits (แม่และภาพเหมือนของเธอ)
6. Golden Snail (สังข์ทองลูกแม่)
7. Cyber Scout (ลูกเลือไซเบอร์)
8. My Teacher Is a Genius (ส่องสัตว์สิ้นตาน)

Season 3 — The Star Light of Earth
(แสงดาวแห่งศรัทรา)

9. Comrades (สหาย)
10. Let It End in Our Generation (ให้มันจบที่รุ่นเรา)
11. Water Is Soft Power (พลิงละมุน)
12. Big Cleaning Day (แดนเนรมิต)

Season 4 — The Massacre
(ฤๅเลือดไหร่มันไร้ค่า)

13. I Am Vaccinated (คนเช่นนี้เป็นตนหนักแผ่นดิน)
14. Next Life in the Afternoon (ตนยังคงยืนเด่นโดยท้าทาย)
15. Forced Disappearance (บึงดินบุคคลให้สูญหาย)
16. The Eternity of Golden Snail (กำเนิดใหม่หอยทากทอง)

Season 5 — I a Pixel
(ข้าพเจ้าถือพิกเซล)

17. Voluntary Artist: Nopphon (ศิลปินจิตอาสา: นพพร)
18. Voluntary Artist: Kirati (ศิลปินจิตอาสา: กีรติ)
19. Voluntary Artist: Angsumalin (ศิลปินจิตอาสา: อังศุมาลิน)
20. Voluntary Artist: Red Eagle Sangmorakot (ศิลปินจิตอาสา: อินทรีแดง แสงมรกต)

Season 6 — The Internationale Shall Certainly Be Realised
(แองเตอร์นาซิอองนาล จะต้องปรากฎเป็นจริง)

21. Artist Is Not National’s Property [sic] (ศิลปินไม่ใช่สมนิติของชาติ)
22. Long Live Microcinema (ภาพยนตร์ยิงให้เกิดปัญญา)
23. How to Explain “Monument of the Fourth International” to a Dead Snail (เรารักภูมิพลิงวัฒนธรรม ละมุนละม่อมนุ่มนิ่ม)
24. House of Tomorrow (บ้านของพรุ่งนี้)

“Publishers are not liable for honest mistakes...”

A jury has found that The New York Times did not defame Sarah Palin when it published an editorial on 14th June 2017. Palin had sued the newspaper for libel over a sentence in the editorial falsely implying that her campaign had encouraged the 2011 shooting of fellow politician Gabby Giffords: “Before the shooting, Sarah Palin’s political action committee circulated a map of targeted electoral districts that put Ms. Giffords and 19 other Democrats under stylized cross hairs.”

The newspaper had swiftly apologised for the editorial — “We got an important fact wrong, incorrectly linking political incitement and the 2011 shooting of Giffords” — and inserted a clarification into the online version of the article the day after its original publication: “no connection to the shooting was ever established.” The initial libel case ended on 15th February 2022, when a jury concluded that the editorial was not defamatory.

Palin appealed against that verdict, and she was granted a retrial on 28th August last year. Yesterday, the week-long retrial ended with a different jury reaching the same conclusion, that the newspaper did not intentionally defame Palin. After yesterday’s verdict, New York Times spokesperson Danielle Rhoades Ha said: “The decision reaffirms an important tenet of American law: publishers are not liable for honest mistakes.”

Stone: Ancient Craft to Modern Mastery

Stone: Ancient Craft to Modern Mastery, by Richard Rhodes, is one of the only publications in English to provide a general history of stone as an architectural material. The book includes an extensive glossary, endnotes, and bibliography, and it has an impressive cover that reproduces the surface texture of stone. In his introduction, Rhodes emphasises the cultural significance of stone buildings: “The ruins of stone and masonry architecture testify to war and destruction, to the rise and fall of cities and civilizations.”

