Consider two questions, which will structure the discussion that follows in "part two" of Princess Hijab as Interventionalist: 1) What are the larger social and political implications of the Princess’s queering of commodified heteronormativity? And 2) how does the viewer-as-commuter/tourist participate? In other words, what audience or public do these images create, and how does the viewership straddle or fuse both local and the global scales of queer sexual economy?