Beth Eunhee Hong

writer, teacher, human.


Fat Ugly-Weird, 15 – 1

pre-ramble

I took a brief hiatus from all writing to focus on tutoring in October. Predictably, I started to get that awful itchy feeling in one’s soul where you feel like you’re being a total fake loser who is wasting her life not creating any art.

So….!

One thing I find that helps whenever I am in an inspiration slump is to revisit works I’ve written in the past (in this case, way back in November 2013 — boy was I angsty back in the day) and try to refine and keep the story going.1

A few nights ago I watched Spree, a 2020 film directed by Eugene Kotlyarenko which really captures the frenetic, paradoxical and morally bankrupt “attention economy” brought on by essentially a convergence of two of the most persistent and inevitable forces in human history: greed and technology.2

All visuals for this series are screenshots from Polish-Ukrainian filmmaker and animator Yelyzaveta Pysmak’s My Fat Arse and I,3 which was actually what inspired me to dust this story off among the graveyard of dead story attempts in my Google Drive. 🪦

So yeah, without further ado, I guess, I present to you Part One of….

Fat Ugly-Weird, 15

🔊 Recommended listening 👆🏻 One of my teenage musical heroes. This song saved my life.

postscript 1

To be continued, I think? LIKE COMMENT AND OR SUBSCRIBE if you’d like to read more. 😿

postscript 2


postscript 3

🎬 Trailer for SPREE (dir. Eugene Kotlyarenko, 2020). Distributed by RLJE Films / Superlative Films / Thundercade. Used under fair dealing for commentary, critical analysis, and artistic reflection. © Eugene Kotlyarenko / Thundercade / RLJE Films / XYZ Films.

I watched this in November 2025 and really matches the tone that I was going for in this piece. I’d only recommend watching this for those who can handle extremely uncomfortable truths about what’s happened to Millennials and Gen Z thanks to the wholesale commodification and gamification of all conceivable forms of late modern capitalist life.

postscript 4

🎬 Trailer for Meeting the Man: James Baldwin in Paris (dir. Terence Dixon, 1970; restored and distributed by MUBI). Used under fair dealing for commentary and artistic reflection. © Terence Dixon / Thomas Sutton / MUBI.

This was among the many films I watched during my frenzied binge-watching sprees on Mubi (a platform I no longer support upon learning about its ties to Sequoia Capital) earlier this year. It made me realize that art is a calling that transcends flimsy human-made categories designed to keep us all in our place. Time’s up, pigs.

postscript 5

🎞️ Trailer for My Fat Arse and I (dir. Yelyzaveta Pysmak, 2020). Produced at the National Film and Television School (UK). Used under fair dealing for commentary, education, and artistic reflection. © Yelyzaveta Pysmak / National Film and Television School.
  1. See postscript 2 for the actual receipt 😱 ↩︎
  2. I could go on about this topic forever (or, for a very long time), as my poor students in my Animal Farm class are finding out. ↩︎
  3. See postscript 5 for trailer. ↩︎

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