Rhodes is apparently the last surviving apprentice of a medieval Italian guild of stonemasons. He stresses that this organisation is not affiliated with “the secret-handshake Masons”, though he describes it in equally conspiratorial terms. Several chapters of the book are devoted to the guild’s supposedly “Sacred Rules” of stonemasonry, and Rhodes claims that he is “sharing these secrets for the first time.” (This all feels a bit too much like Dan Brown to me.)

Stone is one of several recent books on architectural materials. Others include Concrete, Brick, Stone, and Wood (a series by William Hall); Glass in Architecture (by Michael Wigginton); Brick (by James W.P. Campbell); Architecture in Wood (by Will Pryce); Arish (by Sandra Piesik); Corrugated Iron (by Simon Holloway and Adam Mornement); and The Art of Earth Architecture (by Jean Dethier).

Spray Nation: 1980s NYC Graffiti Photographs

Martha Cooper collaborated with fellow photographer Henry Chalfant on Subway Art, a record of New York subway graffiti that became known as the graffiti bible. Almost forty years later, in 2022, a more substantial selection of Cooper’s photography was published in Spray Nation: 1980s NYC Graffiti Photographs. The book also includes essays on Cooper’s seminal influence on graffiti history, describing her as “the grand dame of street art photography”.

The very first book on street art was The Faith Of Graffiti, from 1974. Chalfant co-wrote Spraycan Art with James Prigoff. Trespass covers the history of graffiti. There are also two books on the Bangkok graffiti scene: Bangkok Street Art and Bangkok Street Art and Graffiti (สตรีทอาร์ตกับกราฟฟิตีในกรุงเทพฯ).

The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe

The group exhibition The Shattered Worlds: Micro Narratives from the Ho Chi Minh Trail to the Great Steppe (โลกร้าว เรื่องเล่าขนาดย่อมจากเส้นทางโฮจิมินห์ถึงทุ่งหญ้าสเต็ปป์) opened on 3rd April, and runs until 6th July. The exhibition is split between three venues, though the majority of the pieces are on show at Bangkok Art and Culture Centre.

Chulayarnnon Siriphol’s video triptych No More Hero in His Story, part of his Red Eagle Sangmorakot (อินทรีแดง แสงมรกตะ) installation, features the return of his saffron-robed monk wearing an incongruous motorcycle helmet. The character has previously appeared in Chulayarnnon’s short film Monk and Motorcycle Taxi Rider, and in his segment of the portmanteau film Ten Years Thailand. (Chulayarnnon discussed his depiction of monks in an interview for Thai Cinema Uncensored.)

For his installation The Tower of Bubbles, Thasnai Sethaseree created collages of published texts and photographs related to political violence, which he then painted over, almost — but not quite — obscuring them from view. He has used this technique before, covering newspaper pages with brightly coloured paint in works shown at the Dismantle (ปลด) and Cold War exhibitions. A large slogan painted onto the BACC’s wall, “WHAT YOU DON’T SEE WILL HURT YOU”, makes the point that the historical atrocities overpainted by Thasnai may be hidden from sight, but they still have the potential to reoccur.

Red’s Objects Dialogue

Almost exactly fifteen years ago, on 10th April 2010, the Thai military opened fire on pro-democracy red-shirt protesters in Bangkok. The Museum of Popular History is commemorating the anniversary of the crackdown with an exhibition of red-shirt memorabilia, which opened on 29th March at the Kinjai Contemporary gallery in Bangkok.

The exhibition, Red’s Objects Dialogue (เสื้อตัวนี้สีแดง), runs until 10th April, the date on which the army launched their assault. Red’s Objects Dialogue has been conceived as an interactive exhibition, with visitors encouraged to share any memories of the protests prompted by the items on display (including an impressive collection of hand-clappers, t-shirts, and VCDs).

