at least in cinema like the eighties nineties. Two thousands like that. That's the enduring template for so much of Asian American cinema. Like the Wedding Banquet is example of that saving face is an example of that. The farewell even is an example of that. The fact that you brought us to this country and you expect us to live the way you did know you were growing up in a new place. So so the intergenerational conflict is one of the classic story lines of Asian American cinema and literature on bits, one that I think the reason it's it's been so popular in the Asian American communities because we all see each other in, like we all get what everyone else is going through. Um, the cultural references may change from family to family, but that conflict endures and and yeah, and and so, yeah, it does not go away. And I see a ton of short films as well that are being submitted and don't get a lot of the same, um, attention, because they're not like feature films. They don't get like the press, and no one's talking about them online. But a lot of there is where you really see the innovative forms of that kind of storytelling, Um, where you don't have to be beholden to the usual Hollywood structure of beginning middle and end. Or you could mess around with categories like fiction and documentary and and and tell that story in a new way that we haven't seen before. In my favorite examples is this film called My Sister Swallowed the Zoo. It's like 10 minutes long, and it's a Chinese American woman who is doing, I think, like a Skype call with her mom in China in the beginning, there, just talking about, you know, her sister has people, how everything we're doing, and it just all explodes in this conversation, which I don't know if it's staged or how much of it is edited. But it's like listening in on a mother and daughter's conversation for 10 minutes and how all these tensions suddenly come to light and all you see in the image. That's the soundtrack. The images are just like, um, pictures of them when she was young, and it's so powerful and just the economy of the storytelling and yeah, it's just absolutely unforgettable. And it's kind of experimental, but everyone I've shown it to gets it immediately. Um, so, yeah, I guess the point is it's it's ongoing. Yeah. And yeah, I have a friend that when we were talking about crazy, rich Asians a while ago, he kind of likened Theeighties an American experience. Or, like, you know, the kid of immigrants experience Aziz being inherently queer a something that which I thought was like a really powerful thing because it felt like in him saying that and then just going on to explain it, it made me feel like I had, like, as a queer Asian person, I had much mawr connection to the larger Asian community, helped me feel like less outside of it, if that makes sense. But his point was like, kind of like what you were saying, like, it's this, this energy, you know, there's this intergenerational conflict, you know, for many Asians, especially Asians, who don't like, quote unquote pass Aziz white or whatever in the United States, Um, there's this constant perception of the perpetual other, um that, like, even if you were, you're like, fifth generation, right? Like, people are like, Oh, but where you really from like you're not still up here on Ben like the code switching where it's like, because are a lot of Asian cultures are just so so different from Western cultures. I mean, like from spirituality Thio, you know, being so family based and food and all of that. You know, there is, ah lot of, you know, code switching between how we interact with our families and then how we interact with our friends at school, right? Like trying to figure out how toe navigate lunchtime in the middle school cafeteria when you have, like, I don't know, aloo Gobi or something. And like Indian food isn't hot or wasn't like, very trendy and like, I don't know, the nineties or whatever. And so I was wondering if you like, if you I mean, like, what are your thoughts on that? That's my question. Do you have any reaction to that? I mean, it makes total sense to May And you first used to set a lot of big things. Yeah, I think Andi really powerful and big, big ways of rethinking a lot of our assumptions about Asian American communities. And I think a major one, especially you look at the film side is if you think about the Internet generational conflicts movie as foundational to Asian American identity making in film, The queer storyline has been foundational in the intergenerational conflict story. So why is it that so many of the like the the Asian American films that taught us to be Asian American are all queer stories, like so many of them? Um, like like a wedding banquet just when I watched growing up or saving face or like yeah, or been in like Beckham And it just goes on and on. Beckham is a queer movie that is Cannon. Yes, yeah, it's so many different context. Yeah, No, absolutely yeah, reminding everybody that it absolutely is a queer movie. Totally on DSO could take so many of the questions about like, what does it mean to be to feel different is was like like that? Like the Queer story illustrates that so well and in a way that I think the Asian American story sometimes, um, I don't know to me if it's just about my culture is different from my mom's like That's not quite enough because ultimately watch movies because of desire. We want. We want to see people collide. We want to see people in love. You know, people have sex and therefore, I think the Chris story becomes that much more essential. Like I don't I don't think I would like I would like a movie if it was just me and my mom talking about our cultural differences, right? Yeah. Um, but if it's about, like my base desires and like, why who I who am I allowed to love Onda? How we're gonna And then how are we gonna work that out like that's like that any of these films can reconcile at all is just shows the the miracle of Of Like, the Melodrama. Yeah, that's why we love movies like that. That a movie like Saving Face could figure out through its own kind of weird twists of comedy and circumstance. A way for us to feel like this family is okay. That's really powerful. Yeah, like they're okay. And they can accept that and that they could be in love. Um, that's that's incredible. Or like, even with bend it like Beckham where, like, there's a joke that's like a harmless joke that like Oh, they're They're not Lebanese, right? Like the Lebanese joke of it all. Um, you know, when I was watching, it was very harmless. Like I was like, Okay, like, they're making a joke about this, but it doesn't feel like there.