Yes, I think your comparison with Japanese history can help explain our concern. However, there is an important historical context that I would like to clarify. The costumes featured in Scarlet Heart Thailand are Burmese royal court costumes associated with the Yadanabon period (1853–1885), the final period of Myanmar’s monarchy under the Konbaung Dynasty (1752–1885). We are not simply saying that the costumes look similar to Burmese clothing. We are identifying their historical and cultural origins and questioning why they are being presented as Lanna traditional attire. To understand this issue, it is important to look at the history of Myanmar and Lan Na. The Lan Na Kingdom emerged in the 13th century and developed its own distinct culture and traditions. In 1558, King Bayinnaung of Myanmar’s Toungoo Dynasty conquered Chiang Mai, bringing Lan Na under Burmese suzerainty. Burmese political influence in Lan Na continued, with interruptions and changes in political control, for approximately two centuries. This period spanned the Toungoo and Nyaungyan dynasties, followed by the Konbaung Dynasty’s renewed involvement in the region during the 18th century. The British Museum also describes Lan Na as having been under Burmese colonial rule for about 200 years. This history matters because cultural exchange occurred between the kingdoms, and historical research has documented Burmese influences in some Lanna dress traditions, including court attire, headdresses, shawl-wrapping styles, and textiles. Acknowledging these historical connections does not mean denying Lanna its own cultural identity. Rather, it means recognizing the historical relationship between the two cultures accurately. There is also a distinction in the dance scene. The performance in the series features oil lamps, whereas the Lanna candle dance traditionally involves performers holding long candles in their hands. These are not the same thing. Myanmar also has its own traditions of offering light, including the Rakhine tradition of offering oil lamps in reverence to the Buddha, whom we hold sacred. This is an important part of our religious and cultural heritage and should not be casually conflated with another tradition. So, to answer your question directly: yes, the comparison with wearing clothing from a different historical period in a Japanese period drama helps convey the concern. But in this case, the issue goes beyond historical periods. It also concerns the attribution of a specific cultural heritage to another cultural tradition. We are not trying to create hostility between Myanmar and Thailand, nor are we denying that cultures can influence one another. We are asking the production to properly research the historical origins of the costumes and the cultural context of the performance, and to acknowledge the relevant heritage accurately. Respect for cultural exchange must also include respect for historical evidence and the identities of the communities whose heritage is represented. #RespectMyanmarCulture