Red’s Objects Dialogue includes several notorious items that were banned by previous governments: calendars issued in 2016 and 2019 by Thaksin and Yingluck Shinawatra, flip-flops featuring images of Abhisit Vejajjiva and Suthep Thaugsuban, and a Pheu Thai promotional water bowl. The bowl and calendars were previously displayed at the Never Again (หยุด) exhibition in 2019. One of the most intriguing exhibits is a transistor radio (a generic design, sold in Thailand as a Tanin TF-268) which has been rebranded a “RED RADIO”.

The tragic events of 10th April 2010 have also been commemorated in several previous exhibitions: Khonkaen Manifesto (ขอนแก่น แมนิเฟสโต้) and Amnesia in 2019, Future Tense in 2022, and 10 April and Beyond last year. They are also referenced in Pisitakun Kuantalaeng’s album Kongkraphan, Pen-ek Ratanaruang’s short film Two Little Soldiers (สาวสะเมิน), and in the poetry collection ลุกไหม้สิ! ซิการ์ (‘burning cigar!’).

A book commemorating the victims of the massacre, วีรชน 10 เมษา (‘heroes of 10th April’) by Ida Aroonwong and Warisa Kittikhunseree, was published in 2011. There are also plans to publish a book based on visitors’ responses to the artefacts on show at Red’s Objects Dialogue. Like the Museum of Popular History, the National Library of Australia also has an archive of red-shirt ephemera.

Last Week Tonight

Dr Brian Morley, former director of US private healthcare contractor AmeriHealth Caritas, has filed a $75,000 defamation lawsuit against John Oliver, host of the HBO comedy show Last Week Tonight. In a segment about Medicaid broadcast on 14th April last year, Oliver quoted Morley’s justification for reducing personal care support for a disabled man in Iowa who needed diapers: “I would allow him to be a little dirty for a couple of days.”

Morley’s lawsuit, filed on 28th March at the US District Court for the Southern District of New York, argues that the quote was taken out of context. However, in the segment, Oliver preemptively addressed this point: “when I first heard that, I thought that has to be taken out of context. There is no way a doctor, a licenced physician, would testify in a hearing that he thinks it’s okay if people have shit on them for days. So, we got the full hearing, and I’m not going to play it for you, I’m just going to tell you: he said it, he meant it, and it made me want to punch a hole in the wall.”

Oliver then responded to Morley’s quote directly: “I guess I’d say fuck that doctor with a rusty canoe, I hope he gets tetanus of the balls. And if he has a problem with my language there, I’d say I’m allowed to be dirty. People are allowed to be a little dirty sometimes, apparently that’s doctor’s fucking orders.”

The show was previously sued for libel by Bob Murray, CEO of coal company Murray Energy, in relation to a segment broadcast on 18th June 2017. That lawsuit, filed on 10th October 2017, stated: “The statements that the plaintiffs alleged were defamatory included statements indicating that Mr. Murray had no evidence to support his assertion that an earthquake caused a mine collapse that killed nine people; a statement that Mr. Murray and Murray Energy “appear to be on the same side as black lung” and that their position on a coal dust regulation was the equivalent of rooting for bees to kill a child”.

Murray also argued that Oliver’s description of him as “a geriatric Dr Evil” was defamatory. The case was dismissed on 21st February 2018.

A Trip Down Memory Lane

The exhibition A Trip Down Memory Lane (ในทรงจํานําทางอันรางเลือน) opened at Museum Siam in Bangkok on 28th March, and runs until 1st May. There will be an outdoor screening of the documentary Lumière! on 20th April.

Lumière! is a compilation of 114 meticulously restored short films by the Lumière brothers. Narrated by Thierry Frémaux, it’s similar to the earlier documentary The Lumière Brothers’ First Films, a compilation of eighty-five Lumière films narrated by Bertrand Tavernier. (In both compilations, the short films are arranged thematically rather than chronologically.)

Lumière! was shown at the Film Archive in Salaya last year, and at Doc Club and Pub in Bangkok. It was previously shown at the Alliance Française in Bangkok in 2018.